When in Our Music God Is Glorified
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When in Our Music God Is Glorifi ed Classic Contemporary Protestant Hymnody Emily R. Brink Editor's Note: Emily Brink's article is adapted from a chapter of a forthcoming book titled New Songs of Celebration Render: Congregational Song in the Twenty- First Century edited by Michael Hawn and published by GIA Publications. any living rooms in North American homes a couple of generations ago displayed a painting M of a pastoral scene with a stream coursing through the middle of wooded landscape. Imagine for a moment that the stream represented congregational song in North American Protestant worship about fi fty years ago. That stream would represent the long history of hymns that nourished the faith and worship of Protestant Christians since the days of the sixteenth-century Reformation. About the middle of the twentieth century, hymns represented the main stream of congregational song in Protestant churches. That stream was nourished not only in Sunday morning worship, but also many Protestant churches held Sunday evening and Wednesday night prayer services in which more hymns were sung than on Sunday mornings. In addition, many people sang hymns at home; living rooms often included a piano or small organ. The singing of hymns was an important part of the spiritual nurture of adults and children at home and in church. When speaking of the congregational song of the church, many of these Protestants might have argued that the tradition of hymnody was more than a stream; it was more like a river, and the only river on the map. That river still runs deep, but now with many other streams joining it. The intention of this article is to trace the movements in classic, contemporary Protestant hymnody composed by Anglo writers since the middle of the twentieth century. The article is in three parts: a brief description of classic Protestant hymnody, followed by a broad overview of changes in recent hymns and hymnals, and then a more specifi c view by region and country. CHORAL JOURNAL Volume 53 Number 9 9 When in Our Music God Is Glorifi ed CClassiclassic PProtestantrotestant as separable components of congrega- Reformed, Anabaptist, Anglican (Epis- tional song is one that is deeply rooted copalian), Separatist, Quaker, Methodist, HHymnodyymnody in the classic English hymn tradition, Frontier, and Pentecostal.1 Those tradi- Classic Protestant hymnody covers a more so than in the continental Euro- tions have been losing some of their very wide range. The words “classic” and pean tradition or in much contemporary distinctive edges in the last half century. “hymnody” in this article refer primar- worship song, where texts and tunes are More recently, John D. Witvliet listed ily to recent English texts in metrical more likely to be considered as integral “fi ve very distinct movements—the and strophic structures intended for and inseparable phenomena. Charismatic Movement, the Liturgical congregational singing, rooted in the The word “Protestant” covers a lot Movement, the Ecumenical Movement, English hymn tradition that began in the of territory, both geographically and the Church Growth Movement, and eighteenth century. That tradition was ecclesiastically. To narrow the focus a neo-Confessional movement—each rooted in an even older one—metrical somewhat, this article will focus espe- with its own magnetic pull.”2 Changes in psalmody that dates back to the earliest cially on hymn texts that come from classic Protestant hymnody come espe- days of Protestantism in the sixteenth the pens of Anglo Protestant writers cially from the Liturgical and Ecumenical century. Many tunes have been com- from the English-speaking world, in- Movements. posed for singing to these recent texts, cluding England, Scotland, Australia and though many newer texts have been New Zealand, the United States and set to older composed and folk tunes. Canada. Ecclesiastically, the territory AAnn OOverviewverview ooff CChangeshanges So, it will be necessary to treat texts is very broad. Speaking only of North During the 1950s, denominational and tunes somewhat separately. In fact, American Protestantism, James F. White hymnals were fi lled especially with eigh- the tradition of treating texts and tunes delineates nine traditions: Lutheran, teenth- and nineteenth-century hymns that did not address the kinds of political, social, and economic conditions affected by two world wars and a great depres- sion. A whole new youth culture began, and the United States was in its “second childhood, with nostalgic theme parks (Disneyland) and … Barbie [Doll], … a “Hollywood sexpot in plastic.”3 Beginning in the 1950s, four levels of change in Protestant hymnody began somewhat simultaneously around the English-speaking world, indicating a The second annual institute– widespread and ecumenical readiness for new beginnings for the song of the focused on conducting and 2013 Clinicians: church. Continuing the earlier imagery