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Glory to God Presbyterian the Presbyterian Hymnal Leader.Com Introducing the New Hymnal the Glory to God presbyterian the presbyterian hymnal leader.com Musical Genres in Glory to God This is one in a series of articles introducing Glory to God, the new Presbyterian hymnal. Introduction distinct musical styles used throughout Glory to God and suggest practical applications in singing What do “Glory Be to the Father” (#581), “Glory liturgical responses from the “Service Music” to God, Whose Goodness Shines on Me” (#582), section. and “Glory to God (Gloria a Dios)” (#585) have in common? They are adaptations of the traditional Streams of Song “Gloria Patri” text set in three different musi- The Presbyterian Committee on Congregational cal styles: a traditional four-part hymn setting, Song (PCOCS) carried forward 60 percent of the a rousing gospel song, and a rhythmic global content from the Presbyterian Hymnal (1990) to setting. Glory to God is a resource replete with Glory to God, leaving space for a generous num- texts and tunes from varied traditions that give ber of additional hymns, psalms, and spiritual our worship voice. In a recent article, “Liturgy songs chosen from among twenty thousand selec- in Glory to God,” David Gambrell described the tions reviewed for inclusion. Some songs are old worship resources in our new hymnal as “simul- favorites borrowed from other hymnals; some are taneously traditional, contemporary, ecumeni- contemporary praise music; some are new texts cal, and Reformed—or to put it another way: set as traditional hymns; others are songs from ‘old, new, borrowed, and blue.’”1 The same description applies to Hawn’s model frees us from the the musical resources in Glory to God, a collection need to pigeonhole text or music as of hymns, psalms, and spiritual songs drawn traditional or contemporary, old or from sources spanning two thousand years of new, permitting our songs to flow Christian worship. This freely from all the streams. essay will survey seven Glory to God studies are free to all registered users of the Presbyterian Leader. Copyright © 2014 www.ThePresbyterianLeader.com. 1 Musical Genres in Glory to God ecumenical and global communities; and some These seven streams, accounting for most of are psalms from our Reformed heritage. Whether the congregational song in Glory to God, are: old, new, borrowed, or blue, there is a wide spec- 1. Roman Catholic Liturgical Renewal trum of musical styles represented. 2. Classic Contemporary Protestant Hym- In order to understand and manage this astound- nody ing number of available selections, the committee 3. The African American Stream used a model developed by Michael Hawn called 4. Gospel and Revival Songs “Streams of Song,” a useful, overarching organiza- 5. Folk Hymnody tional metaphor for current congregational song. 6. Pentecostal Song Rather than describing a tune or text as traditional 7. Ecumenical and Global Stream3 or contemporary, with all the connotations those terms can carry, Hawn suggests that the vast rep- Hawn’s model frees us from the need to ertoire of congregational song available today can pigeonhole text or music as traditional or contem- be understood as coming from different streams of porary, old or new, permitting our songs to flow the church. Hawn writes: freely from all the streams. Navigating the Streams: An Overview Streams have a source, and each of the pro- posed seven streams of song comes from par- This model is useful for viewing historical hymns ticular sources of faith—a particular expression of our faith juxtaposed with newer expressions of piety. Streams come in various widths and and implies something about musical style. Below depths. Not all streams are the same. Some of is a brief description of each stream and its origin, with illustrative examples found in Glory to God. the song streams are rushing and seem to be Stream One: Roman Catholic Liturgical Renewal overflowing their banks because of the musi- reflects reform set forth by Vatican II involv- cal outpouring generated from their particular ing music for sacraments, responsorial psalms, piety source. Others are steady in their flow, lectionary, Christian year, and rituals. Since the and yet others may be either drying up or merg- mid-1960s, Protestant collections have borrowed ing with other streams. Streams meander; they heavily from this stream of song. do not flow in straight lines like canals. They The headwaters forming this stream include occasionally crisscross each other. Some some of the church’s oldest sung texts that Pres- songs fit comfortably in two or more streams. byterians continue to sing: “Creator of the Stars This fluid model stands in contrast to a of Night” (#84), “O Come, O Come, Emmanuel” pigeonhole approach where everything is (#88), and “Of the Father’s Love Begotten” (#108).4 organized neatly. The fluidity of this model They are set to plainsong (chant) and sung in reflects how these songs usually appear in unison. Recent hymns from the Roman Catholic