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Hildebrand *UHHQ/DQH3$ FURVVDFFHQW#DOFPRUJ Handbell Artistry from the Inside Out by Kimberlee F. (GLWRULDO%RDUG Strepka—Herbert Geisler .HQW%XUUHVRQ 3DXO)ULHVHQ&DUSHU From Memory to Imagination: Reforming the Church’s 1DQF\5DDEH Music by C. Randall Bradley—Donald L. Armitage 6WHSKHQ5RVHEURFN $GYHUWLVLQJ2IÀFH 6281' )(67 &KHU\O'LHWHU$GYHUWLVLQJ&RRUGLQDWRU New Music )UHHPDQ6W 9DOSDUDLVR,1 3267 /8'( From the Executive Director—David Bielenberg DGV#DOFPRUJ $/&0%XVLQHVV2IÀFH &KHU\O'LHWHU%XVLQHVV0DQDJHU $VVRFLDWLRQRI/XWKHUDQ&KXUFK0XVLFLDQV )UHHPDQ6W 9DOSDUDLVR,1 Cover: Music, Playing the Organ, by Gentile da Fabriano RIÀFH#DOFPRUJ (c. 1370–1427). www.wikipaintings.org ZZZ$/&0RUJ $/&02)),&(56 7KH $/&0 LV D VHUYLFH DQG SURIHVVLRQDO RUJDQL]DWLRQWKDWZRUNVWRVWUHQJWKHQWKH 3UHVLGHQW $QQH.UHQW]2UJDQ SUDFWLFH RI ZRUVKLS DQG FKXUFK PXVLF RI 3DVW3UHVLGHQW /RUUDLQH%UXJK DOO1RUWK$PHULFDQ/XWKHUDQV0HPEHUVKLS ([HFXWLYH'LUHFWRU 'DYLG%LHOHQEHUJ LV RSHQ WR DQ\ SHUVRQ RU LQVWLWXWLRQ 6HFUHWDU\7UHDVXUHU .HYLQ%DUJHU ZKRVH LQWHUHVWV DUH LQ KDUPRQ\ ZLWK WKH 5HJLRQ 1RUWKHDVW 3UHVLGHQW /LQGD.HPSNH $VVRFLDWLRQ·V JRDOV $GGUHVV DOO FKDQJH 5HJLRQ 6RXWKHDVW 3UHVLGHQW 6DUDK+DZEHFNHU RI DGGUHVV VXEVFULSWLRQV DQG EXVLQHVV 5HJLRQ 0LGZHVW 3UHVLGHQW 0LFKDHO&RVWHOOR FRUUHVSRQGHQFH WR WKH $/&0 %XVLQHVV 5HJLRQ :HVW 3UHVLGHQW .LP&UDPHU 2IÀFH 'LUHFWRUVDW/DUJH 6FRWW+\VORS7KRPDV6FKPLGW 129(0%(5_ &5266 $&&(17 35(/8'( The Rev. Dr.<W``[XWdA^^[]S[`W` Jennifer Phelps Ollikainen Editor, CrossAccent IT IS GOING AWAY, YET IT ISN’T QUITE proclamation of the gospel and our ever- GONE YET. It is the question of worship changing cultural context shape our worship. “style”—often reduced to a conversation about Samuel Torvend’s work, first presented as an what music is chosen for worship. address at the April 2013 Institute of Liturgical Last year one of the most commented-on Studies at Valparaiso University, gives us a posts on the ALCM Lutheran Church Musicians different lens through which to examine these Facebook page was about the question of questions. How do our bodies engage the living worship “style.” The comments illustrated that Christ in worship? While not strictly a musical we all struggle with the difficult process of question, the assembly’s song offers a primary choosing music for worship. way the members of the assembly encounter the The comments also illustrated that we holy in sound, breath, voice, and movement. were not all using the same criteria or Ron Rienstra offers yet a third perspective as underlying assumptions for this he explores how technology serves the central task. Do we choose music based on proclamation of the gospel. He urges us to 7KHVHDUHVRPH how familiar it is to those currently discern how technology supports or distracts RIWKHPDQ\ on the outside of the church, those from the gospel. TXHVWLRQVWRDVN whom we’d like to welcome inside? Stephen Rosebrock presents a planning Do we choose music based on its guide to Ash Wednesday. The editorial board EHVLGHVWKH time-tested value to the church is seeking ways to offer useful and practical VLPSOHTXHVWLRQ throughout history? Do we choose elements that support your music ministry. music based on the theological We look forward to your feedback about this RIDFFHVVDV content or biblical imagery of the element. As always, if you have ideas for features ZHSLFNRXUZD\ words? Or do we choose music in this journal or if you would like to offer your based on how the music will shape work for consideration by the editorial board, WKURXJKDGL]]\ an emotional response? These are please e-mail me at [email protected]. LQJPXOWLWXGHRI some of the many questions to I hope this issue inspires us to challenging ask besides the simple question of conversations about how we choose music PXVLFFKRLFHV access (print or electronic) as we for worship by engaging the deeper questions pick our way through a dizzying and theological foundations of worship. The multitude of music choices. community of ALCM gives us the gift of wise and That Facebook conversation and Nancy talented conversation partners in this important Raabe’s Take Note article observe that these work. It was your conversation that sparked questions are active and lively in the church, in this issue theme, and I look forward to how we our minds, and in church music conferences. continue the conversation into the future. Kent Burreson moves us beyond a simplistic question of “style” toward exploring how the tension between the unchangeable &5266 $&&(17 _129(0%(5_ :::$/&025* 7$.