A History Of Children's Hymnody

One meaningful way in which children participate in worship is through song, especially through songs written for their unique abilities and interests. Children's hymns have been written for many centuries; studying this history gives us important perspectives for how Christians can include children in worship today.

Give me the making of ballads and I care not who makes the laws.

—Archibald Alexander, A Selection of Hymns Adapted to Devotions of the Closet (Family and Social Circle, 1931). Let me write the hymns and I care not who writes the theology. —R. W. Dale, The English Hymn Book (1874), preface. These two quotes ascribe considerable power to the sung word. Unless hymn singing can really make a difference in Christian education and the values that influence behavior, then this article need not be written. With the hope of strengthening this fundamental premise, I will share a story. A medical mission team was sent to Cambodia following the downfall of the Pol Pot regime during the Southeast Asia conflict. Many Cambodian villages were on the verge of starvation because of the ravages of the war and the disruption of the life of the villagers. The cycle of food production had been broken by years of war and political oppression. The will to live was fading, and people were starving. Among those participating on the team was a Catholic sister, who had been involved in many other such ventures including famines in Africa and Biafra. Almost from the beginning, Sister Miriam Therese Winter felt that there was something different about the children of the village, where the medical mission team was concentrating its efforts, but she had a difficult time articulating what the difference was. She knew from first-hand experience the familiar cycle of providing nutrition to famine and war-torn people—the listlessness of the people, the setting up facilities for medical attention and nutrition, the reestablishing of daily routines that were so necessary for the preservation of life, and finally seeing the spirit of the people return. But somehow, this village was different. Food and medical attention were being provided. The people were becoming physically stronger, but the spirit of the people did not seem to be returning even in the children, who were usually the first to show signs of a renewal of spirit. It finally dawned on her that these children never sang. Most people would not find such a fact to be of importance. After all, the children were starving; one could hardly expect them to break forth into song. But Sister Miriam Therese knew from other experiences that after just a few days of proper nutrition, the sound of children singing returned to even the most impoverished villages. After a couple of weeks, she became even more concerned; although the people's physical needs were being met, the absence of song among the children seemed to indicate a lack of hope. She began to accompany her daily task by singing the familiar folk song, "?Kumbaya?" ("?Come by Here, Lord?"), a seemingly universal tune. The people listened, but no one sang. The sister knew that they heard her sing because the children started to call her the Kumbaya woman. Although she continued to sing her song for days, no one sang. Then one night, she heard at the other end of the village the sweet voice of a child singing what sounded to her like a folk tune. She grabbed her tape recorder and ran to the source of the sound and recorded the child's song. The next morning, Sister Miriam Therese played the recording for one of the elders of the village and asked him what it was about. He seemed embarrassed and very hesitant to discuss the song of the child. What could be the problem with a child's song? Finally, he told her that the child had sung a political propaganda song of the Pol Pot regime. This song extolled the virtues of this oppressive and cruel communist government. Why would a child sing such a song? Were there no other songs for a child to sing? It was explained to her that under the regime, all former songs had been banned and only two political songs were allowed. These songs were taught to the people in the Khmer Rouge camp, and the children had grown up knowing no other songs. By restricting the songs of the children, the Khmer Rouge had raised a generation that knew only the ideals of their regime. By allowing only two political songs to be sung, the oppressive regime was able to practice a very powerful form of mind control.(This story appeared originally in the following article by the author, "?Children's Choirs: A Means or an End??" Creator 10:7 [October/November 1988]: 5–8.) From this story, we can deduce several things about the importance of hymn singing for the church. First, it is natural to sing one's faith. Singing is a holistic human activity that joins both rational discourse (left brain) and emotional sensibility (right brain) into a unified expression. If children are taught to sing during the preschool years, musical expression becomes as natural as talking. Second, the fostering of religious values is strengthened through hymn singing. Hymn singing has been at the core of the Judeo-Christian experience, as a means of communicating the important precepts of faith. Paul indicates in Ephesians 5:18–19 that singing is a sign of being "?filled with the Spirit.?" A brief historical overview of the role of hymnody in the education of children will follow in the next section. Finally, hymn singing is a major factor in the building of community throughout the history of Christendom. There was a void in the community spirit of the Cambodian village without singing. One of the primary examples of the use of singing to build community was the role of singing during the great revivals of the nineteenth and twentieth centuries. Evangelists were aware of the power of hymn singing to solidify diverse groups of people and, in doing so, creating a friendly atmosphere even among strangers. The singing of hymns "?prepared the hearts of the people?" to receive the spoken Word. John Wesley, more than perhaps any other evangelist, realized the power of hymn singing for all of the purposes mentioned above—as a natural, educational, community building experience—through the use of his brother Charles' excellent hymns. A Brief History of Children's Hymnody While the hymnbook has educational potential for all ages, the focus of this article will be upon the hymnal as a resource in the Christian education of children. A brief survey of the history of children's hymnody will allow us to see how children were viewed through hymnody in earlier days and then to suggest guidelines for the use of hymnody in children's Christian education today. (Portions of the following section appeared in an article by the author, "?Hymnody for Children,?" The Hymn 36:1 [January 1985]: 19–26.) Isaac Watts: Divine and Moral Songs. Although there were sporadic efforts in children's hymnody by people such as the Reformer Martin Luther ("?From Heaven on High?") and the school master Thomas Ken ("?Awake, My Soul, and With the Sun?" and "?All Praise to Thee My God This Night?"), the first significant writer of children's hymnody was the famous Isaac Watts. His Divine Songs, attempted in easy Language, for the use of Children (1715) was influential for at least two hundred years after its publication. Written at the request of a friend, who wished an additional pedagogical tool for catechesis, Divine Songs ran through an astonishing six hundred editions and seven million copies between 1715 and 1900. As a result of this collection, hymn writing for children became acceptable and even to some degree popular in England during the eighteenth and nineteenth century, although the quality varied greatly. A critique of Watt's hymns in this genre centers primarily around two problems. The first critique has to do with his pessimistic view of human nature which was a result of John Calvin's doctrines of original sin and election on the one hand and the belief in the uncertain state of humanity before a righteous God on the other. The poetic result was often a moralistic verse, which attempted to nip the problem of original sin in children in the proverbial bud. One example of Watt's verse for children was a stanza designed to quell sibling rivalries.

