Unmetered Worship

In the great debates over worship, the words "contemporary" and "praise" get used so often, we may well forget that when Luther wrote it, "A Mighty Fortress is Our God" was contemporary, and full of praise.

When I ask people what contemporary and praise mean in reference to music during worship, I receive answers running the gamut from uplifting, face-paced, and lively to simplistic, dumbed-down and shallow. My mother responded, "I guess it means that there are drums." As good a summation as any.

It occurred to me that most hymnals have a few indexes in the back, used only by those who pick hymns for worship. One of these little known resources is an index of meters for the tunes. There is a great and long-lived tradition of hymns being metered poetry set to music.

You remember metered poetry, don't you? It was the iambic pentameter that bored you to tears while studying Shakespeare. It is also the reason that most all of Emily Dickinson's poetry can be sung to "The Yellow Rose of Texas," and "Amazing Grace" can be sung to such tunes as House of the Rising Sun, Gilligan's Island, and Hernando's Hideaway. They share the same meter, and so they will fit the same tunes.

Protestant hymnody has developed such a library of metered hymns that those in the know can speak of Finlandia, Ash Grove, and Cwm Rhondda and know that these are not locations (as the names might suggest) but are rather the tunes we usually sing "Be Still My Soul," "Let All Things Now Living," and "God of Grace and God of Glory."

Other tune names derive from Latin texts from which they were translated, or they are named after the composer's favorite musician, or even after the psalm that was originally sung to the tune.

In the index of meters, we find such arcana as S.M., C.M., L.M, perhaps with a D. or a Ref, or a string of numbers. These are short-hand for Short Meter, Common Meter, Long Meter, perhaps Doubled, so the meter in question is repeated, or with a Refrain.

Of course there have always been songs listed as Irr. Pushed to the back of the index, if they are listed at all, these are the Irregulars. Some of them are well loved and oft-sung, such as "Adeste Fidelis," the tune of O Come All Ye Faithful. But they don't fit the metered poetry of proper hymnody. The name lets us know what is normal and what isn't.

Along come the guitar masses of the Roman Catholic 60's and 70's, the introduction in Protestant churches of such (then favorites, now unfortunately somewhat passe) songs as Morning Has Broken and Lord of the Dance, the second adapted from the Shaker Tune "Simple Gifts." Meter was replaced for the sake of singability and a new sensibility.

More recently came pop inspired music that followed the influences of the radio more than the chancel and the modern revival concert more than the staid and stolid sanctuary.

We still haven't found a good definition for contemporary or praise music or worship. Perhaps it simply means that both the liturgy and the music are unmetered.

So what will we do when the tunes and the worship become unmetered? How do we start to learn a new set of rhythms, a new set of music, a new way of doing things which are so different than all that we have trained so long to do?

Two answers.

1. The new stuff can be awfully fun.

2. With God, all things are possible.