The “Noble Art” of Music

Chad Fothergill, Temple University [email protected]

ELCA Grace Gathering | New Orleans, LA | 12 August 2016

Summary

An able musician in his own right, Luther understood the power of music to nourish and teach God’s children of all ages and abilities. Pastors and musicians in his circle and throughout following generations penned texts and tunes that were rooted in scripture, yet spoke to the diverse experiences of people who sang them at home, school, and worship. This workshop took a closer look at how music—from Luther’s hymns to global song—might be incorporated into different congregational contexts in both 2017 and beyond. Using suggestions in the Reformation 500 Sourcebook as a starting place, additional ideas were offered for seasons and ​ ​ festivals of the church year, home devotions, and special services such as “The Church’s Journey in Art and Song” that premiered at the 2015 Worship Jubilee.

Objectives for the Anniversary Year

Consider materials and resources in your context for: Sundays, seasons, and festivals of the church year Occasions in the congregation’s life Educational offerings Commemorative events such as hymn festivals

Refresh or renew the theology of music in your context by thinking about: How pastors and musicians of Luther’s time collaborated together How they responded to rapidly changing cultural, political, and economic contexts How they navigated tensions between participation and performance, sacred and secular The ecumenical roots of our worship patterns and materials

1 Texts and Music by Luther and His Contemporaries

Occasion Title, Tune, Notes Sources and Examples Sundays and Seasons of the Church Year Advent Savior of the Nations, Come ELW 263 NUN KOMM, DER HEIDEN HEILAND LBW 28 Consider adapting the tune for the Kyrie or using st. 6 (ELW) as gospel acclamation throughout the season Example 1, p. 12 of this handout Example 2, pp. 13–14 Nativity From Heaven Above ELW 268 VOM HIMMEL HOCH LBW 51 Use pairs of stanzas as gospel acclamations for Christmas Eve, Christmas Day, and the First Sunday of Christmas

From East to West LBW 64 A SOLIS ORTUS CARDINE

1 Now Praise We Christ, the Holy One The Hymns of Martin Luther CHRISTUM WIR SOLLEN LOBEN SCHON

Time after Epiphany The Only Son from Heaven ELW 309 Elisabeth Cruciger, 1500–1535 LBW 86 HERR CHRIST, DER EINIG GOTTS SOHN See setting in Bach for All Seasons ​ Ash Wednesday Out of the Depths I Cry to You ELW 600 AUS TIEFER NOT SCHREI ICH ZU DIR LBW 295 Consider adapting a portion of this tune as a psalm tone for the Lenten season Example 3, p. 15

2 Lent 5A Out of the Depths I Cry to You ELW 600 AUS TIEFER NOT SCHREI ICH ZU DIR LBW 295

3 Holy Week Motet, Non moriar, sed vivam (SATB) Lutheran Choral Anthology: The ​ ​ 4 Sixteenth Century Easter Sunday Christ Jesus Lay in Death’s Strong Bands ELW 370 CHRIST LAG IN TODESBANDEN LBW 134 Sundays of Easter Christ Is Arisen ELW 372 CHRIST IST ERSTANDEN LBW 136 Consider using st. 3 as a gospel acclamation throughout the season up to and including the Day of Pentecost (“Christ, our comfort” and Spirit, Comforter) Example 4, p. 16

1 Peter C. Reske, ed., The Hymns of Martin Luther (St. Louis: Concordia Publishing House, 2016), 44–45. ​ ​ 2 RCL assigns Psalm 130. 3 Setting of Psalm 118:17 by Luther; can be used for Sunday of the Passion and Easter Sunday in all lectionary years. 4 Carl F. Schalk and William H. Braun, eds., Lutheran Choral Anthology: The Sixteenth Century (St. Louis: Concordia Publishing House, 2010). ​ ​ 2 Day of Pentecost Come, Holy Ghost, God and Lord ELW 395 KOMM, HEILIGER GEIST, HERRE GOTT LBW 163 Time after Pentecost Now to the Holy Spirit Let Us Pray ELW 743 5 NUN BITTEN WIR LBW 317