Whatever brawls disturb the street,

There should be peace at home; Where sisters dwell and brothers meet, Quarrels should never come. (Isaac Watts, Horae Lyricae and Divine Songs [Boston: Little, Brown, and Company, 1854], 317)

Watts was not above striking terror into the heart of a child, whose sinful condition demanded the judgment of God.

Just as a tree cut down, that fell

To North or Southward, there it lies, So soon man departs to heaven or hell, Fix'd in the state wherein he dies. (Isaac Watts, Works of the Reverend and learned Isaac Watts, D.D., 6 vols., ed. George Burder [London: J. Barfield, 1810], xix)

The second area for critique is described by Lionel Adey as Watt's celebrated principle of kenosis or lowering of himself in his approach to children (Lionel Adey, Class and Idol in the English Hymn [Vancouver: University of British Columbia Press, 1988], 94). This is clearly stated in the complete title of the collection, … attempted in easy Language, for the use of Children. Such condescension toward children would not be acceptable by developmental psychologists today, although many teachers continue to approach children in this manner. Erik Routley stated that Watt's emphasis on kenosis led to the Victorian view of children as little and feeble, inviting adolescents to "?grow out of?" such religion (Erik Routley, A Panorama of Christian Hymnody [Collegeville: Liturgical Press, 1979], 124). According to Watts, children should be taught while they are young in the same manner as one would train "?the Jews and heathens?" in ancient civilizations (Watts, Horae Lyricae, 295).

For Isaac Watts a child was homunculus or a miniature adult. Children were not viewed for what they might offer as young people to God's world, but as small people that could become of value only after they reached adulthood. While the fallacy in this approach would seem apparent, David Elkind has identified the same tendencies among adults today (David Elkind, The Hurried Child: Growing Up Too Fast Too Soon [Reading, Mass.: Addison-Wesley Publishing Co., 1981]). He suggests that parents, teachers, and the media encourage children to take on the responsibilities and pressures of adults, before they are developmentally ready. Why was Watts so successful? I would propose several reasons. First, his view of children fit the extremely class-conscious British mentality of his day. As Adey has pointed out, everyone in society had to find their place in the hierarchy of British life (Adey 5). Children were simply a subset of the particular class to which their parents were born. Watts' hymns helped to keep children in their place within the structure of society. Another reason for his popularity as a writer of children's verse was his use of concrete images associated with the everyday lives of children. Birds, bees, dogs, and trees filled the stanzas of Watts' hymns. He could also become very specific and concrete in his images of hell, though less so about heaven.

