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. With a new to him who has great wonders done; funereal. But, when Protestant churches emphasis on scripture as a source for awed by his power his foes surrender started recovering the idea of Eucharist hymnody, especially the psalms, and with and fall before the mighty One. (meaning Thanksgiving) and celebrating increased interest in exegetical preach- He has made known the sacrament of Holy Communion ing, more congregational song restored his great salvation, on Christmas, Easter, and more often the tradition of hymns as proclamation, which all his friends with joy confess; throughout the year, more hymns were
CHORAL JOURNAL Volume 53 Number 9 11 When in Our Music God Is Glorifi ed
needed. The Lord’s Supper section reached beyond their immigrant roots. increase in the amount of scripture read became one of the most expanded In the middle of the twentieth cen- in worship, more exegetical preaching, sections of hymnals in the second half tury, with denominational mergers and and a great number of new hymns based of the twentieth century. The greatest realignments, ecumenical efforts moved upon or responding to those passages. number is found in the Chalice Hymnal fi rst within denominations with a similar The swift spread of the RCL across of the Christian Church (Disciples of confessional heritage, and then expand- the entire English-speaking world was Christ), with its heritage of weekly com- ed. In North America, the Inter-Lutheran unexpected: “After all the centuries munion; one fourth of the hymns are Commission on Worship that prepared since the sixteenth-century reformation, related to the Lord’s Supper.9 “All Who the Lutheran Book of Worship (LBW) many of the churches that divided at Hunger, Gather Gladly” [Panorama 872] fi rst formed a list of 227 such hymns, that time are now committed to reading by Canadian hymn writer Sylvia Dunstan and LBW included 175 of them. That the scriptures together Sunday by Sun- (1955–1992) is a good example of a ecumenical list of 227 hymns proved to day. This is a kind of ecumenism nobody communion text that is both joyful and be an infl uence on subsequent hymnal anticipated, least of all the Roman See. deeply biblical; already in the fi rst stanza committees as well. Another more And,it makes possible wonderful weekly there are references to Isaiah 55:1, Exo- ecumenical consultation became “the clergy gatherings all over the world dus 16, and Psalm 34:8. primary force in the formation of a core for the purpose of mutual work on of ecumenical congregational song in sermons and homilies.”11 It also makes the United States during the last half of possible ways for hymn writers to work Broader [the twentieth] century.”10 There is now ecumenically, offering new psalm settings On a second level of change, the river a large body of shared hymns in main- and hymns on those scripture texts. The of classic Protestant hymnody also be- stream Protestant hymnody, as shown result has been a change from the pre- came broader, more ecumenical. Many not only in denominational hymnals dominantly experiential hymns of late beloved hymns in Protestant hymnals but also in several non-denominational nineteenth-century Protestant hymnody already reached back beyond the English hymnals. to more objective exposition of the hymn tradition. The nineteenth cen- The development of a common truths of scripture. One happy result of tury witnessed important translations lectionary was another ecumenical ef- this closer tie of new hymns to scripture of early Greek and Latin hymns and of fort affecting hymnody that was directly has been to include scripture indexes in Lutheran chorales. But, a whole new infl uenced by the reforms of Vatican II. most hymnal collections—a wonderful level of ecumenicity started during the The Revised Common Lectionary (1992) tool for worship planning. Two early twentieth century. Many new denomi- was prepared by the Consultation on examples of separately published col- national hymnals, especially in North Common Texts (CCT:
12 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
for the Second Sunday of Easter [See springs that started bubbling up in re- in the world and in society. In the 1950s, Panorama: 751 for complete text] sponse to changes in the culture. In the the Hymn Society in the United States second half of the twentieth century, the and Canada started publishing little These things did Thomas count as real: river of hymnody began rushing with a collections of hymns to fi ll gaps such as the warmth of blood, the chill of steel, tremendous increase in the number of “Five New Hymns on the City” (1954), the grain of wood, the heft of stone, hymns written, resulting in the often- “Fourteen New Rural Hymns” (1955), the last full twitch of fl esh and bone. used phrase “hymn explosion,” soon and “Seven New Social Welfare Hymns” to be followed by a hymnal explosion. (1961).13 Fred Kaan (1929–2009) [See ©1994, Oxford University Press. Used New hymnals and, increasingly, separate Panorama: 603–610 for representative by Permission. supplements were published, including hymn texts], beginning as pastor of the many collections of texts and tunes by Pilgrim Church in Plymouth, England, in individual authors and composers. 1963, started writing hymns regularly More Active Many new hymns included issues then; he said “becoming a hymn writer A third level of change in recent and topics never before addressed in had its origins in the frustration created hymnody came from the many new hymnody, refl ecting profound changes by what I could not fi nd in the hard-
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CHORAL JOURNAL Volume 53 Number 9 13 When in Our Music God Is Glorifi ed
