I grew up in a musical household. My mother would play guitar in the living room and I would sit with her singing worship songs and camp tunes for hours. She used to love taking the break in between worship songs to sing ‘On Top of Spaghetti‘ with me; at least until I learned the alternative lyrics of ‘On Top of the School House‘! Some how whenever I broke into a different rift of words, the tune would sour and she’d stop playing. How important are the lyrics to the notes which are played along with them? Deeper still, must there be proper emotional response to the lyrics which go along with such notes?
Bevans and Shroeder reminded me of that early lesson in life with their analogy that, “Like a complex fugue or polyphonic motet, God’s unity is constituted by diversity and God’s diversity is rooted in unity of will and purpose; the church is the church inasmuch as it has been included in that harmony.” (Pg. #298) The lyrics of the church’s ecclesiology must be in the harmony and unity of the message to which it embodies or it ceases to be the church entirely! Nor can we void the internal depth of emotion to which that message is to be embraced as a missional community itself!
The contemplation of these last few months has brought a renewed vision to my heart and mind in the significance of a united harmony between the movements and ecclesiological practices of the individual believer and the church as a whole. Together we are on a mission which does not find significance in and of itself, but rather it points towards greater experiences of faith, hope, and love in the promise of a richer and fuller future. To use Bevans and Schroeder’s words, “Christians are incorporated into the divine life and experience a foretaste of the world’s destiny of full communion with God, with one another and with all of creation.” (pg. #299)
I’d be remised to say, like the small taste I had as a boy, I can’t wait for that day to sit with my mother again and sing praises to God; and I promise, I’ll get the lyrics right!