6 7 Pentecost 18A These Are the Holy Ten Commands The Hymns of Martin Luther 8 DIES SIND DIE HEILGEN ZEHN GEBOT Reformation 500 Sourcebook

Congregational Life and Daily Prayer Morning, Evening Anthems, Luther’s Morning Prayer and Luther’s MorningStar Music Publishers ​ ​ ​ Evening Prayer (SATB) MSM-50-8610 (2011) ​ Carl F. Schalk

Communion O Lord, We Praise You ELW 499 GOTT SEI GELOBET LBW 215 Baptism To Jordan Came the Christ Our Lord LBW 79 CHRIST, UNSER HERR, ZUM JORDAN KAM LSB 406 9 The Hymns of Martin Luther 10 Reformation 500 Sourcebook Funeral In Peace and Joy I Now Depart ELW 440 11 MIT FRIED UND FREUD ICH FAHR DAHIN LBW 349

12 In the Midst of Earthly Life Come, Beloved of the Maker 13 transl. Susan Palo Cherwien LBW 350 MITTEN WIR IM LEBEN SIND

Confirmation, Now to the Holy Spirit Let Us Pray ELW 743 Farewell, Godspeed NUN BITTEN WIR LBW 317

5 Translated in LBW as “To God the Holy Spirit Let Us Pray.” 6 RCL assigns Exodus 20:1–4, 7–9, 12–20. 7 Reske, ed., The Hymns of Martin Luther, 62–63. ​ ​ 8 Robert Buckley Farlee, ed., Reformation 500 Sourcebook: Anniversary Resources for Congregations (Minneapolis: Augsburg Fortress, 2016), 119; ​ ​ translated here as “That Man a Godly Life Might Live.” 9 Reske, ed., The Hymns of Martin Luther, 66–67. ​ ​ 10 Farlee, ed., Reformation 500 Sourcebook, 120. ​ ​ 11 Translated here as “I Leave, as You Have Promised, Lord.” 12 Susan Palo Cherwien, Come, Beloved of the Maker: Hymns of Susan Palo Cherwien, Vol. 2 (Minneapolis: Augsburg Fortress, 2010), 32–33 (text), ​ ​ 84–84 (music), and 121 (notes). 13 Translated here as “Even as We Live Each Day.” 3 Luther’s Liturgical Music and Catechism Hymns THE GERMAN MASS Planning Considerations 1. Melodies need careful introduction and teaching 2. Pattern should be used for several weeks in a row, e.g. Reformation Sunday to Christ the King 3. Can be brought back on festival Sundays such as Transfiguration, The Holy Trinity, and again at Reformation 4. Be sure to indicate in your bulletin the difference between “ELW, p. ___” and “ELW, Hymn ___” when using chorales as liturgy settings 5. Because the leadership is keyboard-centric and because these chorales are longer, balance the service with shorter songs that can be led with other instruments, percussion, or be sung a cappella ​ Sample Bulletin or Newsletter Description Guided by his desire to create a body of vernacular hymns for worship and teaching, Luther worked with his musical colleagues to create congregational versions of the standard Mass texts that, in the centuries before the Reformation, had been sung to the ​ ​ people by the choir. In compiling his German Mass, Luther took several existing texts ​ ​ and plainsong melodies and fashioned them into chorales that were then sung by the ​ ​ people. Over time and in many locations, a number of Luther’s “catechism chorales” became fixtures in the Sunday service as well. As part of our Reformation anniversary observance, we will sing the hymns of the German Mass in English as our liturgy setting. The texts and music represent the work of ​ prophets, evangelists, authors, composers, translators, and arrangers across thousands of years! They include a Trinitarian trope, or expansion, of the Kyrie (ELW 409) from a ​ ​ ​ ​ Latin plainsong; a Gloria (ELW 410) fashioned by a sixteenth-century Lutheran ​ ​ composer from the melody of a tenth-century Easter plainsong; Luther’s versification of the Nicene Creed (ELW 411); Luther’s “German Sanctus” (ELW 868) which joins the ​ ​ ​ ​ “Holy, holy, holy” and other passages from the prophet Isaiah’s vision in the temple with music from an eleventh-century plainsong; and, finally, a Reformation-era Agnus Dei (ELW 196) that was probably written by Luther’s friend, Johannes Bugenhagen, for ​ ​ a congregation at Braunschweig.

