{"id":26575,"date":"2014-07-10T11:42:38","date_gmt":"2014-07-10T16:42:38","guid":{"rendered":"https:\/\/praytellblog.com\/?p=26575"},"modified":"2014-07-10T11:42:38","modified_gmt":"2014-07-10T16:42:38","slug":"jesus-is-my-boyfriend-songs-new-entries-in-the-struggle-between-orthodox-and-pietist-hymnody","status":"publish","type":"post","link":"https:\/\/praytellblog.com\/index.php\/2014\/07\/10\/jesus-is-my-boyfriend-songs-new-entries-in-the-struggle-between-orthodox-and-pietist-hymnody\/","title":{"rendered":"\u201cJesus is my boyfriend\u201d songs: New entries in the struggle between \u201corthodox\u201d and \u201cpietist\u201d hymnody?"},"content":{"rendered":"

In a recent conversation, a Twin Cities Catholic pastor shared with me his experience of going to Germany for the ordination of a friend. The ordinand had come from Germany to study for a year at the St. Paul Seminary and had returned home to complete his seminary studies and be ordained a presbyter (priest) for his home diocese. What struck my friend was the concluding congregational music at the ordination: all present joined in a rollicking rendition (in English) of \u201cI Will Follow Him,\u201d a 1963 #1 Billboard Hot 100 hit in the United States when recorded by Little Peggy Marsh and recently reappropriated for the film, Sister Act:<\/p>\n

I will follow him, follow him wherever he may go.
\nAnd near him I always will be, for nothing can keep me away,
\nHe is my destiny.<\/p>\n

I will follow him, Ever since he touched my heart I knew
\nThere isn\u2019t an ocean too deep, a mountain so high it can keep,
\nKeep me away, away from his love.<\/p>\n

I love him, I love him, I love him
\nAnd where he goes I\u2019ll follow, I\u2019ll follow, I\u2019ll follow\u2026.<\/p><\/blockquote>\n

Notice how what was originally a paeon to romantic love becomes transformed into a declaration of discipleship for both the (fictive) sisters in the film and the (genuine) members of a worshiping assembly.<\/p>\n

A comparable example coming from the \u201cPraise and Worship\u201d genre is Matt Maher\u2019s \u201cLord, I Need You,\u201d available both on CD and by video on You Tube. The composer, in a voice distinctly reminiscent of John Mayer, sings the following text over an alt-rock guitar-driven accompaniment featuring bass, drum kit, piano and synthesized sound as well:<\/p>\n

Lord, I come, I confess.
\nBowing here, I find my rest.
\nAnd without you, I fall apart.
\nYou\u2019re the one that guides my heart.<\/p>\n

CHORUS:<\/p>\n

Lord, I need You, oh, I need you.
\nEv\u2019ry hour I need You.
\nMy one defense, my righteousness;
\nOh, God, how I need you\u2026.<\/p>\n

BRIDGE:<\/p>\n

So, teach my song to rise to You
\nWhen temptation comes my way.
\nAnd when I cannot stand, I\u2019ll fall on You,
\nJesus, You\u2019re my hope and stay (2x).<\/p>\n

CHORUS<\/p><\/blockquote>\n

My third example comes from what some call \u201cContemporary Christian Music\u201d (although the boundaries between \u201cPraise and Worship\u201d and \u201cCCM\u201d are porous). The Youth Ministers\u2019 Network of the Archdiocese of St. Paul and Minneapolis chose John Mark McMillan\u2019s 2005 song \u201cHow He Loves Us<\/a>\u201d for their segment of the Archdiocesan Spring Formation Day 21 May 2014. Mr. McMillan\u2019s vocal style is reminiscent of Mr. Maher\u2019s, though the electric guitar driven accompaniment is \u201charder\u201d than \u201cLord, I Need You.\u201d I strongly recommend watching the video of the performance, both because it is obvious that those present know the song by heart and since a significant part of the impact of the song comes from repetitive chanting of \u201cWhoa\u201d after the text is exhausted:<\/p>\n

He is jealous for me,
\nloves like a hurricane, I am a tree,
\nbending beneath the weight of His wind and mercy.
\nWhen all of a sudden, I am unaware
\nof these afflictions eclipsed by glory.
\nI realize just how beautiful You are
\nand how great Your affections are for me.
\nOh, how He loves us so; oh, how He loves us.
\nhow He loves us so;
\nOh, how He loves us so.\u00a0 Oh, how he loves us;
\nhow He loves us so.<\/p>\n