14 cover hymnbook.” texts. Again, LBW broke new ground, justice that challenged new hymn writ- One of the most challenging issues reviewing and changing many older, ers as they struggled with language for has been the matter of language change. classical texts, so much so that the index God and issues of gender, class, origin, On one level, language changes were includes indented entries of changed and all those who are least among us. simple. Following new translations of fi rst lines. For example, “Break Thou the The most radical and controversial ap- the Bible, many hymn writers also began Bread of Life” became “Break Now the proach to inclusive language was taken using pronouns and verb forms that re- Bread of Life.” Hymns for Today’s Church15 by the New Century Hymnal,16 which, fl ected contemporary English usage, and in England also opened controversial like LBW, included an index with old and writers of new hymn texts increasingly doors of language change, discussed adapted titles. Anyone interested can followed contemporary usage. Hymnals later in this chapter. However, more read several lively responses to their ap- are always collections of old and new, recently, many hymnals have returned proach.17 Inclusive language with respect but the contrast had never been greater to original language, and many are not to human beings is the pattern for new between the older language and con- bothered by “thee” and “thou” language. hymns in North America, but is still not temporary usage, so hymnal committees On a deeper level, language changes considered an issue among many British struggled with whether to update older opened up both issues of theology and hymn writers, for whom the term “man”
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14 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
is often still used generically. Diverse The inclusive language issue is related Finally, a fourth level of change in EEnglandngland aandnd SScotlandcotland to broader concerns for justice that have the river of congregational song in The classic tradition of English hym- always characterized the church, from Protestant worship is the sheer diver- nody began in England and Scotland, the Psalms to our own day, but these sity of sources, both in style and origin. which also provides a good place to concerns have become more urgent af- Hymnody is now clearly one stream begin tracing recent movements. Dur- ter two world wars and increasing global among many others. Different streams ing the 1960s, two groups of people confl icts and terrorism that cause great now sometimes converge in cross-over in the United Kingdom started work suffering. Through the efforts of some ways that make defi nitions and distinc- simultaneously and separately on cre- individual congregations, and especially tions diffi cult. The word “hymn” used to ating new hymns for worship. At fi rst, the hymn searches of the Hymn Society stand for most of congregational song, neither group knew about the other. in the United States and Canada, many and most denominational song collec- One ecumenical group began rather new hymns have been written that tions were called hymnals. No more; quietly in the small village of Dunblane, include concern for children, the elderly, increasingly, new publications look for Scotland, and another group of Anglican urban poverty, and environmental issues. other titles, because the contents are clergy and musicians began much more 20 Paul Westermeyer addresses themes so much more stylistically inclusive than publicly in London. of justice in Let Justice Sing: Hymnody previous collections. Another reason for and Justice, providing many examples.18 the name change stems from the greater Some of those hymns include praise attention paid to the liturgical context of The Dunblane Gatherings (the posture of most hymns), while hymnody, for example, the Lutheran Book In 1962, a new ecumenical center in others offer repentance, lament, and of Worship, The Worshiping Church, and the small village of Dunblane, Scotland, intercession. The balance of lament and two hymnals scheduled for publication hosted a meeting with representatives praise is better in the current generation in 2013: Lift Up Your Hearts (Faith Alive) of several denominations to discuss of hymnals than in previous ones, and and Glory to God (Presbyterian Publish- the role of the music in the church. Ian some churches are once more fi nding ing Corporation). Fraser, the leader of the center and min- a place for singing laments in worship. Traditional classic hymnody may ister in the Church of Scotland, chose See, for examples, “Our Cities Cry to still be the dominant stream in most the topic and invited some twenty-four You, O Lord” [Panorama: 849] by Ca- mainline Protestant congregations, but clergy and musicians from the seven nadian hymn writer Margaret Clarkson more often, especially in congregations major denominations in Scotland. Fraser (1915–2008), and the following text infl uenced by the charismatic move- hoped to contribute some fresh ideas to by English writer Martin Leckebusch ment, other streams of congregational hymnody since the Church of Scotland (b.1962). song are represented as well. The power was currently at work on a revision of in some of those more recent streams their hymnal, The Church Hymnary. The Example 3 has resulted in the virtual disappear- group met with anticipation, since there ance of traditional classic hymnody in was a need to address the relationship “In an Age of Twisted Values,” stanza 1, many Protestant congregations that two of classic hymnody to contemporary by Martin E. Leckebusch.19 generations ago sang only hymns. At the society and to the growing popularity of same time, some contemporary musical folk music in the church, especially after In an age of twisted values we have groups rooted in rock and jazz traditions the publication of Geoffrey Beaumont’s lost the truth we need. are rediscovering hymns. To further Folk Mass in 1957. In sophisticated language we have reveal this story—of the deeper, wider, That meeting, and a few subsequent justifi ed our greed. and more rushing river of Protestant ones, marked a signifi cant new begin- By our struggle for possessions we hymnody in North American in the last ning. The remarkable thing in retrospect have robbed the poor and weak. fi fty years, now clearly one stream of is how infl uential that group of writers Hear our cry and heal our nation; congregational song among others—we was, not only for British hymnody, but your forgiveness, Lord, we seek. now turn to an overview of hymn writ- also for the entire English-speaking ers and movements in different English- world. The fi rst little collection of sixteen © 1995, Kevin Mayhew Ltd. Used by speaking countries. new hymns was informally published in permission.