Kyrie Kyrie! God, Father in Heaven Above ELW 409 KYRIE, GOTT VATER LBW 168 Gloria All Glory Be to God on High ELW 410 Nikolaus Decius, 1485–1550 LBW 166 ALLEIN GOTT IN DER HÖH SEI EHR

Creed We All Believe in One True God ELW 411 WIR GLAUBEN ALL AN EINEN GOTT LBW 374 Sanctus Isaiah in a Vision did of Old ELW 868 JESAIA, DEM PROPHETEN LBW 528

4 Agnus Dei O Christ, Lamb of God ELW 196 CHRISTE, DU LAMM GOTTES LBW 103 or Lamb of God, Pure and Sinless ELW 357 O LAMM GOTTES UNSCHULDIG LBW 111 Nunc dimittis In Peace and Joy I Now Depart ELW 440 Song of Simeon MIT FRIED UND FREUD ICH FAHR DAHIN LBW 349 Chant Formulas In addition to recommending certain chorales and when they could be sung, Luther’s preface to the German Mass also included formulae for the chanting of introits, the ​ ​ 14 Kyrie, prayers, Scripture readings, and the Words of Institution.

CATECHISM HYMNS Planning Considerations 1. May be used with three portions of the Reformation 500 Sourcebook: “A Midweek ​ ​ ​ ​ Lenten Series Based on Luther’s Small Catechism” (77–82); “Martin Luther, The Catechism, and Music” (113–120); and “Living Out the Small Catechism” (169–172) 2. May be paired with any number of musical or instrumental settings such as those by J. S. Bach in the Clavierübung III of 1739 ​ ​ 15 16 Commandments These Are the Holy Ten Commands The Hymns of Martin Luther Lent 1 DIES SIND DIE HEILGEN ZEHN GEBOT

Creed We All Believe in One True God ELW 411 Lent 2 WIR GLAUBEN ALL AN EINEN GOTT LBW 374 Prayer Our Father, God in Heaven Above ELW 746, 747 Lent 3 VATER UNSER IM HIMMELREICH

Baptism To Jordan Came the Christ Our Lord LBW 79 Lent 4 CHRIST, UNSER HERR, ZUM JORDAN KAM LSB 406 17 The Hymns of Martin Luther 18 Reformation 500 Sourcebook [Confession] Out of the Depths I Cry to You ELW 600 AUS TIEFER NOT SCHREI ICH ZU DIR LBW 295

20 Communion Jesus Christ, Our Blessed Savior The Hymns of Martin Luther 19 Lent 5 JESUS CHRISTUS UNSER HEILAND, DER VON UNS ​ ​ ​

14 Ulrich S. Leupold, ed., Luther’s Works, Vol. 53: Liturgy and Hymns (Philadelphia: Fortress Press, 1965), 61–90. ​ ​ 15 Versification of Exodus 20. 16 Reske, ed., The Hymns of Martin Luther, 62–63. ​ ​ 17 Reske, ed., The Hymns of Martin Luther, 66–67. ​ ​ 18 Farlee, ed., Reformation 500 Sourcebook, 119. ​ ​ 19 Not to be confused with Luther’s Easter hymn, JESUS CHRISTUS UNSER HEILAND, DER DEN TOD. ​ ​ ​ ​ ​ 20 Reske, ed., The Hymns of Martin Luther, 36–37. ​ ​ 5

Translations of Luther’s Chorales 21 French C’est un rempart que notre Dieu LCL ​ 444, 445 (A Mighty Fortress Is Our God) Des lieux profonds je crie à toi LCL 509 (Out of the Depths I Cry to You) Dieu, notre Père dans les cieux LCL 636 (Our Father, God in Heaven Above) Le prophète Ésaïe, en son esprit LCL 441 (Isaiah in a Vision did of Old)