hymnals—songs from one tradition organized Liturgical Renewal, such as “You Who Dwell in around a particular season of the Christian the Shelter of the Lord” (#43), “I, the Lord of Sea year or theological theme are placed in juxta- and Sky” (#69), “One Bread, One Body” (#530), position to other streams. Hymns demonstrate and “Seed, Scattered and Sown” (#531) typically flexibility in their liturgical possibilities. feature stanzas sung by a cantor or leader with Finally, streams are vibrant parts of creation, a unison refrain sung by the congregation. In carrying us along with them, offering constant practice, a small ensemble or choir can sing the changes in depth, rate of flow and character.2 stanzas, with the congregation joining on the Glory to God studies are free to all registered users of the Presbyterian Leader. Copyright © 2014 www.ThePresbyterianLeader.com. 2 Musical Genres in Glory to God refrain. Using a cantor or ensemble on the stanzas paired with fresh, new tunes that can accommo- is especially helpful when teaching the congrega- date strophic texts. While many of the new melo- tion one of these new songs. Organ, piano, or gui- dies still appear in traditional four-voice settings, tar provide satisfactory accompaniment. some are intended for unison singing, such as the Stream Two: Classic Contemporary Protestant ballad-style “God the Sculptor of the Mountains” Hymnody surges from the “hymnic explosion” (#5), “Ten Lepers Facing Constant Scorn” (#179), that began in Great Britain in the 1960s and spread “When at This Table” (#537), or “God, Be the to other English-speaking countries. This large, Love to Search and Keep Me” (#543). In addition steady stream features strophic texts, new met- to organ or piano accompaniment, guitar can be rical psalm settings, Scripture paraphrases, and effective with many of these melodies. prophetic hymns on justice themes.5 Hymn writ- Stream Three: The African American Stream is ers such as Mel Bringle, Ruth Duck, Fred Pratt found in virtually all Christian traditions with Green, Shirley Erena Murray, Thomas Troeger, spirituals and gospel hymns that relate biblical sto- and Brian Wren are a few of the many contribu- ries in a context of faith and hope amid adversity. tors to this stream. Its precursors include anonymous spirituals and Early texts in this stream include hymns by slave songs.6 The spirituals frequently employ a various Reformers, Isaac Watts, and the Wesleys. call and response text, that is, the first and second lines are the same and are followed by a refrain, as in Encouraging congregations to sing “Were You There” (#228) and “We Shall Overcome” from multiple streams requires (#379). Over time, the Afri- thoughtful planning, good teaching, can American community supplemented spirituals and strong musical leadership. with gospel hymns that featured rich harmonies unfolding expansively, as Standards such as “Holy, Holy, Holy! Lord God in “Hark! The Herald Angels Sing” (#127) and Almighty!” (#1), “Guide Me, O Thou Great Jeho- “Soon and Very Soon” (#384). Whether accom- vah” (#65), “When I Survey the Wondrous Cross” panied by keyboard instruments, guitar, or band, (#223), “All Hail the Power of Jesus’ Name!” these hymns require a relaxed tempo so that all (#263), and “O for a Thousand Tongues to may savor the experience. Sing” (#610) are sung in traditional four-part Stream Four: Gospel and Revival Songs includes arrangements with organ or piano accompani- songs and hymns of salvation and personal reli- ment. gious experience. These songs, products of the New Classic Contemporary Protestant Hym- eighteenth- and nineteenth-century revivals and nody texts are frequently paired with a familiar Sunday School era, were penned by writers such tune, making the hymn quickly accessible for a as Fanny Crosby and tunesmiths such as William congregation. For example, “Go to the World!” Bradbury. Although these songs continued to (#295) is set to the tune SINE SOMINE (“For All the flourish in the twentieth century, Hawn observes Saints”) and “God Is Calling through the Whis- that this stream appears to be merging with per” (#410) is sung to W ŻŁOBIE LEŻY (“Infant streams three and six, which have texts that also Lowly, Infant Holy”). Other hymn texts are focus on salvation and personal experience.7 Glory to God studies are free to all registered users of the Presbyterian Leader. Copyright © 2014 www.ThePresbyterianLeader.com. 3 Musical Genres in Glory to God Songs brought forward from The Presbyte- (#647) are several of the new additions from this rian Hymnal (1990) include gospel and Sunday- stream. Many of these songs are composed in school era songs such as “Jesus Loves Me” (#188) popular song form using a verse/refrain/bridge and “To God Be the Glory” (#634). Gospel and format. Piano and instrumental praise bands usu- Revival Songs new to Glory to God include “Shall ally accompany these songs, although a capable We Gather at the River” (#375), “Softly and Ten- organist can add support and color on the refrains.
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