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I wanted to take a different look at the old question of women in ministry. I propose the act of singing is an an act of theological preaching. As such, when the church calls women to sing they are acting in the role of preacher.
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A Singing Woman is a Preaching Woman
Introduction
When one considers the often-debated question of leadership roles in the church the
idea of hymnology does not usually come to the forefront. The typical theological literature
surrounding the topic of women in ministry tends to drum up the same old proof texts to
defend a particular position of the writer. The arguments tend to center on either the idea of
the submission of women (typically tied to a cultural setting and the questions arising from
it), the biblical creative sequence (i.e. whoever was created first is in charge) or to some
general principle of freedom. Instead of rehashing arguments that have not had adequate
closure for centuries this essay seeks to look at the role of gender and leadership from the
common perspective of the church’s practice of singing hymns.
John Stackhouse states, “…women frequently have sung solos from the pulpit or
platform of the church, leading some to wonder if they would have been allowed to preach de
facto if only they would have set their sermons to music.”1 Stackhouse has hit on a key
element of church praxis, and one this composition will explore: singing as an act of
preaching. First, a discussion of the biblical phrase, “psalms, hymns and spiritual songs” will
be offered. Secondly, an examination of theological themes in both biblical and classic
hymns will be presented. Third, an argument will be presented demonstrating that the
practice of singing hymns places women in the role of preacher. Finally, some concluding
remarks will be made regarding the implications this study has on the idea of women being
permitted to preach in the church.
A Study of the Biblical Terminology, “Psalms, Hymns and Spiritual Songs”
“Speak to one another with psalms, hymns and spiritual songs.2
1 John Stackhouse, Evangelical Landscapes: Facing Critical Issues of the Day (Grand Rapids: Baker, 2002), 124. 2 See Ephesians 5:19a and Colossians 3:16 (Emphasis mine)
A literal look at this passage may bring the reader to assume there are three types of
songs mentioned by Paul. The first song is referred to as a “psalm.” Psalms were already a
standard Jewish form of offering worship to God.3 Paul uses the Greek noun ψαλµός, which
is a derivative of the verb ψάλλω that means to “pluck or pull out.”4 The action of plucking
or pulling out seems to refer to a use of a stringed instruments, likely a harp. Therefore, a
psalm was likely sung with the accompaniment of a harpist.
The second type of song referred to are, “hymns” or quite possibly songs for liturgy.5
Paul uses the Greek noun, ὕµνος that carries the meaning of a song sung to “gods, heroes, or
conquerors.”6 Some scholars view the idea of a hymn as a New Testament invention. The
New Testament church was born out of Jewish roots and psalmody. The church’s Jewish
converts brought their traditions into the fledgling church. As the church began to push
forward in its mission to reveal the kingdom to the world, Gentiles were converted. Gentiles
also brought into the church their own traditions of singing songs to the various deities in the
Graeco-Roman world.7 A popular example was the “Hymn to Zeus” extolling his nature as
“Father” and the one who created all.8 As the Jewish and Gentile church began to take shape
and form its own identity as the Christian church new hymns were written and sung in praise
to God the Father, God the Son and God the Holy Spirit. The early church had drawn from its
3 Solomon Andria, “Colossians” in Africa Bible Commentary, ed. Tokunboh Adeyemo. (Nairobi: Word Alive Publishers Zondervan, 2006), 1456. 4 James Dunn, “General Guidelines and Practical Exhortations (3:5-17),” in The Epistles to the Colossians and to Philemon. (Grand Rapids: William B. Eerdmans Publishing Company, 1996), 237. 5 Ibid 6 Blue Letter Bible. "Dictionary and Word Search for hymnos (Strong's 5215)". Blue Letter Bible. 1996-2011. 8 Nov 2011. <http://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G5215&t=KJV > 7 Ralph Martin, “Hymns, Hymn Fragments, Songs, Spiritual Songs” in Dictionary: Paul and His Letters. (Downers Grove: Inter Varsity Press, 1993), 420. 8 Colin Brown, “Revelation,” in The New International Dictionary of New Testament Theology, Pri-Z: Volume 3. (Grand Rapids: Zondervan, 1971), 331.
sacred and secular roots in order to form its own contextualized form of hymnody and
psalmody.