REFRAIN:<\/p>\n

Yeah, He loves us; whoa, how He loves us.
\nwhoa, how He loves us; whoa, how He loves.
\nYeah, He loves us; whoa, how He loves us.
\nwhoa, how He loves us; whoa, how He loves.<\/p>\n

We are His portion and He is our prize,
\nDrawn to redemption by the grace in His eyes.
\nIf grace is an ocean, we\u2019re all sinking;
\nSo Heaven meets earth like a sloppy wet kiss,
\nAnd my heart turns violently inside of my chest.
\nI don\u2019t have time to maintain these regrets
\nWhen I think about the way that He loves us:<\/p>\n

CHORUS<\/p><\/blockquote>\n

All three of these compositions belong to a sub-genre of recent religious music that another friend has dubbed \u201cJesus is my boyfriend\u201d music. Songs falling into this category usually exhibit: 1) texts that speak of Christ (or the Father or the Holy Spirit or a saint) in intimate, romantic terms; with very little effort these texts could be converted to songs about one\u2019s date, fianc\u00e9e, or spouse (e.g., \u201cJean, I come, I confess\u2026. And without you I fall apart\u2026. I need you, O, I need you. Every hour I need you.\u201d); 2) music that falls into identifiable pop genres that in the mass media signal \u201cauthentic\u201d (i.e., non-ironic) romantic sentimentality (more indie-rock\/singer-songwriter than heavy metal or hip hop).<\/p>\n

I confess that I find myself in a quandary in trying to analyze and assess this music for Christian, and specifically Roman Catholic liturgical, worship. While I have no doubt about the authenticity of the feelings reported by the songwriters, I am put off by the lack of craft (at least as I understand it) in lines like: \u201cSo Heaven meets earth like a sloppy wet kiss, \/ And my heart turns violently inside of my chest\u201d and I don\u2019t think that is because I\u2019m a celibate prude: I think Jeremiah\u2019s \u201cYou have seduced me, Lord, and I have let myself be seduced\u201d is profoundly poetic and metaphoric in the spiritual life. Committed as I am to congregational singing, I am stumped by musical practice that doesn\u2019t seem to prize unison tune-singing so much as providing a melodic formula at which the assembly can throw its voices without worrying about exact pitches or rhythms. But I\u2019m also committed to discovering how each culture expresses its religious sensibilities through music and this alt-rock style may be the musical vernacular of those growing up in 80s and 90s. I suspect that chant-trained musicians would have been having some of the same reactions that I am having to \u201cJesus is my boyfriend\u201d music to examples of liturgical music in the folk-pop genres of the 1960s and 70s. And I have to take into account the ecstatic behaviors and rapt expressions on the faces of those singing: \u201cYeah, He loves us.\u201d<\/p>\n

Trying to grapple with the suspicion I have of the propriety of these songs for Roman Rite liturgical worship, I first thought that these pieces could be appropriate for para-liturgical (devotional) and group prayer situations that don\u2019t prize the objectivity promoted by liturgical worship (e.g., charismatic prayer meetings). Even better, these compositions would be appropriate for (youth) retreats, catechetical sessions and private spiritual listening. But I had to question my desire to wall off this music from liturgical settings when I acknowledged that I was quite willing to be emotionally overcome at communal prayer by the spiritual intimacy and emotional rapture of African-American pieces grafted onto the Roman Rite. Given my training, I then did some research to try to find parallels at earlier times in the Church\u2019s history to the present situation. I believe I have found one in the tension between \u201corthodox\u201d and \u201cpietist\u201d hymnody in the Lutheran tradition (although Anglican, Methodist, Presbyterian, Baptist, etc. versions of this same conflict also appear).<\/p>\n

The \u201creceived wisdom\u201d about Pietist movements is that they appear in Christian history whenever religion seems to be divorced from experience. Thus among German Lutherans in the 17th C, the movement emphasized personal faith against the perceived stress on doctrinal and theological issues to the neglect of developing a Christian way of life. English Puritanism raised some of the same concerns against the established Church of England in writings such as those of Richard Baxter and John Bunyan. Other figures exiled from England, such as William Ames, developed a Dutch form of pietism in a Netherlands strongly marked by Calvinism.<\/p>\n

I think John T. Pless\u2019 Pieper Lecture \u201cLiturgy and Pietism: Then and Now,\u201d delivered at Concordia Seminary, St. Louis, MO, on 18 September 1998, provides the clearest analysis of this strain of Lutheran worship. Pless makes it clear that pietism represents a foreshadowing of today\u2019s \u201calternative worship\u201d forms:<\/p>\n