There is beyond the sky

A heav'n of Joy and love; And holy children, when they die, Go to that world above. There is a dreadful Hell. And everlasting pains; There sinners must with devils dwell In darkness, fire and chains. (quoted in Adey, 101)

Because Watts wrote hymns for children in such quantity, quality and variety, the children's hymn movement gained in popularity.

John Wesley: Hymns for Children. John Wesley's Hymns for Children and Others of Riper Years (1763), while continuing the tradition of children's hymnody established by Watts, was not nearly as popular outside Methodist circles. While Watts' views toward children might not stand up to the rigors of modern child psychology, he understood children better than did the Wesleys. Rather than assuming Watts' kenosis posture toward children, John Wesley attempted to raise children to loftier heights through his hymnody: There are two ways in writing or speaking to children: the one is to lower ourselves down to them; the other is to lift them up to us. Dr. Watts wrote [sic] in the former way and succeeded admirably well, speaking to children as children and leaving them as he found them. The following hymns are written on the other plan; they contain a strong and manly sense, yet expressed in such plain and easy language, as even children may understand. But when they do understand them, they will be children no longer, only in years and stature (John Julian, Dictionary of Hymnology, 2 vols., 2nd ed. [1907; reprint, New York: Dover Publications, 1957], 221). While Wesley's verse may have been more appealing to adults, it was by no means as popular as Watts' Divine Songs. Much of the dreary descriptions of hell and the negative theology found in Watt's verse is also present in Wesley's hymns.

Dark and Bottomless the pit

Which on them its mouth shall close; Never shall they ?'scape from it; There they shall in endless woes Weep and wail and gnash their teach, Die an everlasting death. (Frederick John Gilman, The Evolution of the English Hymn [New York: Macmillan Co., 1927], 268)

Charles Wesley's "?Gentle Jesus, Meek and Mild?" is the only children's hymn by the Wesleys that has gained lasting and popular appeal. Even this hymn is now rarely found in hymnals. In it, children are characterized by terms such as little and phrases such as "?pity my simplicity.?" This language became more predominant in children's hymns of the Victorian era.

The Sunday School Movement in England and America. The Sunday school movement in England made use of children's hymns with strong Calvinistic leanings in the tradition of Watts. Death and judgment continued to be major emphases. In spite of Watts' influence, the nature of the Sunday school demanded new literature and more attention be given to not only the earlier catechistic tradition, but also to the spiritual nurture of the child. Fifteen years before Robert Raikes began the first Sunday school, John Newton started a special midweek lecture service in Olney, England (1764) and also made special provisions for the children of Olney to engage in biblical education and hymn singing (John Pollock, Amazing Grace: John Newton's Story (San Francisco: Harper and Row Publishers, 1981], 154). Furthermore, Rowland Hill was quite successful with several texts including Divine Hymns, attempted in easy Language, for Children (1790; with revisions by William Cowper). The Taylor sisters, Ann and Jane, published their Hymns for Infant Minds in 1809. This collection was considered innovative because of the Taylors' ability to view topics from a child's perspective. Jane's practice was to address hymns to an imaginary child listener. The verse of the Taylor sisters could also take a strong judgmental approach as indicated in this stanza:

Down to this sad world he flew,

For such little ones as you! You were wretched, weak and vile, You deserved his holy frown; But he saw you with a smile, And to save you hastened down. (Ann and Jane Taylor, Hymns for Infant Minds, 37th ed.[London: 1846], hymn no. 34)

While the Taylor sisters did not have the poetic abilities of Isaac Watts, they appreciated more the perspective of children, the beauty of nature, family love, and friendship in their verse. The descriptive words used for Christ were most often feminine, which contributed to the concept of a submissive Victorian womanhood for the girls (Adey 104).