22 Spanish Castillo fuerte es nuestro Dios LLC ​ 403 (A Mighty Fortress Is Our God) LSB 657 23​ OC ​ 571 De Lo Profundo OC 787 ​ (Out of the Depths I Cry to You) 24 DE LO PROFUNDO

Sostennos firmes LLC 399 (Lord, Keep Us Steadfast in Your Word)

Leadership of Reformation-Era Hymnody

What do the musical conventions of Luther’s time teach us about assembly song in our own time? Rhythm and tactus ​ A cappella singing ​ Singing in alternatim: “The verses of the respective Latin chant were sung in alternation with the stanzas of ​ ​ 25 its vernacular partner, the former being sung by the choir, the latter by the congregation.”

Season Latin Plainsong Chorale Equivalent Advent Veni, redemptor gentium Savior of the Nations, Come attr. Ambrose of Milan NUN KOMM, DER HEIDEN HEILAND

21 Comité liturgique francophone de l’Église luthérinne du Canada, Liturgies et cantiques luthériens (Winnipeg: Éditions de l’Église luthérienne du ​ ​ Canada, 2009); available through Concordia Publishing House, St. Louis. 22 Libro de Liturgia y Cántico: A Worship Book for Spanish-Speaking Lutherans (Minneapolis: Augsburg Fortress, 2001). ​ ​ 23 Oramos Cantando: We Pray in Song (Chicago: GIA Publications, 2013). ​ ​ 24 The tune has a similar contour to Luther’s melody, AUS TIEFER NOT, though the text in this version has undergone substantial theological ​ ​ modification. 25 Robin A. Leaver, Luther’s Liturgical Music: Principles and Implications (Grand Rapids, Michigan: William B. Eerdmans, 2007), 229. ​ ​ 6 Example 5 (below)

Choir Veni, redemptor gentium, Come, Savior of nations, ostende partum Virginis; display the offspring of the Virgin. miretur omne saeculum: Let all ages marvel talis decet partus Deum. that God granted such a birth.

All Savior of the nations, come; virgin’s son, make here your home. Marvel now, O heav’n and earth: God has chosen such a birth.

Choir Non ex virili semine, Not from man’s seed, sed mystico spiramine but by the Holy Spirit’s power Verbum Dei factum est caro the Word of God is made flesh fructusque ventris floruit. and blooms as fruit of the womb.

All Not by human flesh and blood, but the mystic Breath of God, was the Word of God made flesh, fruit of woman, blossom fresh.

etc.

Nativity A solis ortus cardine (LBW 64) Now Praise We Christ, the Holy One ​ Coelius Sedulius, fl. 5th cent. CHRISTUM WIR SOLLEN LOBEN SCHON Easter Victimae paschali laudes (ELW 371) Christ Jesus Lay in Death’s Strong ​ attr. Wipo of Burgundy, fl. 11th cent. Bands CHRIST LAG IN TODESBANDEN Pentecost Veni sancte Spiritus Now to the Holy Spirit Let Us Pray attr. King Robert II of France, 970–1031; NUN BITTEN WIR Pope Innocent III, 1161–1216; and Stephen Langton, d. 1228, Archbishop of Canterbury

Special Services

Hymn festival outlines by Susan and David Cherwien 26 Crossings: Meditations for Worship “God In”

27 From Glory into Glory: Reflections for Worship “One Joyful Choir” “The Thousand Voices” “God Has Called Us” (Example 6, p. 17) ​ ​ “Paul Gerhardt, Hymnist” (Example 7, p. 17) ​ ​

26 Susan Palo Cherwien, Crossings: Meditations for Worship (St. Louis: MorningStar Music Publishers, 2003). ​ ​ 27 Susan Palo Cherwien, From Glory into Glory: Reflections for Worship (St. Louis: MorningStar Music Publishers, 2009). ​ ​ 7

