Debates over worship usually center on the issue of form. “Don’t elevate form over content,” the progressives cry. “Content is what is important; it really doesn’t matter what aesthetic forms you use.”
What I intend to demonstrate in this essay is the fact that separating form and content is not as simple as many progressives would imply. Indeed, form is an essential part of the content.
First, we need to make a distinction between content and form (I’ll narrow the discussion to worship songs here). Content is simply the basic idea communicated in the song, often summarized in propositions. So, for example, the content of a hymn like “Holy, Holy, Holy” would be the holiness of God, the Trinity, praise, God’s mercy, etc.
However, unless you just list God’s attributes in that way, form is always involved. In fact, it inaccurate, as some would imply, to suggest that content is the text of a song and form is the music. Even the way words are put together to form sentences and stanzas involves form.
In other words, it impossible to be free of form.
Form is the way in which something is shaped or presented. A form takes the basic content and shapes it in a certain way.
Perhaps the easiest way to understand this is to consider various vessels. When you pour a liquid into a vessel, the liquid takes the shape of the vessel. The essence of the content does not change, but its shape changes.
With any art, form always shapes the content in such a way that it communicates something about that content. Form doesn’t communicate in the same way as the content itself; form communicates to the imagination and the affections. Form changes the “feel” or perception of the content.
Sometimes these ideas are difficult to grasp with something more abstract like poetry or music, so let me use a more concrete example to illustrate the significance of form.
Graphic designers use font faces to communicate different things beyond mere words. For instance, let’s use the word, “cool.” “Cool” can mean a couple of different things. It can mean the opposite of hot, or it can mean calm, or it can mean hip. I can use form to communicate which definition I mean:
Now let’s take it a step further and consider the word, “God.” Form communicates our imagination of what God is like:
Each of these font faces–these forms–both expresses and shapes an imagination of what God is like.
I use the example of type-face only because it’s visual, and it is easier to grasp how form shapes content with these examples than with poetry or music. But let’s move now to content and form within songs.
There are several different ways that content can be shaped within a song. The first is simply with what words are chosen to communicate the message. Words are important. How we put them together into phrases is important. Words are important because different words have different connotations–different “feelings” attached to them.
For example, in describing my grandfather to you, I might say that he is ancient. Or I may say that he is elderly. Or frail. Or rickety. Or seasoned. Each of these words has basically the same meaning of old, but each word conjures up different kinds of images in your mind about my grandfather.
Poetic meter and rhyme scheme also affect the “feel” of a song text. My favorite example of this is to compare the different “feelings” between the original way “‘Twas the Night Before Christmas” was penned and a slightly altered way. Read both of these aloud, paying close attention to the natural syllabic stress, and see if you anticipate different content to these poems:
‘Twas the NIGHT before CHRISTmas and ALL through the HOUSE
Not a CREAture was STIRring, not Even a MOUSE.
‘Twas CHRISTmas EVE, the HOUSE was STILL,
And NOT a CREAture STIRRED.
The original version uses a triplet pattern that gives a feeling of “skippiness” and fun. The second, however, uses a duple meter, which naturally slows down the rhythm and comes across far more serious. Combining a serious mater with such content about a quiet Christmas Eve, we might expect the Grinch to show up at the house rather than Jolly Old St. Nick!
Musical form shapes content in very similar was to poetic form. Music communicates by mimicking natural human expression, and therefore whether or not someone understands the science of music, musical form shapes their perception of the content. Melody, harmony, and rhythm combine to shape basic content by intensifying human emotion, physical movement, and naturally-occurring acoustical principles in ways that are naturally, and often subconsciously, discerned by any member of the human race (and sometimes even animals!).
Finally, how a song is performed also contributes to form. The tempo (the speed at which the song is performed), dynamics (loudness or softness), density (amount of voices or instruments played at once), and timbre (the tone color of various voices or instruments) all contribute to the feel of the song and shape the song’s content.
Even the way in which an individual sings can shape the content of that song in drastic ways. Just with how a person uses his voice, he can shape a song of love for God to sound reverent, casual, romantic, or flippant.
Consider, as an illustration, the infamous example of Marilyn Monroe singing “Happy Birthday to President Kennedy. The words she sang were certainly not controversial, but her tone, body language, and performance style created a scandal. Notice how even Wikipedia describes the event:
“Happy Birthday, Mr. President” was a song sung by actress/singer Marilyn Monroe on Saturday, May 19, 1962, for then-President of the United States, John F. Kennedy, at a celebration for his forty-fifth birthday, ten days before the actual day of his 45th birthday, Tuesday, May 29. Sung in a sultry voice, Monroe sang the traditional “Happy Birthday to You” lyrics, with “Mr. President” inserted as Kennedy’s name. . . . Afterwards, President Kennedy came on stage and joked about the song, saying, “I can now retire from politics after having had Happy Birthday sung to me in such a sweet, wholesome way,” alluding to Monroe’s delivery, her racy dress, and her general image as a sex symbol.
In this case, the textual content and even the musical form itself were far from offensive. Yet Monroe’s vocal performance, delivery, dress, and image communicated subtextual messages that were missed by nobody. I raise this point only to illustrate that performance style shapes content.
The point here is that form matters because there is no such thing as content without form, and since form shapes the perception, imagination, and “feel” of content, the forms used in worship are very important. Not all forms are appropriate for expressing God’s truth since not all imaginations of God’s truth are accurate.