Many collections aimed toward the purposes of the Sunday school movement were intended primarily for those of lesser rank and privilege. The Sunday schools were founded in order to enable the poor to read the Bible. Watts and Wesley were included in popular collections by Joseph Benson (Collection of Hymns for the Use of Methodist Sunday Schools [1808]) and Independent Rowland Hill (Hymns for Children, Principally [of a] Sunday School [1819]). The theology of these collections tended, however, to be more Calvinist than Wesleyan. Watts' kenosis, or lowering of one's self to the child, was preferred over the Wesleyan principle of "?manly sense,?" intended to raise a child's understanding to that of adults. In America, the emphasis was upon conversion with the more easily sung melodies of the gospel song tradition. Vestiges of Calvinistic theology still remained, but the texts were less artistic and more repetitive. Nineteenth-century sentimentality, interest in nature, and fascination with exotic lands (due in part to the development of missions), all influenced the writers of hymn texts. The pietistic emphasis upon the individual and a personal faith found fertile ground in children's hymns for Sunday school. George F. Root, William B. Bradbury and Robert Lowery, all wrote children's hymns for evangelistic occasions. The Sunday school movement made several contributions to the development of children's hymnody. Children were given an increasingly special place in evangelistic traditions. The motivation of conversion provided the impetus for a great outpouring of literature. Among the benefits was less denominationally-oriented literature and an increasing awareness of the abilities and interests of the child. Hymn tunes took on the flavor of popular and folk melodies with the advent of the gospel song. The repetitive nature of the gospel song, with its refrains and repeated phrases, made the hymns more easy to learn, but sacrificed some of the text's content and development of thought. The Oxford Movement. The more classical style of children's hymns continued in mainstream religious life. John Mason Neale published a series of Hymns for Children beginning in 1838 and translated many others appropriate for the child. The quality of translations, such as the ninth-century "?Gloria, laus et honor?" ("?All Glory, Laud and Honor?"), provides a rich resource for children. Many of Neale's hymns became very popular in both England and America, offering the child theological depth and a well-written text. With Cecil Frances Alexander's Hymns for Little Children (1845), came the best blend of textual quality, theological foundation, and child awareness experienced thus far. Julian states it well:

Charmingly simple and tender, clear in dogma, and of poetic beauty, combining the plainness of Watts with the feeling for and with the childhood of the Taylor sisters, and uniting with both the liturgical associations of the English Prayer Book, they remain unequaled and unapproachable. (Julian 222)

Mrs. Alexander's hymns were built around a consistent theological framework and textual quality. The forty hymns of her hymnal were based on the Apostles' Creed, the Ten Commandments, and the Lord's Prayer. Of her hymns still in use today, some of the more famous ones written for children include "?All Things Bright and Beautiful,?" "?There Is a Green Hill Far Away,?" and "?Once in Royal David's City.?" Notice the use of concrete detail in the less familiar stanzas below.

On the dark hill's western side

The last purpose gleam has died, Twilight to one solemn hue Changes all, both green and blue. In the fold and in the nest, Birds and lambs are gone to rest, Labour's weary task is o'er, Closely shut the cottage door … 'Twas a starry night of old When rejoicing angels told The poor shepherds of Thy birth, God became a child on earth. Soft and quiet is the bed, Where I lay my little head; Thou has but a manger bare; Rugged straw for pillow fair. (Gilman 277)

Lionel Adey praises Mrs. Alexander as "?the most successful Victorian hymnographer for children,?" but also points out that, as a lady of the upper class, she was "?unavoidably patronizing [to] the poor whom she served with such devotion?" (Adey 143).