( 127( ZZZV[FKX 0XVLFRIWKH&KXUFK$Q(QGWR'LYLVLRQ" )DOO&RQIHUHQFH5HSRUW by Nancy Raabe TO MANY OF US, SUMMER MEANS he tried to establish an “axis of mandate” that CONFERENCES. It is that happy time of the indicates which parts of the liturgy are divinely year when we look forward to being challenged, mandated, which are the product of human stimulated, and inspired by gatherings of fellow decision, and which are mixed (or somewhere workers in the kingdom. It is a time to share in between). In his chart, music appeared in both ideas and experiences, to drink in the wise the “mixed” and the “human” columns: the use words offered by mentors and peers, to join of music, he noted, is mandated in both the Old together as the body of Christ in worship that and New Testaments. But what we play, how we summons from us the very best we can offer play it, and what instruments we use have no using the gifts God has given us. We return such mandate, so humans are left to make those home refreshed, renewed, and restored. decisions—putting us, it would seem, right back Yet in the Upper Midwest, as hearty souls where we started. brace for the icy blasts that are just around the Other presenters were Kent Burreson, dean corner, mid-autumn has also come to be a time of the chapel at Concordia Seminary, St. Louis of great vocational enrichment. We owe this to (see his similar article in this issue); conductor a pair of well-established conferences: the Vi and music educator Barbara Resch, who talked Messerli Memorial Lectures in Church Music at about how we are shaped by the music we listen Concordia University Chicago, held each year to and helpfully pointed out that music designed during the third week in October, and the Good with an affect (emotion) in mind has no place in Shepherd Institute at Concordia Theological worship; and composer Stephen Johnson, who Seminary, Fort Wayne, IN, which takes place two gave us an engaging foray into the theological weeks later at the beginning of November. shortcomings of praise songs (the product of The music of the church was the subject of the sentiment-steeped pop style) and cautioned close scrutiny at both events. It was addressed composers to strive to “communicate the poetry pointedly by Paul Westermeyer in his keynote but to give our modern listeners something to address at the Lectures, and less directly at the grab onto,” given that they are writing for ears Good Shepherd Institute, whose theme this year dulled by popular culture. was “An Open Conversation on Music in the Westermeyer’s keynote talk at the Lectures Church: A Look at the Elephant in the Room.” in Church Music was titled “Lutheran Church At Fort Wayne, Thomas Winger—who is Music in America: Roots and president of Concordia Lutheran Theological Identity, 1864 and 2014” (reflecting Seminary, St. Catharines, Ontario, and who Concordia University Chicago’s served on the liturgy committee for 150th anniversary next year; it will Lutheran Service Book —spoke on also be the 50th anniversary of the music in the liturgy. In “What’s Right Lectures in Church Music). Yet this was no dry for the Rite? Theological Discernment historical address. Rather, it opened before us in Matching Music to the Liturgy” the sometimes tortured and sometimes inspired 129(0%(5_ &5266 $&&(17 pathway that has led the church and its music assumption that there are different brands that to the sadly divided position in which we now will get more customers to buy your product.” stand. And best of all, Westermeyer proceeded Yet people know on a deep level they are to lay before us a clear road forward with not being nourished by worship that is based signposts by which we may recover not only on personal preference, he continued, but they our identity but also our sanity. don’t know how to express it. “We have set up a He began in the morass of 1864 when one dishonest system that denies that disappointment would have been hard-pressed to distinguish exists,” Westermeyer observed.