CHORAL JOURNAL Volume 53 Number 9 15 When in Our Music God Is Glorifi ed
1964, called Dunblane Praises; a second issues; “All Who Love and Serve Your [Panorama: 500], introducing ecological collection, Dunblane Praises 2 came out City” (1966, Dunblane Praises 2) [Pan- issues into hymnody. two years later. The meetings at Dun- orama: 504] soon found its way into There were other writers at work blane, Scotland, proved to be a catalyst many hymnals.21 Other members of as well in different hymnal projects, for a number of new writers who stood the group, some joining later, are now sometimes without awareness of each clearly in the tradition of classical Prot- represented in most English language other, as they prepared other hymnals estant hymnody. hymnals, including especially Brian Wren or supplements. Already in the 1970s, Erik Routley (1917–1982), pastor (b. 1936). Like Routley, Wren was a pas- Routley started to speak of an “English in the United Reformed Church, con- tor in the United Reformed Church; his hymn renaissance” with respect to es- tributed both texts and tunes at these fi rst hymns include “I Come with Joy to pecially three writers, Brian Wren, Fred meetings, and with his outstanding Meet My Lord” (1966) [Now revised as Pratt Green (1903– 2000), and Fred H. knowledge of hymnody, became an im- “I Come with Joy, a Child of God”; see Kaan (1929– 2009).22 portant mentor to the other members. Panorama: 498 A. and B.] and “Thank Methodist pastor Fred Pratt Green His very fi rst hymn dealt with urban You, Lord, for Water, Soil, and Air” (1973) started serious work as a hymn writer
ndsu choral symposium
headliners call for papers and registration information t %BMF8BSMBOE The North Dakota State University School of Music and the American Choral t *NBOU3BNJOTI Directors Association announce the NDSU Choral Symposium: Music of the t )JMBSZ"QGFMTUBEU Americas, May 3-5, 2013, Fargo, N.D. This event will showcase the choral music t #SBJOFSE#MZEFO5BZMPS and traditions of North, Central and South America. t .BSJB(VJOBOE t 8JMMJBN#FMBO The symposium will focus on the choral repertoire of the Americas and the cultural t+PSHF$Ózatl and social influences that have guided the development of this music. The symposium also will include discussion of what the choral traditions have in common, and what keynote speaker makes each of the choral traditions unique and representative of its respective culture. 5JN4IBSQ "$%"&YFDVUJWF%JSFDUPS NDSU and ACDA invite proposals for papers, presentations and poster sessions. ndsu.edu/finearts/cmota Proposals should relate to the focus of the symposium. Please include a one- to two- page abstract, equipment requirements and a short résumé.
Send proposals to Jo Ann Miller, NDSU Director of Choral Activities, by email attachment in Word format: [email protected]. The proposal evaluation committee consists of Jo Ann Miller, William Belan and Hilary Apfelstadt. The submission deadline is Jan. 15, 2013.
16 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
only after retirement, when he joined a reform the song of the church.25 Their approach in revising classical texts hymnal committee in 1966 to prepare When joining the staff of the Church proved to be polarizing both on account the Methodist supplement Hymns and Pastoral Aid Society (CPAS), Baughen of texts and tunes. Many writers standing Songs (1969). Erik Routley came to approached Timothy Dudley-Smith, then in the classical tradition were indignant consider him the fi nest writer since general secretary of CPAS, who agreed regarding changes to beautiful, older Charles Wesley.23 The Dutch ecumenist to publish a collection of new songs. poetry, others were delighted that some Fred Kaan, another pastor in the United Dudley-Smith also contributed texts, previously awkward texts were rescued Reformed Church, spent several years though he was not involved in the edit- and now intelligible to contemporary as executive secretary of the World Al- ing of the collection. Youth Praise I was worshipers. At the same time, those liance of Reformed Churches, and with released in 1966 in the heart of London who honored the classical hymn-tune his extensive international experience at an event that drew more than two tradition associated with the organ did became interested in fi lling gaps not thousand youth. Three years later, Youth not appreciate the move to a much covered in older hymnals, particularly in Praise II was introduced at Royal Albert more popular style of tune, often led the area of social responsibility. His text Hall; this time more than 10,000 people by guitars and keyboard. HTC included “Father, Help Your People” (1966) is a attended two events the same day, with 277 texts and tunes by the now eight prayer that worship on Sunday be con- choirs, more than a hundred guitarists, members of the group, plus forty-six nected with all of life, at home or in the and a wide range of new songs. Those texts by Dudley-Smith. One of the best marketplace, “that in work and worship two collections, totaling 299 hymns and known hymns from HTC is “Baptized love may set the tone.”24 songs, sold over a million copies. Of the in Water” [Panorama: 671] by Michael One pivotal fi gure is Timothy Dudley- songs in classic hymn style, the song Saward. In 1999 the Jubilate Group Smith (b. 1926), ordained in the Church most often found in hymnals today is released their next major hymnal, Sing