Historical Analysis This has no means been a complete history of children's hymnody. It is of sufficient detail, however, for us to stop and draw some conclusions and look at ideas and resources for the use of hymnody in the Christian education of children today. Problems of the Past. (1) Children's hymnody suffered in varying degrees when an adult-oriented posture has been assumed by the hymn writer. The hymns of Watts and the Wesleys, in spite of textual quality, were less effective because of this attitude. (2) The use of negative patterns of theological reinforcement are not productive as a learning approach with children. The harsh Calvinistic influence in much of hymnody for children hindered the continuing relevance of these hymns. (3) The patronizing style prevalent in many nineteenth-century hymns is not appealing to the young child, who values authentic and genuine relationships with adults. (4) An approach that is too direct and moralistic has not proven to be successful with children. Children appreciate quality and depth in their hymns. How a point is made is as significant as what point is made. (5) Much of the hymnody for children during the growing Sunday school movement in England combined immediacy of textual content with singable, enjoyable tunes. While these hymns appealed to the child initially, they did not offer content to foster growth and music of lasting value. Many of the best hymns for children are hymns that they can sing throughout life. (6) Finally, many of the hymns used with children lacked language that appealed to the child's imagination or images that were within the child's experience. The Wesleys' hymns have been noted for having this deficiency. Positive Contributions. Hymn writers throughout history have offered us positive examples of children's hymns. Let us take a moment to examine some of these. (1) Children's hymnody seems to have been more effective when taught within a theological framework. The best hymns of Watts and the catechistic hymns of Mrs. Alexander are good examples of this. (2) There are many hymns throughout the history of hymnody that combine appropriate imagery with depth of theology. These hymns have been able to withstand the changing vocabulary of the years and remain meaningful to children today because of what they have to say. Consider the translations of John Mason Neale; the hymns of Martin Luther; some hymns of Isaac Watts and Cecil Frances Alexander; and, more recently, the hymns of Christina Rossetti and Fred Pratt Green. Good hymns, like Scripture, have levels of meaning that allow appreciation by young and old alike. (3) The writers of the best hymns for children consider the child's perspective. This often involves using the first person. Notice the following hymns, for example: "?From Heaven on High?" (Martin Luther), the final stanza of "?In the Bleak Mid-Winter?" (Christina Russetti), or "?How Far Is It to Bethlehem?" (Frances Chesterson). In each of these hymns the use of the first person perspective helps the child to personally and intimately identify with the birth of Jesus. When a hymn makes use of the first person, some caution needs to be exercised, however. One quick test suggested by Paul Schilling is to insert we, us, and ours in places that use I, me, and mine (S. Paul Schilling, The Faith We Sing [Philadelphia: Westminster Press, 1983], 181). The hymn that still makes sense will probably be of value to children. Children have a developmental tendency toward self-centeredness and an egocentric perspective. While the hymns they sing should often have a personal, direct appeal, we should not foster a spiritual egocentrism. (4) The wedding of hymn text with tune is a crucial factor when choosing hymns for children. While there were problems of textual quality and theological depth in many of the hymns of the Sunday school era, many of the mediocre texts were sung and enjoyed because of their accessible tunes. The tune needs to enhance the character of the text. In some cases, it might be helpful to set older texts to new tunes. Our predecessors in children's hymnody have provided us with a wealth of insight as we approach the task of hymn education today. Let us consider recent theological concerns as they have an impact on hymns as a teaching resource for children. Theological Views for Children's Hymnody Today While there is much to be learned from singing timeless hymns from the past, children also need hymns that articulate faith in today's language. Hymns that express a contemporary view of the world are essential to a growing faith. This issue is of vital concern to children and adults alike. What are some of the theological changes that have taken place in hymnody during the great revival of hymn writing of the last thirty years? First, earlier views of God as awful and wrathful with occasional glimpses of benevolence have been replaced by a loving and caring God. Two texts by Fred Pratt Green illustrate this point. Now praise the hidden God of Love, In whom we all must live and move, Who shepherds us, at every stage, Through youth, maturity, and age. (Fred Pratt Green, The Hymns and Ballads of Fred Pratt Green [Carol Stream, Ill.: Hope Publishing Co., 1982], 73) For the fruit of all creation, Thanks be to God; For his gifts to every nation, Thanks be to God; For the ploughing, sowing, reaping, Silent Growth while we are sleeping, Future needs in earth's safe-keeping, Thanks be to God. (Ibid., 28.) A second area of contemporary change is the child's awareness of science, especially in hymns that refer to outer space. Only recently have hymn writers attempted to bring us into a post-Copernican view of the universe. Adults are slow to accept the changes in imagery, wishing to cling only to hymns like Watts' hymn that states, "?I sing th'almighty power of God that made the mountains rise.?" Today's children grow up in a world full of space shuttles and daily scientific breakthroughs. They can help adults learn to accept a God, who continues the process of creation through the exploration and advancements of the crowning glory of Creation—humankind. Several hymns come to mind. I will refer to two.

Herbert Brokerlings' hymn, "?Earth and All Stars?" (Lutheran Book of Worship [Minneapolis: Augsburg Publishing House, 1978], hymn no. 558), literally hurls images of the modern world at the singer. Many of these refer to science in today's terms. These include "?Engines and steel! Loud pounding hammers!?", "?Classrooms and labs! Loud Boiling test tubes,?" and "?Knowledge and truth! Loud sounding wisdom!?" All of these "?Sing to the Lord a new song!?"

