Hymnody is the composition and singing of hymns—songs of praise to God—and, in the broader Reformed understanding, the church’s practice of praising God in song that includes faithful uninspired hymns alongside the inspired psalms. A hymn, in the general sense, is a song of praise addressed to God; Scripture itself contains many songs besides the Psalter (the song of Moses, of Hannah, of Mary, of Zacharias, of the redeemed in Revelation), and the New Testament epistles appear to preserve fragments of early Christian hymns. The broader Reformed and evangelical tradition holds that the church, while honoring the psalms, may also sing biblically faithful hymns of human composition, appealing to the ‘hymns and spiritual songs’ named alongside psalms in Paul’s exhortations and to the church’s liberty to praise God in faithful song as she prays in faithful but uninspired words. Where this liberty is granted, it carries solemn responsibilities, for the content of what the church sings shapes what she believes and loves. Faithful hymnody must be biblical—its substance drawn from and agreeable to Scripture; doctrinally sound—teaching the truth, for hymns are a chief vehicle of instruction, and the great hymns of the church have catechized generations in sound theology; God-centered—exalting the character, works, and glory of God rather than dwelling on the worshipper’s feelings; reverent—fitting for the worship of a holy God; and rich—worthy of the great themes it handles. The church possesses a vast treasury of such hymns, the fruit of the Spirit’s work through gifted believers across the centuries, by which the truth of God has been fixed in the memory and pressed upon the heart of the people. The danger of hymnody, against which it must be guarded, is the admission of shallow, sentimental, doctrinally thin, or man-centered songs that corrupt the faith and dishonor God; its glory, rightly used, is the enriching of the church’s praise with songs that teach sound doctrine, exalt God, and move the heart to worship.