of England in 1950. His early role as a Timothy Dudley-Smith’s setting of the Glory: Hymns, Psalms, and Songs for a New hymn writer began with another group, Song of Mary, “Tell Out My Soul” (1961) Century. This collection of 698 songs this time of Anglicans—the Jubilate [Panorama: 501], eventually paired with has not created the stir that HTC did, Group. the tune Woodlands. Few today would partly because it represents a maturing guess that this text was prepared for of their approach, now including a much youth. wider range of authors and composers, The Jubilate Group The same group of Anglican clergy and partly because stylistic diversity has Also in the 1960s, a group of Anglican focused next on psalms and canticles, become so widespread. clergy and musicians involved in youth which were increasingly neglected in work began to address the increasing Anglican parishes. Psalm Praise (1973) dissonance between the older song was the fi rst collection of psalm set- The Iona Community tradition of the church and the newer tings that revealed the diversity that has The ecumenical and international songs of popular culture that appealed marked congregational song ever since: Iona Community (www.iona.org.uk), to teenagers. Not much had changed contemporary texts, revisions of older based upon the island of Iona in Scot- in the song of the church between the texts, and many different styles, from land, has made many liturgical and musi- two great world wars, but after World chant to folk to metrical. GIA Publica- cal contributions to worship around the War II, popular culture changed greatly, tions made Psalm Praise immediately world. Ian Fraser, who convened the fi rst and many church youth groups started available in North America. 1962 meetings in Dunblane, Scotland, exploring folk music and guitar accom- In 1980, the Psalm Praise team mem- was also a friend of the Iona Com- paniments. Michael Baughen (b. 1930), bers incorporated as Jubilate Group munity that began in 1938 during the an ordained Anglican priest, was among Limited and moved forward to a larger Depression. The rebuilding of an ancient others who worked with youth, also hymnal project, releasing Hymns for To- abbey on the island of Iona became a seeking to provide new songs for them. day’s Church (HTC) in 1982 with John symbol of the need to rebuild a com- Several Anglican clergy began working W. Wilson (1905–1992) as music editor munity based upon a belief that work together, eventually forming Jubilate and Michael Saward (b. 1932) as text and worship were one. The themes of Group Limited, a team that worked on editor, a collection of more than 500 a common life rooted in justice pervade increasingly ambitious projects to help hymns and songs both old and new. the many hymn texts that have come
CHORAL JOURNAL Volume 53 Number 9 17 When in Our Music God Is Glorifi ed
from that community, especially under In addition to those directly involved the musical leadership of John Bell (b. with the Dunblane meetings, Jubilate AAustraliaustralia aandnd 1949) [Panorama: 702– 716]. Their Group, and the Iona Community, many NNewew ZZealandealand music ranges from collections of global other writers have been active in Eng- Australia was settled mostly by songs, to hymns, to metrical psalm set- land in the last part of the twentieth British Protestant and Irish Catholic im- tings—some lively and joyful psalms of century.26 Earlier the mention of “cross- migrants—in the early days, many were praise, others haunting psalms of lament, over” songs indicated that some songs convicts expelled from Great Britain. As to choruses (“wee” songs) and choral were hard to categorize, since they are in North America, Australian Protestants anthems. They have also published col- infl uenced both by folk music and the sang from hymnals they had taken with lections of prayers and liturgies that charismatic movement. One such song them. Immigration from several other integrate song into a larger liturgical from 1987 that became immediately countries, both from Europe and espe- context. Common Ground (1998) is the popular is Shine, Jesus, Shine, by Graham cially Asia and the South Pacifi c, grew largest collection of their congregational Kendrick; it is unrhymed, yet metrical rapidly after the two world wars, bring- song. One small but telling example of and strophic in structure. A more recent ing much more diversity. The church how concerns for justice are imbedded example, even more clearly stands in has always been small in Australia; and in their work is found in the word “pro- the classic metrical tradition: “In Christ several different denominations began test” in Bell’s hymn “For All the Saints Alone” (2002) by Stuart Townend (b. working on a joint hymnal; the partici- Who’ve Shown Your Love” (GIA-4540). 