“The Church’s Journey in Art and Song” in Reformation 500 Sourcebook (83–86) ​ ​ Video archive, July 2015, and at “The Church’s Journey” page of ELCA website ​ ​ ​ “Mash-up” concept Diversity of musical styles and leadership that bring together global, ancient, and modern expressions Video or spoken reflections CD-ROM (sample of contents shown below) of Reformation 500 Sourcebook includes Planning Guide that ​ ​ ​ ​ offers several alternate song suggestions, leadership helps for musicians, and contact information for copyright administrators

“‘One Faith, One Baptism, One God’: Developing an Ecumenical Hymn Festival for the Reformation Anniversary” in CrossAccent: Journal of the Association of Lutheran Church Musicians (Summer 2016) ​ ​ Closer look at ecumenical relationships in the materials and resources used by Lutherans Checklists for planning, logistics, and leadership of hymn festivals Sample hymn festivals for the wider community “The Church’s Journey in Art and Song” (ecumenical adaptation) 28 “One Hope: Re-Membering the Body of Christ” Evening Prayer (Vespers) ​ ​

28 Julie K. Aageson, et al., One Hope: Re-Membering the Body of Christ (Minneapolis and Collegeville: Augsburg Fortress and Liturgical Press, 2015). ​ ​ 8 Additional Resources

29 Principles for Worship “Music and the Christian Assembly” components as staff or congregational study

Reformation 500 Sourcebook “Hymns for the Anniversary Year” (43–47) presents several other seasonal and lectionary-based suggestions “The Hymn of the Day as Reformation Inheritance” (49–50) “A Midweek Lenten Series Based on Luther’s Small Catechism” (77–82) may be joined with Luther’s catechism chorales “Commemorating 1517 Without Dressing Up as Luther with a Hammer” (99–103) contains a summary of the German Mass and other hymn suggestions for worship that are “indeed of our time and place” ​ ​ Bulletin Insert: “Voices of Lutheranism: Chorales to Alabados” (153)

Sundays and Seasons 2017 Guide to Worship Planning “The Hymn of the Day as Reformation Inheritance” (17) “Music: Chorale Service” (250)

Preaching “Preaching in Autumn” (232) “October 29, 2017: Reformation Sunday” (273–276)

Principles to Remember

The “noble art” of music transcends time, place, creed, and label, giving voice to our common story—one faith, one baptism, one God—in ways that speak to local contexts and dialects

An honest musical commemoration of the Reformation—both in 2017 and beyond—is one that:

Takes a panoramic view of assembly song The psalmody of our Jewish forebears Roman plainsong of the first millennium Chorales and hymns from Lutheran, Reformed, Anglican, and Episcopal traditions Global traditions including African American spirituals and Shaker hymns Songs from the ecumenical communities at Taizé and Iona

29 Evangelical Lutheran Church in America, Renewing Worship, Vol. 2: Principles for Worship (Minneapolis: Augsburg Fortress, 2002), 24–46. ​ ​ 9 The Spirit-led composition of new music today

Sparks re-evaluation or renewal of the theology of music in our local contexts Music in worship as performance or participation Music in worship as active (central) or passive (commodity) Music outside of worship in education, home devotions Training, support, professional development of pastors and cantors Training and development of young musicians through programs such as Lutheran Summer Music