When we compare the changes in liturgical texts and structures introduced by pietism with those brought about by the advocates of so-called alternative worship, we might be tempted to conclude that the innovations of pietism were rather minor. For the most part, pietism did not produce new liturgical orders.\u00a0 What pietism did introduce what a shift away from the centrality of the divine service in the life of the church. This shift was necessitated by a prior shift from justification to sanctification, from the objective reality of the mans of grace to the subjective experience of the believer, from beneficium to sacrificium, from the Office of the Holy Ministry to the priesthood of believers. This is the crucial shift which prepares the way for later developments in pietism\u2019s offspring, revivalism and Pentecostalism\u2026.<\/p>\n

This subjectivity is given expression both in the hymnody and preaching that issues from pietism. The most significant hymnals to come out of pietism were the two books produced by the son-in-law of Auguste Francke, Johann Freylinghausen (1670-1739) in 1704 and 1714. These two hymnals were combined into a single volume in 1741 which was known as the \u2018Freylinghausen Gesangbuch\u2019 of the \u2018Halle Hymnal.\u2019\u2026 The hymns of pietism reflect a \u2018warm Jesus-mysticism\u2019 as [Frank] Senn calls it.\u00a0 Coupled with this \u201cJesus-mysticism\u201d is a stress on sanctification with an accent on the imitatio Christi. The pietist hymnals arranged hymns not according to the church calendar but according to the ordo salutus [sic] and selected situations in the Christian life. New tunes were composed which fit with the sentimental character of the pietist texts.<\/p>\n

[Referenced on 2 July 2014 from http:\/\/www.ctsfw.edu\/Document.Doc?id=294<\/a>]<\/p><\/blockquote>\n

John Wesley (1703-1791) greatly admired Freylinghausen\u2019s most famous hymn, \u201cO Jesus, Source of calm repose,\u201d and translated it into English in 1737. One of the so-called \u201cJesus hymns,\u201d the text is judged to be an exemplar of Pietist hymnody, marked by depth of feeling, rich Christian experience, and faithfulness in Scriptural expression:<\/p>\n

Who is there like Thee,
\nJesus, unto me?
\nNone is like Thee, none above Thee,
\nThou art altogether lovely;
\nNone on earth have wee,
\nNone in heaven like thee\u2026.<\/p><\/blockquote>\n

John Wesley also lauded the work of another Pietist, Nikolaus Ludwig, Graf (count) von Zinzenfort (1700-1760) and his contributions to Moravian hymnody. Here is a Wesleyan translation of one of Zinzindorf\u2019s hymns:<\/p>\n

O come, Thou stricken Lamb of God!
\nWho shed\u2019st for us Thine own life-blood,
\nAnd teach us all They love \u2013 then pain
\nIn life were sweet and death were gain.<\/p>\n

Take Thou our hearts, and let them be
\nFor ever closed to all but Thee;
\nThy willing servants, let us wear
\nThe seal of love for ever there.<\/p>\n

How blest are they who still abide
\nClose sheltered by Thy watchful side;
\nWho life and strength from Thee receive,
\nAnd with Thee move, and in Thee live\u2026.<\/p><\/blockquote>\n

I think these examples are enough to suggest a parallel between some Pietist hymnody and some of the \u201cpersonalist\u201d songs of the Praise and Worship\/Contemporary Christian Music movements.\u00a0 Rather than judging the appropriateness of these songs for present-day worship, especially in the Roman Catholic Church, perhaps I\u2019m being invited to consider whether or not the \u201creceived\u201d liturgy is perceived by some worshipers as too cold, formal and rational in its song, with the desire to supplement such worship with more emotional and intimate singing. Or do these songs best serve as evangelical tools, inviting non- or shallow-believers to some kind of emotional\/spiritual conversion as preparatory or supplementary to the Church\u2019s formal worship. I look forward to the insights of Pray Tell readers on the topic.<\/p>\n","protected":false},"excerpt":{"rendered":"

In a recent conversation, a Twin Cities Catholic pastor shared with me his experience of going to Germany for the ordination of a friend.<\/p>\n","protected":false},"author":17,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[20],"tags":[],"class_list":["post-26575","post","type-post","status-publish","format-standard","hentry","category-music-general"],"yoast_head":"\n\u201cJesus is my boyfriend\u201d songs: New entries in the struggle between \u201corthodox\u201d and \u201cpietist\u201d hymnody? - Home<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/praytellblog.com\/index.php\/2014\/07\/10\/jesus-is-my-boyfriend-songs-new-entries-in-the-struggle-between-orthodox-and-pietist-hymnody\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cJesus is my boyfriend\u201d songs: New entries in the struggle between \u201corthodox\u201d and \u201cpietist\u201d hymnody? 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