As hearing the gospel in your native tongue speaks to your
head and then your heart so does hearing your own (Scottish/Irish) culture’s
music. It was upon hearing Celtic strains in some of their songs that the Getty’s
songs first struck a chord with me. Yes, I am eclectic enough to appreciate all
good church music wherever it’s from, but the Getty stuff has me singing to the
Lord with gusto.
Solid lyrics with good tunes are extremely important. For good
tunes with unsound words can wreak untold damage to churches and to the whole
of Christendom. Arius, a fourth century heretic knew this all too well. He cast
his poisoned bread upon many waters. “Arius… composed several songs to be sung
by sailors … and by travellers along the high road … which he adapted to
certain tunes, as he thought suitable in each separate case, and thus he
seduced the minds of the unlearned by the attractiveness of his songs to the
adoption of his own impiety.” Philostorgius, Epitome, (Bk. 2 Ch. 2). Christians
carry home with them much more than sermon points. What they sing in worship
also lodges in their hearts. The Gettys (‘scuse the pun) get this.
Whether you’re an exclusive-psalmodist who doesn’t believe in
any musical accompaniment or whether you’re
all electric guitars and drums, this book will help give you a handle on what’s
happening with church music in Christendom beyond your own wee corner of God’s vineyard.
The Getty’s have made a worthy contribution.
One of the surprises for me was when I read the following: “To
write songs for the church is a beautiful, fun (sometimes), and laudable
activity. But most songs that are written (in the case of songs we have
written, at least 95 percent) never should be heard. We estimate that Keith has
written or recorded five hundred to a thousand tunes per year for the last
seventeen years, in order to come up with what is a relatively small handful of
songs that we’re pleased with and known for. Kristyn has countless journals and
Word files and scrap pieces of paper with lyrics that never made the cut.” pgs.
135-6.