Catherine Cameron's "?God Who Stretched the Spangled Heavens?" is one of the best hymns in this genre. One stanza is quoted here.

We have conquered worlds undreamed of

since the childhood of our race; known the ecstasy of winging through uncharted realms of space, probed the secrets of the atom, yielding unimagined power, facing us with life's destruction, or our most triumphant hour. (William J. Reynolds, ed., Baptist Hymnal [Nashville: Convention Press, 1975], hymn no. 150.)

A third area that contemporary hymns explore is a view of gospel events as timely for today. The immediacy of the life of Jesus in contemporary hymns stands in contrast to the "?long ago and far away?" approach of hymns in earlier centuries. Brian Wren enables us to capture this spirit in his Easter hymn,

"?Christ Is Alive!?"

Christ is alive! Let Christians sing.

His cross stands empty to the sky. Let streets and homes with praises ring. His love in death shall never die. Christ is alive! No longer bound to distant years in Palestine He comes to claim the here and now and conquer every place and time. (Brian Wren, Faith Looking Forward [Carol Stream, Ill.: Hope Publishing Co., 1983], hymn no. 20.)

Fred Kaan explores the nearness of Christ in his hymn, "?Celebration Everywhere, and Time.?" Two stanzas are quoted here.

Christ is here and everywhere,

one with all his people, but we make his whereabouts with our Sunday steeples … Give us grace to seize and use every situation, any time for worship, love, blessing, celebration! (Fred Kaan, The Hymn Texts of Fred Kaan [Carol Stream, Ill.: Hope Publishing Co., 1985], 12) A fourth major contemporary change from past theological understandings that is just beginning to appear in many denominational hymnals is an awareness of hymns from differing cultures and worldviews. International hymnody, especially from third world contexts, breaks down the provincialism and nationalism that was a part of so many hymns of the past. One of the most popular hymns is from Ghana, with a text adapted by the Presbyterian missionary, Tom Colvin. A portion of the text from this hymn on servanthood is quoted below.

Refrain: Jesu, Jesu, Fill us with your love,

Show us how to serve the neighbors we have from you. Kneels at the feet of His friends, Silently washes their feet, Master who acts as a slave to them. Neighbors are rich folk and poor, Neighbors are black, brown and white, Neighbors are nearby and far away. (Tom Colvin, Fill Us With Your Love and Other Hymns from Africa [Carol Stream, Ill.: Hope Publishing Co., 1983], 15.)

Another advantage of using international hymnody is that these hymns break down the earlier perspective of what Lionel Adey calls the "?Anglican conservative tradition of noblesse oblige?" (Lionel Adey, Hymns and the Christian Myth [Vancouver: University of British Columbia Press, 1986], 170). The Anglican tradition acknowledged the poor in prayers and hymns, but there was often an awareness of class difference, a social self-consciousness about these expressions, and an appropriate maintaining of distance. Contemporary American society is not without its own traditions of noblesse oblige, class distancing, and ethnic isolation. I believe it is imperative that children learn to sing expressions of Christians from around the world, as a part of their Christian education. A broader worldview is called for in the Japanese hymn by Tokuo Yamaguchi, translated by Everett Stowe.

Many are the tongues we speak,

Scattered are the lands, Yet our hearts are one in God, One in love's demands. Even in darkness hope appears, Calling age and youth: Jesus, teacher, dwell with us, For you are the Truth. (I-to-Loh, ed., Hymns from the Four Winds: A Collection of Asian American Hymns [Nashville: Abingdon Press, 1983], hymn no. 37).

A fifth area of concern to theologians and contemporary hymn writers is ecology. Children learn in school not only the advances of science, but also their responsibility to the earth as citizens of the world. The Latin word colere, meaning "?to cultivate,?" implies a mutual responsibility between the farmer on the one hand and the land and animals on the other. If the farmer properly cares for or cultivates the land and the animals, the land and the animals will care for the farmer and the farmer's family in return. Hymns that reflect humanity's continuing role and responsibility in Creation should be a regular part of the Christian education of children. Brian Wren has provided a hymn that is being used in several recent hymnals. It combines thanksgiving to God with a confession of humanity's guilt in the irresponsible use of earth's resources.