1963) and Keith Getty (b. 1974) is in a pants were Anglicans, Methodists, Con- He includes thanks for those who saw very familiar meter (88 88 D), rhymed, gregationalists, and Presbyterians. The God’s kingdom come “through selfl ess and in every way matches the defi nition publication of The Australian Hymn Book protest, prayer, and praise.” of classical Protestant hymnody, though in 1977 marks the fi rst ecumenical and many of those who sing it would be sur- distinctly Australian hymnal, even though Example 4 prised by that analysis, since it became the contents came mainly from beyond popular fi rst among youth. Both of these Australia. That same year, Methodists, “Sing to God with Joy and Gladness”; songs exemplify the increasing trend in Congregationalists, and some Presbyteri- refrain and stanzas 1 and 2 (Psalm contemporary popular worship music ans merged to form the Uniting Church 147:1 – 6) to treat text and tune as integral. in Australia. The Australian Hymn Book was published under the title With One Refrain: Example 5 Voice in both England (1979) and New Sing to God, with joy and gladness, Zealand (1982), which included a New hymns and psalms of gratitude; “In Christ Alone,” stanza 1 (Google this Zealand Supplement. Some Presbyte- with the voice of praise discover that title for many varied performances) rians continued to publish their own to worship God is good. separate hymnal.27 In Christ alone my hope is found; Whereas the 1977 hymnal included 1. God unites his scattered people, He is my light, my strength, my song. primarily hymns in the classical Protes- gathers those who wandered far, This cornerstone, this solid ground; tant tradition, a variety of supplements heals the hurt and broken spirits, Firm through the fi ercest drought introduced more stylistic diversity and tending every wound and scar. and storm. more recent hymns from across the What heights of love! what depths English-speaking world.28 In 1999, a 2. Such is God’s great power and wis- of peace, major revision of the 1977 hymnal was dom none can calculate or tell; When fears are stilled, when published: Together in Song: The Australian keen is God to ground the wicked and strivings cease. Hymn Book II. This collection was even with humble folk to dwell. My comforter, my all in all; more ecumenical, involving Roman Here in the love of Christ I stand! Catholics and Lutherans on the edito- For the full text and tune GLENDON, rial committee; the bodies represent also by John Bell, see Psalms of Patience, © 2002, Thankyou Music (admin. by fully eighty percent of the Christians Protest, and Praise, by John L. Bell (The EMI Christian Music Publ.). Used by in Australia.29 Together in Song includes Iona Community, © 1993, available permission. still more stylistic diversity and more through GIA Publications).
18 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
distinctly Australian voices, including together with the United States. songs from the Pentecostal tradition TThehe UUnitednited SStatestates It should come as no surprise that and a small sampling of songs from in- aandnd CCanadaanada recent hymns from Great Britain have digenous aboriginal groups. Reasons for Similar to Australia and New Zealand, found their way into North American the revision centered on the desire for the United States and Canada were hymnals. After all, the language is the broader content and on language issues, formed as nations by different groups of same, and the classical Protestant hymn both with respect to contemporary immigrants in addition to the slaves who tradition was well represented in the usage and to gender inclusive language. came to the United States from Africa. older Anglican, Episcopal, Baptist, Meth- Certainly, another reason for the revi- Classic Protestant hymnody was the odist, and Reformed and Presbyterian sion: by then, many Australians were mainstay of the older North American immigrants that came from Great Britain writing hymns; Erik Routley said once churches rooted in England and Scot- to North America. The traffi c across that Australia “has been rather slower in land, and hymnals such as the Episcopal the ocean increased when in the 1970s, getting off the ground”30 but in Together Hymnal 1940 refl ected strong continuity George Shorney (1931– 2012), then in Song, seventy-six different Australians with hymnody in Great Britain. Though president of Hope Publishing Company, are represented and fully half the book Canada is more closely related to the began a publishing relationship with consists of material written since 1950; British tradition and has often been many signifi cant British hymn writers. yet the songs come from forty-eight treated together with Great Britain in He met them in England, procured countries. Two signifi cant Australian text hymn studies originating in Great Brit- the publishing rights to their hymns writers are Elizabeth Smith (b.1956) ain, it makes sense to consider Canada for North American audiences, and [See Panorama: 877– 882 for repre- sentative hymns] and Robin Mann (b. 1949), who also composes music.31 In New Zealand, Shirley Erena Murray (b. 1931) [Panorama: 883–890] is the outstanding hymn text writer, with three collections of her hymns published in North America; her work is the most Conductors Workshop widely known.32 Murray’s hymns refl ect a wide variety of theological themes with Rod Eichenberger including prophetic issues on topics of Choral justice and ecology.33 Workshop Locations A five-day professional development Alexandria, Virginia Example 6 workshop for choral conductors at all levels July 15-19, 2013 “God Weeps” by Shirley Erena Murray, Cannon Beach, Oregon stanza 1 (1994) [See Panorama: 886 for July 29-Aug. 2, 2013 full text] For more information, contact: God weeps George Fox University’s at love withheld, Department of Music at strength misused, 503-554-2620 at children’s innocence abused, [email protected] and till we change the way we love, Information is also available at
choralconductorsworkshop.com God weeps.
