God’s abundant gifts are available in and from every corner of the globe. Although the gift of music is universal, for centuries Christian churches around the world have been singing primarily hymns from American and European traditions. In recent decades, many younger churches have begun to develop hymns that bear witness to God’s incarnation in their own cultures. When we sing these hymns cross-culturally, we affirm unity in diversity.
             Western composers tend to rearrange Asian and African songs to satisfy their own musical preferences at the expense of the unique style of a particular culture. Ethnomusicologists (those who study and promote music in a socio-cultural context) urge that songs be sung as they were written, without superimposed Western harmonies.
             Much Asian music is monophonic (melody without harmony). The beauty of Asian music is in its timbre, tone, embellishments, complex rhythmic patterns, and simple accompaniment. Imposition of Western harmony can impair the beauty of Asian music.
             One should never ignore the call-and-response style of much African music, the interlocking nature of solo and chorus, and the complexity of rhythmic structures. Also important is the improvisational role of the soloist, who seldom sings the melody the same way twice. Drums, bells, and shakers are used frequently. Piano or organ accompaniment can sound out of place with African songs, and choral arrangements such as anthems tend to lead the music further from its authentic identity.
             All of us come to God as we are, knowing that we do not need to be remodeled to mirror any other culture in order to be acceptable to God or to each other. This author often pleads with composers to refrain from randomly rearranging non-Western music to suit their own cultural tastes, unless they are very familiar with a given ethnic musical style.
             Total authenticity, which can be difficult if not impossible to achieve, is not a realistic goal. Many of the Asian, African, Pacific, and Latin American hymns in Global Praise and other contemporary ecumenical collections are already westernized or “globalized” by composers from their respective countries. Some have preserved their original styles in simple forms, while others have skillfully utilized Western or international contemporary styles to enrich their ethnic traditions. Congregations and choirs are encouraged to sing them as written and avoid further diluting the genuineness of their cultural expressions. If original instruments are unavailable, similar ones should be substituted.
             Learning new songs may lead to a world of blessing. We are called to receive the musical gifts of many cultures as a way of glimpsing God’s glory. Let us all respond to the challenge of the psalmist: “O sing to the Lord a new song…. Declare his glory among the nations, his marvelous works among all peoples.” (Psalm 96:1-3)