The last song type recorded by Paul is, “spiritual songs.” Scholars seem to be a little
divided over the meaning of this terminology. Paul links πνευµατικός, or “spiritual,” with
the act of singing a song implying the possibility of an “inspired song” or a spontaneous song
of praise.9 Others scholars think these may have been songs articulated in tongues as the Holy
Spirit moved upon a believer.10 Whether these songs were in tongues, or spontaneous
outbursts of praise in a known tongue, is secondary to the praise uttered from a redeemed and
thankful heart.11
Psalms, hymns and spiritual songs became an element of edification and
proclamation. When someone sang a psalm, the fledgling church was reminded of its great
heritage. The writing and singing of hymns helped to give new expression for believers who
had found freedom in Christ. The spiritual song modeled a life of overflowing joy in the
Spirit. Not matter the style, songs became a vehicle to refresh the saints and pass along
Christian theology.
Theology In Song?
In reference to Colossians 3:16, N.T. Wright asserts the ministry of teaching and
admonition are to “be a part of a life of thankfulness that overflows into song.”12 Paul seems
to connect the idea of teaching and admonition with the act of singing. This might imply Paul
was aware of the mnemonic nature of songs. When writing to the church at Philippi, which
consisted mainly of converted Romans, Paul employed song to express his Christology that
could be sung and easily put to memory:
9 Dunn, The Epistles to the Colossians and to Philemon, 239. 10 Andria, Africa Bible Commentary, 1456. 11 Cf. Ephesians 5:18 12 N.T. Wright, “Colossians and Philemon” in Tyndale New Testament Commentaries. (Grand Rapids: William B. Eerdmans, 1986), 144.
Who, being in very nature God, did not consider equality with God something to be grasped, but made himself nothing, taking the very nature of a servant, being made in human likeness. And being found in appearance as a man, he humbled himself and became obedient to death—even death on a cross! Therefore God exalted him to the highest place and gave him the name that is above every name, that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father.13 14
No doubt this song, extolling the virtuous nature of Christ, was not lost on the Roman
influenced Philippians who had probably heard the “Hymn of Zeus.” However, this song
differed because it demonstrated a personal God concerned about the dilemma of His
creation. The song of Paul was unlike the “Hymn of Zeus” because it extolled the virtue of
the “all-governing law” of the universe and not the rule of Christ.15 Therefore, within this one
song there is much theological material helping the reader or singer to glorify God and place
in his or her heart a proper Christology.
This letter is addressed to the church at Philippi, and there is no reason not to believe
it was also distributed among other churches in the region. Wainwright and Tucker affirm
that during the first two centuries of the church, forms of “ministerial chants” and “public
readings” would have had a “musical element” to them and a response from the congregation
(i.e. amen or maranatha) at the conclusion of the reading.16 Consequently, one could deduce
the song of Paul would have been sung in other places assisting believers to inculcate a
proper theology of Christ. The idea of using song to teach theology evolved through the
history of the church and found its apex in the hymns of the Methodist movement.
13 See Philippians 2:6-10 (NIV) 14 See also Colossian 1:15-20 as an example of a Pauline hymn fragment 15 Brown, The New International Dictionary of New Testament Theology, 332. 16 Geoffrey Wainwright and Karen Westerfield Tucker, The Oxford History of Christian Worship (New York: Oxford University Press, 2006), 770.
Benjamin Crawford categorized a century of Methodist hymns by topics of church
doctrine.17 His categories include the doctrines of God, of Christ, and of the Holy Spirit. He
also lists hymns that demonstrate the doctrines of man, the church, salvation and the
sacraments. All in all he lists eighty hymns of the Methodist faith that teach doctrine. Many
of these hymns have cross-pollinated to other Christian communions. Even the father of the
Reformation, Martin Luther, understood the value of preaching theology through song. His
hymn, “A Mighty Fortress is Our God” was written in 1529 B.C. and is still being sung to
this day and teaching the church that God is a “bulwark never failing.” Few would argue the
great hymns of the Christian church or the psalms of the Old Testament do not contain
theology. Most Christian churches in the world use singing as a consistent element of their
liturgy. Styles and forms of singing may be culturally varied, but there is singing nonetheless.
In the Pentecostal communion women are allowed, even encouraged, to sing songs from the
pulpit, the congregation and the platform.