©1996, Hope Publishing Company, Carol Stream, IL 60187. All rights
reserved. Used by permission. 651 9.12
CHORAL JOURNAL Volume 53 Number 9 19 When in Our Music God Is Glorifi ed
introduced them to North Americans publisher, yet is the North American began to try.” [see Panorama: 779–783 at several conferences of the Hymn publisher of two ecumenical communi- for representative hymns]35 Society in the United States and Can- ties—the Iona Community as well as the The Hymn Society in the United ada. His work of “publisher as patron” Community of Taizé—is a clear indica- States and Canada (www.thehymnsoci- mutually introduced North Americans tion of the ecumenical spirit at the end ety.org) serves as an important catalyst and several British hymn writers men- of the twentieth century. in North America and beyond for the tioned earlier such as Timothy Dudley- With fresh examples of creative writing of new hymns in the classical Smith, Erik Routley, Brian Wren, and hymn writing from Great Britain and Protestant tradition. Their annual confer- Fred Kaan.34 Both Routley and Wren Scotland, the creative spark spread to ences bring together writers, compos- eventually moved to North America, North America. Pastor and hymn writer ers, editors, and publishers, and their each becoming devoted completely to Richard Leach (b. 1953) recounts his quarterly publication The Hymn not only hymnody, Wren as hymn writer, lecturer, introduction to some of the new hymn includes articles about hymnody old and and professor, and Routley as teacher of writers when taking a worship course at new, but also provides a book service of- hymnology, hymn writer, and editor of Yale Divinity School taught by theologian fering a wide ranger of hymnals, supple- Rejoice in the Lord (1985), the hymnal of and hymn writer Jeffrey Rowthorn: “The ments, and single author and composer the Reformed Church in America. words of Thomas Troeger and Brian collections published in North America. GIA Publications also contributed to Wren were so vivid and so energized, Carl P. Daw, Jr. (b. 1944), retired, former the traffi c from Great Britain; they hold compared to what I was leading the executive director of the Hymn Society, North American rights to all music from congregation in every Sunday morning, is one of the most signifi cant hymn writ- the Iona Community and have helped that my fi rst reaction was ‘Wow!’ And ers in North America, with several pub- sponsor travel by John Bell. The fact then I thought, ‘I wonder if I could do lished collections; his texts are found not that GIA began as a Roman Catholic that?’ And then, ‘I want to do that.’ So I only in North American hymnals, but also across the world, many translated into other languages. [See Panorama: 760–768 for representative hymns.] But, not all recent North American hymn writers stand in the tradition of English hymnody. Immigration patterns to North America, especially after World War II, continued from Western Europe, and many cities consisted largely of ethnic neighborhoods with different denominational traditions, each with their own hymn traditions as well. In the last quarter of the twentieth century, immigration has become much more global and diverse, with many refugees coming from around the world. The strong heritage of Lutheran hymnody from Germany, Scandinavia, and more recently, from Eastern Eu- rope, found new expressions in North America. When several Lutherans bodies from different European roots combined forces in hopes of prepar- ing a new Lutheran hymnal that would serve most of them, they reached back to their roots, moving beyond the Ger-
20 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
man pietism that still characterized so Presbyterian) [Panorama 846]. by birth or by immigration. Four tunes much of immigrant Lutheran culture In Canada, the three most signifi cant included there that have had wide ac- to deeper Lutheran roots. Signifi cant hymn writers in the last half of the twen- ceptance and rather consistent pairing Lutheran hymn text writers include Jaro- tieth century are Margaret Clarkson with particular texts are listed below. slav Vajda (1914–2008) [See Panorama: (1915–2008) [Panorama: 848–849], 724–729 for representative hymns], whose texts are collected in A Singing • KINGDOM, by V. Earle Copes (b. who not only contributed original hymn Heart; Sylvia Dunstan (1955–1993) 1921), set to “For the Bread Which texts, but translated many from Slovak, [Panorama: 869–874], whose work as You Have Broken” by Louis F. Ben- and especially the pastor theologian a prison chaplain strongly affected her son (LTPS 369) Herman Stuempfl e (1923–2007) [See writing; (some of her texts are collected Panorama: 769–778 for representative in In Search of Hope and Grace, and in • BRIDEGROOM, by Peter Cutts (b. hymns], whose hymns are found in many Where the Promise Shines); and Walter 1927) set to “Like the Murmur of hymnals. H. Farquharson (b. 1936) [Panorama: the Dove’s Song” [Panorama: 763] Other signifi cant hymn text and tune 850], a minister in the United Church by Carl Daw (LTPS 370) writers stand in a variety of traditions, of Canada with thirteen hymns in the but their ecclesiastical roots are not United Church hymnal, Voices United • MERLE’S TUNE, by Hal Hopson (b. always clear. Many hymn writers today (1996) and two additional hymns in the 1933), set both to the Benedictus have moved from the tradition in which supplement More Voices (2007). (“Blest Be the God of Israel”) by they were reared, so it is less helpful Michael Perry (1942–1996) (LTPS than before to identify hymn writers in 376), and to Arlo Duba’s (b. 1929) terms of their theological traditions. Rae HHymnymn TTuneune