Unity, Not Uniformity

The Fuging Tune & Worship in 1 Corinthians 12–14

The American fuging tune, as seen in the eighteenth-century works of William Billings and others, helpfully reflects Paul’s argument for unity in diversity in 1 Corinthians 12–14. This distinct musical form, where voices enter individually in imitation yet blend into a harmonious whole, offers an object lesson on corporate worship and a corrective to modern individualism.

What is a Fuging Tune?

The fuging psalm tune is a strophic composition with a sacred metrical text, beginning with a homophonic “A” section and followed by a polyphonic “B” section in imitation (the “fuge”). Typically, voices enter successively—bass, tenor, alto, soprano—creating a musical mosaic. Closely related forms include fuging anthems (longer, more complex choral settings) and set-pieces (homophonic, often through-composed). Each reflects the same principle: multiple parts forming a unified whole.

The Billings Legacy

William Billings significantly expanded the repertoire of American-composed psalmody. Though self-taught and lacking European polish, his works demonstrated a native musical voice. Critics noted his rhythmic vitality and harmonic boldness, even while dismissing his style as rustic or unsophisticated.

Mixed Reactions

By the nineteenth century, American church music began shifting toward European tastes. Critics labeled fuging tunes “barbarous,” citing compositional and performance inadequacies. Many fuging composers were part-time or self-taught, and their congregations lacked refined musical training. Yet such critiques often ignored the cultural and ecclesiastical context from which fuging tunes arose.

Theological Metaphors in Music

N. T. Wright likens 1 Corinthians 12–14 to a symphony: diverse instruments and movements under a single conductor. Richard Hays describes Paul’s metaphor of the body as emphasizing diversity and interdependence. Both draw on musical imagery to highlight the essential role of difference in the church's life.

A Musical Object Lesson

The fuging tune reinforces these Pauline principles in form and function. Independent melodies overlap and weave into a composite harmony, mirroring the church body’s diversity of gifts unified in love. The song form requires collective participation. It cannot be effectively sung solo—its complete identity emerges only when sung corporately.

Application to Worship Today

Today’s churches often prioritize personal expression over corporate identity. The fuging tune counters this by illustrating worship as a shared, embodied act. Its construction and performance model Paul’s exhortation to edifying, orderly, and loving participation in gathered worship.

Charity in Critique

While fuging tunes deserve thoughtful evaluation, criticisms should be tempered with love and understanding. Paul’s call to charity in chapter 13 reminds us to receive even the “rough-hewn” offerings of past saints with gratitude, not disdain.

In conclusion, the fuging tune is not a relic but a reminder of unity without uniformity, of corporate worship that is not individualistic, and of the church as a body whose strength lies in its harmonious diversity.

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