Thank you, God, for water, soil and air—

large gifts supporting everything that lives. Forgive our spoiling and abuse of them. Help us renew the face of the earth. Thank you, God, for minerals and ores— the basis of all building, wealth and speed. Forgive our reckless plundering and waste, Help us renew the face of the earth. Thank you, God, for priceless energy— stored in each atom, gathered from the sun. Forgive our greed and carelessness of power. Help us renew the face of the earth. (Wren, hymn no. 7)

A final area of contemporary concern has to do with the nature of Christ as found in contemporary hymns. Most historical hymnody for children described Jesus in Charles Wesley's terms as "?Gentle Jesus, Meek and Mild.?" It is important for children in their Christian education to reflect in song on a well-rounded view of Christ's humanity. While several hymns quoted above offer help in this area, another example is appropriate. Timothy Dudley-Smith has written the following stanza communicating a fuller view of Christ:

When Jesus lived among us he came a child to earth to wear our human likeness, to share our human birth; and after flight and exile, an alien refugee, return in peace and safety at last to Galilee; through sunlit days of childhood a loving home to now; in wisdom and in favor with God and man to grow. (Timothy Dudley-Smith, Lift Every Heart [Carol Stream, Illinois: Hope Publishing Company, 1984), 165.)

Jane Parker Huber has written a hymn that discusses the relationship between Jesus and God. This hymn on the Incarnation articulates a more complete view of Christ than many earlier hymns relating to Christ's childhood. In the third stanza quoted below, she expresses a view that stands in contrast to the Wesley's hymn mentioned earlier.

The baby in a manger tall

Is God Incarnate for us all, As God, true God, the only One, Is born on earth as Mary's Son. We cannot keep the Savior there, For Christ is meant for everywhere, Not just for shepherds' watchful eyes, Nor for a wise man's valued prized. As God's own person here on earth, Christ's came to show us human worth, So Jesus cannot stay a child, Dependent, gentle, meek and mild. (Jane Parker Huber, A Singing Faith [Philadelphia: Westminster Press, 1987], hymn no. 22.) Communicating contemporary theological concerns through hymns is an important task of hymns in the Christian education of children. The preceding section has discussed several concerns of contemporary theologies that have been articulated in recent hymnody. It is obvious that these illustrations were not from children's hymns, but were hymns for everyone. The hymns chosen as examples of current theological issues appeal to elementary-aged children, as well as adults. Much of today's hymnody is appropriate for nearly all ages. Hymns, Scripture, and Worship In addition to singing our faith in new ways, there are at least two other important areas in which hymnody relates to the Christian nurture of children. The first has to do with the relationship of hymns to Scripture. The editors of many recent hymnals are stressing the integral relationship between hymns and Scripture through improved and more thorough scriptural indexes of hymns. These guides, along with the inclusion of Scripture on the hymn page itself, are valuable aids in our understanding of this relationship. When the bond between specific hymns and Scripture is stressed, the potential for retention is increased. Other information, such as the background of the hymn writer, the circumstances under which the hymn was written, and the relevance of the hymn to the lives of children, further strengthen this bond and help to make hymns more a part of children's spiritual experience. A second area relating to hymns and Christian nurture is that of teaching worship through hymns. It has been said that the Bible is a record of God speaking to humanity and the hymnal is a record of the Christian community's response to God. Our Christian response in hymns takes place primarily during experiences of corporate worship. Hymn education is a significant part of worship education. Consequently, hymn education needs to be a regular part of the church school, as well as part of the children's choir. A brief list of resources in the teaching of hymnody to children is included in the article following this one. Conclusion Recall the story of the song of the Cambodian child at the beginning of this article. While we would find mind control through limiting the number of songs appalling in our society, the question must be asked whether we in the church teach hymns in a manner that expands a child's understanding of and relationship with God. Too often, I see well-meaning teachers teaching their students the same limited set of choruses that the teachers themselves were taught when they were children. If the hymnal is our response to God in song, than it is the responsibility of the church to teach children a variety of hymns that reflect both our heritage of faith and our understanding of God's work in our experience today. A brief historical overview of hymnody for children demonstrates many of the inadequacies of earlier attempts. Even a cursory view of the contemporary hymn scene shows, however, that the resources are available for developing the spiritual voice of the child through hymn singing.