ComposersComposers setting of Psalm 84, “How Lovely, Whitney (b. 1927), for example, moved So far the narrative of this chapter Lord, How Lovely.” from England to the United States, and has concentrated on hymn texts with has been affi liated with Baptist, Method- very little mention of tunes, which of • ANNIVERSARY SONG, by Jane Mar- ist, and Congregational churches before course, can more easily cross language shall (b. 1924) (LTPS 377), set to becoming an Anglican [see Panorama barriers. But, since this article is focused her own text “What Gift Shall We 742–747. Marty Haugen (b. 1958) on recent English texts in the classical Bring” [Panorama: 928] grew up Lutheran, has been composer- hymn tradition, a few words would be in-residence in the United Church of appropriate about some tunes also in Other representative tunes are a bit Christ, and has worked most of his the classical tradition by English-speaking more musically challenging, for example: career as a pastoral musician in Roman composers. Catholic parishes. The challenge of composing tunes • VINEYARD HAVEN, by Richard Dirk- Yet, denominational roots still offer that are fresh and yet accessible for sen (1921–2003) (LTPS 372) a starting point for a theological and congregational singing is considerable, liturgical orientation to hymn writers, so there is no hymn tune “explosion” • EARTH AND ALL STARS, by David N. including the following names listed with during the last half of the twentieth Johnson (1922–1987) (LTPS 376) examples found in Panorama: Bryan century. Often, new texts are sung to Jeffrey Leech (b. 1931, Evangelical familiar older classical hymn tunes or to • AUGUSTINE, by Erik Routley (LTPS Covenant) [Panorama 740–741], Jef- folk tunes from a variety of cultures. In 38) frey Rowthorn (b. 1934, Episcopal) discussing hymn tunes in the fi rst half of [Panorama 748–750], John Thornburg the twentieth century in Let the People • NOW, by Carl Schalk (b. 1929) (LTPS (b. 1954, United Methodist) [Panorama Sing: Hymn Tunes in Perspective (LTPS), 381), one of the foremost compos- 784–785], Ruth Duck (b. 1947, United Paul Westermeyer includes examples ers of hymn tunes and other music Church of Christ) [Panorama 788–793], of tunes by only eight composers, all for the church Joy Patterson (b. 1931, Presbyterian) from England. For the second half of [Panorama 823–824], John Core (b. the twentieth century, he includes tunes Twentieth-century hymn tunes 1951, Disciples of Christ) [Panorama from eighteen representative compos- paired with recent Protestant contem- 838], and Mary Louise Bringle (b. 1953, ers; of those, fi fteen are North American porary classical hymnody refl ect at least
CHORAL JOURNAL Volume 53 Number 9 21 When in Our Music God Is Glorifi ed
three approaches. (1) Melody-dominant but with more anthem-like harmonic settings are a continuation of the unison, writing and increased contrapuntal CConclusiononclusion melody-dominant tune tradition with movement. Erik Routley’s Augustine, set This article began with a living room independent organ accompaniment to George Herbert’s “Let All the World scene, with a pastoral painting and found in the early twentieth century by in Every Corner Sing,” mixes melody- church-going families who often gath- Ralph Vaughan Williams (1872–1958), dominant and anthem-style approaches. ered around the piano to sing the old composer of King’s Weston, Salve Feste Union Seminary by Harold Friedell hymns they also sang in church. That Dies, and Sine Nomine, and Charles Vil- (1905–1958) began as an anthem set- scene was perhaps idyllic, but certainly liers Stanford (1852–1924), composer ting of Percy Dearmer’s (1867–1926) not uncommon for many Protestants. of Engleberg. Carl Schalk and Carol text, “Draw Us in the Spirit’s Tether.” However, that scene would certainly Doran (b. 1936) often compose hymn In several recent hymnals, Friedell’s not be representative of home life at the tunes in this manner. Anniversary Song by anthem setting has been adapted for a beginning of the twenty-fi rst century in Jane Marshall (b. 1924) is an example of four-part hymn. East Acklam by Francis which pianos in homes are rare, iPods this style: Jackson (b. 1917), written for Fred Pratt make it possible for individuals to carry Green’s “For the Fruits of this Creation” their own musical library with them, Example 7 [Panorama: 593] is an example of an and a wide range of popular music has (Figure 1) anthem-style setting: often replaced classical hymnody, indeed, classical music. The river of hymnody has (2) Harmonic settings are a continu- Example 8 been replaced by multiple streams. In a ation of four-part settings as found in (Figure 2) 2000 survey, college students at a Chris- the nineteenth-century Victorian period; tian college were asked what worship some congregations still sing well in Although these categories do not songs they knew. Hymns did not fare harmony. Whereas tunes set in four-part account for all of the tunes paired with that well. For example, only nineteen harmony was once the dominant style, hymn texts in this chapter, they repre- percent of the students recognized the contemporary composers choose it sent the vast majority.36 classic Wesley hymn “Love Divine, All much less frequently. (3) Anthem style Loves Excelling.” settings, also for singing in harmony, Older Protestant hymnody excelled
22 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