An Argument From Praxis Demonstrating the Hypocrisy of Permitting Women to Sing
But Not Preach
Singing has been and still is part and parcel of the Christian liturgy. Frequently,
during the liturgy, women are called upon to sing hymns or other songs. One might infer the
singing of Christian songs is also an act of Christian preaching. Random House Dictionary
defines preaching as, “to proclaim or make known by sermon (the gospel, good tidings,
etc.).”18 If, the song selected and sung contains the good news of Christ’s salvation, then by
definition the song is also a sermon. Consequently, if a woman is permitted to sing the song,
she is also by definition preaching.
17 Benjamin Crawford, Our Methodist Hymnody (Carnegie: Carnegie Church Press, 1940), 178-80 18 preaching. Dictionary.com. Dictionary.com Unabridged. Random House, Inc. http://dictionary.reference.com/browse/preaching (accessed: November 09, 2011).
Paul’s exhortation to the church to make use psalms, hymns and spiritual songs does
not contain a gender bias. The implication is that when the whole church comes together the
whole church worships together as well. That is, men and women equally offer praise to God.
In the case of “spiritual songs,” one might argue that supernatural gifts were being
manifested. Since no gender bias is apparent then not only are women singing but perhaps
participating in exercising spiritual gifts.
If one adheres to the Pauline statement, “it is a shame for women to speak in the
church,” then those evangelical churches that let women sing, but not preach, are walking in
hypocrisy.19 Stackhouse asserts, “…the apostle’s apparent silencing of women should have
forbidden public singing of any kind.”20 The tone of his statement is one of sarcasm, not an
endorsement of silencing women. His point is well taken and correct. He also seems to imply
the act of singing is also an act of exercising authority by women in the church.21 If a local
congregation or denomination holds, as a fundamental truth that women must not preach,
then it should follow through completely and silence women in every area. On the other
hand, the congregation or denomination could (and should) recognize that even in song
theology is being presented; and as such, admit preaching is being accomplished.
Conclusion
The Apostle Paul encouraged the church to speak, teach and admonish one another in
“psalms, hymns and spiritual songs.” By doing this Paul intended the entire congregation be
participants - without exclusion. Songs written in the Bible and through history have
contained much theology that edified the Church. Throughout history women have been
permitted to sing these theological songs. Because these songs proclaim the good news of the
kingdom, they are by nature and definition an act of preaching. Therefore, women who are
19 See 1 Corinthians 14:35b 20 Stackhouse, Evangelical Landscapes: Facing Critical Issues of the Day, 125 21 Stackhouse, Evangelical Landscapes: Facing Critical Issues of the Day, 124
permitted to sing songs should not be restricted from also speaking theology from any point
in the church.
Bibliography
Andria, Solomon. 2006. “Colossians” in Africa Bible Commentary, ed. Tokunboh Adeyemo.
Nairobi: Word Alive Publishers Zondervan.
Blue Letter Bible. "Dictionary and Word Search for hymnos (Strong's 5215)." Blue Letter
Bible.1996-2011.
<http://www.blueletterbible.org/lang/lexicon/lexicon.cfm?Strongs=G5215&t=KJV >.
(accessed November 8, 2011).
Brown, Colin. 1971 “Revelation,” in The New International Dictionary of New Testament
Theology, Pri-Z: Volume 3. Grand Rapids: Zondervan.
Crawford, Benjamin. Our Methodist Hymnody. Carnegie: Carnegie Church Press, 1940.
Dunn, James. 1996. “General Guidelines and Practical Exhortations (3:5-17),” in The Epistles
to the Colossians and to Philemon. Grand Rapids: William B. Eerdmans Publishing
Company.
Martin, Ralph. 1993. “Hymns, Hymn Fragments, Songs, Spiritual Songs” in Dictionary: Paul
and His Letters. Downers Grove: Inter Varsity Press.
preaching. Dictionary.com. Dictionary.com Unabridged. Random House, Inc.
http://dictionary.reference.com/browse/preaching (accessed November 09, 2011).
Stackhouse, John. Evangelical Landscapes: Facing Critical Issues of the Day. Grand Rapids:
Baker, 2002.
Wainwright, Geoffrey and Karen Westerfield Tucker. The Oxford History of Christian
Worship. New York: Oxford University Press.
Wright, N.T. 1996. “Colossians and Philemon” in Tyndale New Testament Commentaries.
Grand Rapids: William B. Eerdmans.