Select Bibliography

HISTORICAL AND CONTEXTUAL STUDIES: LUTHER AND MUSIC IN LUTHERANISM Bodensieck, Julius, ed. The Development of Lutheran Hymnody in America. Minneapolis: Augsburg Publishing ​ ​ House, 1965. Brown, Christopher Boyd. Singing the Gospel: Lutheran Hymns and the Success of the Reformation. Cambridge, ​ ​ Massachusetts: Harvard University Press, 2005. Bucher, Richad P. The Ecumenical Luther: The Development and Use of His Doctrinal Hermeneutic. St. Louis: ​ ​ Concordia Academic Press, 2003. Burnett, Amy Nelson. “The Evolution of the Lutheran Pastors Manual in the Sixteenth Century.” Church ​ History 73.3 (September 2004): 536–565. ​ Butt, John. Music Education and the Art of Performance in the German Baroque. Cambridge: Cambridge University ​ ​ ​ Press, 1994. Grindal, Gracia. Preaching from Home: The Stories of Seven Lutheran Hymn Writers. Grand Rapids, Michigan: William ​ ​ B. Eerdmans, 2011. Hendrix, Scott. “Luther.” In The Cambridge Companion to Reformation Theology, edited by David Bagchi and David ​ ​ C. Steinmetz, 39–56. Cambridge: Cambridge University Press, 2004. Kolb, Robert, ed. Lutheran Ecclesiastical Culture, 1550–1675. Leiden and Boston: Brill, 2008. ​ ​ Herl, Joseph. Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict. Oxford and ​ ​ New York: Oxford University Press, 2008. Kalb, Friederich. Theology of Worship in Seventeenth-Century Lutheranism. Translated by Henry P. A. Hamann. St. ​ ​ Louis: Concordia Publishing House, 1965. Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications. Grand Rapids, Michigan: William B. ​ ​ Eerdmans, 2007. ______. “Music and Lutheranism.” In The Cambridge Companion to Bach, edited by John Butt, 35–45. ​ ​ Cambridge: Cambridge University Press, 1997. ______. The Theological Character of Music in Worship. St. Louis: Concordia Publishing House, 1989. ​ ​ Loewe, J. Andreas. “‘Musica est Optimum’: Martin Luther’s Theory of Music.” Music & Letters 94.4 (November ​ ​ 2013): 573–605. Marshall, Peter. The Reformation: A Very Short Introduction. Oxford and New York: Oxford University Press, ​ ​ ​ 2009.

10 McKim, Donald K., ed. The Cambridge Companion to Martin Luther. Cambridge: Cambridge University Press, ​ ​ 2006. Messerli, Carlos R., ed. Thine the Amen: Essays on Lutheran Church Music in Honor of Carl Schalk. Minneapolis: ​ ​ Lutheran University Press, 2005. Pettegree, Andrew. Brand Luther: 1517, Printing, and the Making of the Reformation. New York: Penguin, 2015. ​ ​ Pfatteicher, Philip H. Commentary on the Lutheran Book of Worship: Lutheran Liturgy in Its Ecumenical Context. ​ ​ Minneapolis: Augsburg Fortress, 1990. Quill, Timothy C. J. The Impact of the Liturgical Movement on American Lutheranism. Lanham, Maryland: The ​ ​ Scarecrow Press, 1997. Rose, Stephen. “Lutheran Church Music.” In The Cambridge History of Eighteenth-Century Music, edited by Simon ​ ​ P. Keefe, 127–167. Cambridge: Cambridge University Press, 2009. Schalk, Carl F. God’s Song in a New Land: Lutheran Hymnals in America. St. Louis: Concordia Publishing House, ​ ​ 1995. ______. Music in Early Lutheranism: Shaping the Tradition (1524–1672). St. Louis: Concordia Academic Press, ​ ​ 2001. ______. Source Documents in American Lutheran Hymnody. St. Louis: Concordia Publishing House, 1996. ​ ​ ______. The Hymn of the Day and Its Use in Lutheran Worship. St. Louis: Concordia Publishing House, 1983. ​ ​ Webber, Geoffrey. “Music in the Lutheran Liturgy.” In North German Church Music in the Age of Buxtehude, 27–42. ​ ​ Oxford: Clarendon Press, 1996.