in praise of God and thanksgiving for much shorter texts and choruses. Many to preserve the dignity and power of salvation in Christ. It also often empha- Protestant churches no longer have such classics as “Be Thou My Vision,” sized the pilgrim nature of the Christian’s hymnals in the pews and sing few hymns “Guide Me, O Thou Great Jehovah,” life and the hope of eternal life, whether from the classical tradition—often a “Crown Him With Many Crowns,” and in the stately phrases of Wesley’s hymn few older hymns often led by bands “When I Survey The Wondrous Cross.” “Love Divine” or in the more humble rather than by the organ. Instead, many The Christian band “Jars of Clay” from and escapist “This world is not my home, churches have turned to more popular the United States released Redemption I’m just a passin’ through.” But, there is worship songs from CDs and the In- Songs (2005) that includes new musical not as much “other worldly” emphasis in ternet that have found their way from settings of several hymns, including “God Protestant hymnody as in the fi rst half Western culture to the entire world. It is Be Merciful to Me,” and “I Need Thee of the twentieth century. There is much the sound, the music, which has captured Every Hour.” None of these musical more cultural engagement. the interest of many worshipers, more treatments fi ts into the classic Protestant Ironically, during the hymn explosion than the texts. In many shorter texts, hymn tradition of congregational song, in the last part of the twentieth century, praise of God is not directly connected because these recordings are sung by with excellent new denominationally- to the work of God in the world and the members of the bands, not by congre- produced hymnals that introduced many need for cultural engagement. gations, but they are singing hymns. An new hymns and metrical psalms for con- Yet, there is an interesting return to article by Kevin Twit summarized a new gregational singing, church attendance substantive older hymn texts in popular interest in the substantive texts of older plummeted in main line churches that culture. In Great Britain, Kingsway has hymn texts in the article “My Grand- had best upheld the tradition of classical released three recordings of live festival mother Saved It, My Mother Threw It Protestant hymnody. Meanwhile, many and events featuring classic hymns (and a Away; and Now I’m Buying It Back: Why new churches have emerged, often in- few modern ones), describing these col- Young People Are Returning to Old dependent and not tied to a denomina- lections as “Traditional church choirs this Hymn Texts.”37 And, so the stream of tional heritage of hymnody. The cultural ain’t!” Tracks feature worship bands from classic Protestant hymnody continues to emphasis has shifted away from longer these events interpreting traditional fl ow in new directions and more diverse texts found in classical hymnody toward hymns for today’s generation, seeking ways than ever before.
CHORAL JOURNAL Volume 53 Number 9 23 When in Our Music God Is Glorifi ed
placed renewed emphasis on Scripture, and Scripture paraphrases on lection- SSummaryummary especially the psalms, as a primary ary texts. The use of the lectionary also In the second half of the twentieth source for hymnody; on congregational stimulated the arts in visually honoring century, Protestant churches reached song as proclamation as well as prayer; the Christian year, and new hymns have deeply back to scripture and their own on a recovery of the Christian year; also celebrated the use of the arts in histories to regain a new sense of iden- and on more frequent celebrations of worship. tity after two world wars and a great Holy Communion. With the widespread With many changes in the English depression. The churches also reached adoption of the Revised Common Lec- language during this period, refl ected out broadly and ecumenically, in re- tionary among main-line Protestant in many new Bible translations, hymn sponse to many immigrant experiences churches, hymn writers found inspiration writers also began using fresh language and the migration of millions away from again in the Psalms, many Old Testament and took on topics seldom addressed in their ancestral homes. Hymn writers prophets, and the teaching and ministry traditional hymnody. They turned once responded to changes in church life that of Christ, with new psalm settings, hymns again to lament, confession, prophetic
24 CHORAL JOURNAL Volume 53 Number 9 Classic Contemporary Protestant Hymnody
proclamation, and intercession—needed America (1988). Language Hymnals Published in the counterparts to the predominant 5 Dictionary of North American Hymnology: A United States and Canada since 1976,” themes of praise and thanksgiving in Comprehensive Bibliography & Master The Hymn (April, 1996), 26. A broader classic Protestant hymnody and worship. Index of Hymns and Hymnals Published list of common hymns followed in C. Perhaps two words best exemplify in the United States and Canada 1640– Michael Hawn, “‘The Tie That Binds’: the approach of hymn writers in the last 1978. CD-ROM published by the Hymn A List of Ecumenical Hymns in English half of the twentieth century: inclusivity Society in the United States and Canada, Language Hymnals Published in Canada and justice. The word “inclusive,” as a 2003. and the United States Since 1976,” The 6 Hymn 48:3 (July 1997), 25–37. basic issue of justice, came to expression The Lutheran Book of Worship (1978) 11 Horace B. Allen, from an interview pre- in the use of language with respect to was replaced by Evangelical Lutheran pared for the August 1997 meeting of gender, disabilities, and race, and extends Worship in 2006. Similarly, the Lutheran Church-Missouri Synod replaced Societas Liturgica held in Turku, Finland; to many translated hymns into English see
CHORAL JOURNAL Volume 53 Number 9 25 When in Our Music God Is Glorifi ed
by Confessing Christ, a movement of site,
26 CHORAL JOURNAL Volume 53 Number 9