rehearsal technique, as well of the river of hymnody, recent changes as choral development – can be described in terms of becoming features a resident choral/ deeper, broader, more active, and more instrumental ensemble. diverse. Private coaching and graduate credits available. Deeper First, the river became deeper. In For more information contact: Dr. Allen Hightower Dr. James Kim the second half of the twentieth cen- [email protected] Luther College (IA) Colorado State tury, most Protestant traditions reached (970) 491-1584 University back to their roots to regain a sense of identity after denominational mergers 10 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody and realignments in the preceding half- either in metrical settings of scripture he has revealed to every nation century.4 Many new denominational or in hymnody. The Lutheran tradition, his everlasting righteousness. hymnals worked at recovering older in particular, is fi lled with hymns that texts and tunes that refl ected their par- proclaim in song the scripture preached O sing to the LORD a new song, ticular tradition. The Lutheran Book of in sermon. A renewed interest among for he has done marvelous things! Worship (LBW, 1978) is generally con- Protestants in singing the psalms—fi lled His right hand and his holy arm sidered the fi rst of a new generation of with both proclamation and prayer— have gotten him the victory. North American hymnals, so much so resulted in many new settings of psalms The LORD has made known that the Dictionary of American Hymnol- and canticles. Since metrical psalmody his victory, ogy chose 1978 as the cutoff date for a matches the form and structure of clas- He has revealed his vindication comprehensive listing of all hymns and sic hymnody, they can also be included as in the sight of the nations. hymnals produced in North America part of this stream of hymnody, though since 1640.5 The LBW became the hym- other forms of psalmody—especially the ©1974, Hope Publishing Company, Car- nal of the Evangelical Lutheran Church remarkable introduction of responsorial ol Stream, IL 60188. All rights reserved. in America (ELCA), but it was actually psalmody in Protestant worship—are Used by permission. released ten years before the formal beyond the scope of this article.8 beginning the ELCA. That hymnal was The very title of this book refl ects the crucial in bringing together three differ- bond between old and new, between Another facet of reaching back deep- ent Lutheran denominations into institu- the ancient texts and newer forms for ly into the history and practice of the tional unity. One critical strategy in that contemporary singing. “New Songs of Christian church was the rediscovery union was to reach back to common, Celebration Render” [Panorama: 628] of the Christian year. Most Protestant early Christian and historic Lutheran is a metrical psalm setting of Psalm 98 churches have joined the more liturgical roots of liturgy, psalmody, and hymnody.6 by Erik Routley (1917–1982), one of traditions of Episcopalians and Lutherans At the same time, other Protestant the most signifi cant leaders of a new in welcoming visual arts and symbols denominations were reshaping their generation of hymn writers. This text, along with expanded sections in hymnals worship books, liturgical forms, and ap- from 1972 and fi rst published in 1974, for the liturgical year. Now almost every proach to preaching, stimulated both is set to the tune assigned to that same Protestant church celebrates Advent, by the ecumenical movement and the psalm in the Genevan Psalter of 1562. Epiphany, Lent, and Holy Week. Hymn reforms of Vatican II. Those changes, The text, one of proclamation, calls on writers have responded with many in turn, stimulated many hymn writers all creation to praise the God who has more hymns for those seasons and for also to reach back deeply, especially to “made known his great salvation,” and hymns celebrating the arts in worship. the Scriptures themselves as a primary will one day return with justice and Yet, another recovery has been the source for hymnody. truth victorious to establish the world growing recognition, though not wide- Much Protestant worship had in- in peace. spread recovery, of the ancient pattern cluded only three or four congregational of Word and Table as normative for hymns on a Sunday morning: an opening Example 1 Sunday worship—a pattern disrupted hymn of praise, perhaps a sung prayer during the sixteenth-century Reforma- of confession, a sermon hymn of dedi- “New Songs of Celebration Render” tion. A century ago, many Protestant cation, and a parting hymn of praise or by Erik Routley, stanza 1, churches celebrated the sacrament of commitment. Each was usually formed compared with Psalm 98:1–2 (NRSV) Holy Communion infrequently, often as a prayer, addressed to God. But, four or fi ve times a year. The pre- hymns can also be formed as proclama- New songs of celebration render dominant practice was somber, even tion, addressed to others.