“WORSHIP MATTERS” SERIES AND ELW COMPANION VOLUMES ​ ​ Burgh, Lorraine S., and Gordon W. Lathrop. The Sunday Assembly. Using Evangelical Lutheran Worship 1. ​ ​ Minneapolis: Augsburg Fortress, 2008. Bushkofsky, Dennis L., and Craig A. Satterlee. The Christian Life: Baptism and Life Passages. Using Evangelical ​ ​ Lutheran Worship 2. Minneapolis: Augsburg Fortress, 2008. Lathrop, Gordon W. Central Things: Worship in Word and Sacrament. Minneapolis: Augsburg Fortress, 2005. ​ ​ Ramshaw, Gail. A Three-Year Banquet: The Lectionary for the Assembly. Minneapolis: Augsburg Fortress, 2004. ​ ​ Ramshaw, Gail, and Mons Teig. Keeping Time: The Church’s Years. Using Evangelical Lutheran Worship 3. ​ ​ Minneapolis: Augsburg Fortress, 2009. Rimbo, Robert A. Why Worship Matters. Minneapolis: Augsburg Fortress, 2004. ​ ​ Wengert, Timothy J., ed. Centripetal Worship: The Evangelical Heart of Lutheran Worship. Minneapolis: Augsburg ​ ​ Fortress, 2007.

MUSIC LEADERSHIP, WORSHIP PLANNING, AND PASTOR-MUSICIAN COLLABORATION Baker-Trinity, Jennifer, Scott C. Weidler, and Robert Buckley Farlee, eds. Musicians Guide to Evangelical Lutheran ​ Worship. Minneapolis: Augsburg Fortress, 2007. ​ Brugh, Lorraine S. “Renewing Worship: The Beginning or the End?” Word & World 26.2 (Spring 2006): ​ ​ 172–177. Eaton, Elizabeth. “Coming to Terms with the Times.” The Lutheran, April 2015. ​ ​ ______. “Worship is the Heart of All We Do.” The Lutheran, May 2015. ​ ​

11 Fothergill, Chad. “‘Peel Here’: Labels and Language in Worship Planning.” CrossAccent: Journal of the Association ​ of Lutheran Church Musicians 23.2 (Summer 2015): 18–26. ​ Guenther, Eileen Morris. Rivals or a Team? Clergy-Musician Relationships in the Twenty-First Century. St. Louis: ​ ​ MorningStar Music Publishers, 2012. Lathrop, Gordon W. The Four Gospels on Sunday: The New Testament and the Reform of Christian Worship. ​ ​ Minneapolis: Fortress Press, 2012. Ross, Melanie C. Evangelical Versus Liturgical? Defying a Dichotomy. Grand Rapids, Michigan: William B. ​ ​ ​ Eerdmans, 2014. Stringer, Martin D. A Sociological History of Christian Worship. Cambridge: Cambridge University Press, 2005. ​ ​ Westermeyer, Paul. Church Musicians: Reflections on Their Call, Craft, History, and Challenges. St. Louis: MorningStar ​ ​ Music Publishers, 2015. ______. Rise, O Church: Reflections on the Church, Its Music, and Empire. St. Louis: MorningStar Music ​ ​ Publishers, 2008. ______. The Church Musician, Revised Edition. Minneapolis: Augsburg Fortress, 1997. ​ ​ ______. “The Voice of the People: Here, Now, and Beyond.” The Hymn 54.1 (January 2003): 14–20. ​ ​ Wilkey, Gláucia Vasconcelos, ed. Worship and Culture: Foreign Country or Homeland? Grand Rapids, Michigan: ​ ​ William B. Eerdmans, 2014. Yale Institute of Sacred Music. “Clergy and Musicians Creating Vibrant Worship Together.” Colloquium: Music, ​ Worship Arts 1 (September 2004): 49–53. ​

Musical Examples

Example 1 | “Savior of the Nations, Come” as gospel acclamation ​

12 Example 2 | “Savior of the Nations, Come” (melody) adapted as Kyrie ​

13 Example 2 | continued ​ ​

14

Example 3 | “Out of the Depths” as psalm tone for Lenten Sundays ​

15 Example 4 | “Christ Is Arisen” as gospel acclamation between Easter Sunday and Pentecost ​

16 Example 6 | “God Has Called Us,” a hymn festival outline by Susan and David Cherwien ​

Example 7 | “Paul Gerhardt, Hymnist,” a hymn festival outline by Susan and David Cherwien ​

17