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<W``[XWdA^^[]S[`W`
The Rev. Dr. 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?
Do we choose music based on its
Stephen Rosebrock presents a planning
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

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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. “One of the
Lutheranism from Methodism. In the ensuing church’s great temptations is to pretend to
years a return to Lutheran confessionalism rejoice, a forced spontaneity that music can
gathered steam, leading to Harriet Reynolds attract people like TV commercials—but never
Krauth’s landmark Church Book (with music) admitting there is frustration.”
in 1872 and then the uniting influence of the But we know there is always hope. “Debates
Common Service in 1888. This confessional have required us to think more deeply and
revival, Westermeyer affirmed, was centered critically about worship,” he said. In each time
on “congregational and choral song period the challenge is taken up, and the roots
intrinsically linked by alternation” and was of our identity have been re-examined. “As the
“conceived around word, font, and table, and 19th century indicated, where roots and identity
as the song of the royal priests in continuity are strong, where identity has integrity, balance
with the whole church.” is found. In this way the ship moves forward and
Westermeyer moved us through the the church serves the world well.”
neoclassicism of Distler and Bender and the So what might our road map look like?
music of such composers as Hillert, Bouman, Westermeyer urged us to:
Pelz, and Schalk—who were identifiably of • Reinforce the conviction that worship takes
their age but also strongly rooted in history— place in continuity with the whole church and
to the 1960s when the civil rights movement that we, as members of the church, share in
brought strong reactions to the surrounding its song.
culture in which people “abandoned worship • Look to the liturgical resources that have been
and took to the streets.” Two decades later, bequeathed to us, through trial and error, across
however, the church found itself trying to align history. “We are not starting from scratch. We
with the culture in the belief that that was what are called to strong singing, strong preaching,
would attract more people. The presumption strong celebration of the sacraments.”
was that “people will sing easily that which • Be aware of ongoing sectarian challenges
they know well.” including the “like/dislike” that goes into
Projecting ahead to 2014, Westermeyer worship planning; of pastors who conceive
continued, we live in the wake of division, of the church as a noncollaborative business
beset by unresolved disputes extending back model; of music that tries to market an agenda;
into the 19th century and mired in disagreement and of music that is really entertainment.
on how or whether the church should respond • Be prepared to respond to these challenges:
to the surrounding culture. As a result, he said, remember that “the cloth of the liturgy protects
“We have split. We have taught ourselves how us from idiosyncratic tendencies and the
to hate one another on the basis of differing tyranny of leaders”; remember that “pastors
musical styles.” are not CEOs; a good rule is that they are
Exacerbating this, Westermeyer said, is the to be silent unless the liturgy calls them
way social media are being used for personal to speak or sing”; remember that church
branding. This reinforces the culture of “like” musicians in their settings are cantors, not
that has invaded the church. “Choosing hymns entertainers or impresarios; and remember
has become about what we like. And we’ve that “the music of the church is fundamentally
divided the intergenerational body of Christ into vocal and communal.”
pieces [family service, seeker service] under the Continued on page 7

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 &+2586

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by Stephen Rosebrock

ASH WEDNESDAY MARKS the beginning of Lent. This 40-day period before Easter
began around the 4th century. Penitents would enroll for a period of public penance
and eventually public reconciliation. They would wear special garments and
sprinkle themselves with ashes. By the end of the first millennium public penance
had fallen out of use; the imposition of ashes was retained, but was now applied
to all the faithful. Following the Lutheran Reformation the Imposition of Ashes was
suppressed, but the rite was brought back into use with the implementation of
Lutheran Book of Worship and Lutheran Worship in the late 1970s and early 1980s.
The rites for Ash Wednesday in the more recent Lutheran Service Book and
Evangelical Lutheran Worship have similar contents, although they occur in a different
order in each rite.
LSB ELW
Imposition of Ashes Penitential Psalm, Kyrie, Litany, or
Confession & Absolution Hymn
Kyrie Greeting & Salutation
Salutation & Collect Prayer of the Day
Joel 2:12-19 Joel 2:1-2, 12-17
Psalm 51 Psalm 51 or Psalm 103
2 Corinthians 5:20b–6:10 2 Corinthians 5:20b–6:10
Verse: Joel 2:13 Gospel Acclamation: Joel 2:13
Matthew 6:1-6, 16-21 Matthew 6:1-16, 16-21
Hymn of the Day Sermon
Sermon Hymn of the Day
Creed Invitation to Lent
Prayer of the Church Confession
Offering Imposition of Ashes
Offertory Declaration of Grace
Service of the Sacrament Service of Communion

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Both LSB and ELW rubrics indicate that the service begins in silence. This marks
the solemn character of the day. Although neither rite specifies one way or the
other, the best practice would be to exclude a postlude as well. This said, organ
accompaniment of congregational singing needs to be soft, as some may suggest. The
texts and the resources available on individual instruments will govern registrations
used for this service. However, there are ample opportunities for the inclusion of
choral music to enrich the service, music that underscores the penitential theme for
Ash Wednesday. Following are some suggestions.

129(0%(5_ & 5266 $ &&(17 

 Columba Kelly. Arnold von Brick) who arranged Martin Luther’s
Be Merciful, O Lord in Lectionary Psalms penitential hymn based on Psalm 130. There
for Lent and Easter. are also three additional settings in Lutheran
Cantor/choir and congregation. Choral Anthology: The 16th Century (Concordia
GIA (G-6056). [97-7347]) composed by Matthaeus Le Maistre,
In this responsorial setting of Psalm 51 the Benedictus Ducis, and Caspar Othmayr. These
refrain is a chant; the psalm verses are set settings can be used as independent choral
to a double psalm tone in mode 3. This is anthems during the Imposition of Ashes, the
the appointed psalm of the day in both LSB offering, or distribution; or select stanzas could
and ELW and is also recommended for the be used with congregational singing. This is the
Imposition in both rites. ELW also recommends appointed hymn of the day in LSB. Note that
it as Gathering Music. this is one of the more difficult hymns in the
hymnal. Care should be taken in teaching it to
Ralph C. Schultz. the congregation. It could be sung throughout
Create in Me. the preceding Lent so that it does not inhibit
SATB, organ. the Ash Wednesday service by presenting a
MorningStar (MSM-50-3034). musical hurdle.
This beautiful choral setting of Psalm 51 would
be best used as an anthem during the offering Kyries for Choir.
or distribution rather than as the Psalm of the Ed. Carl Schalk.
Day. It is important that the entire psalm or at Concordia (98-4023).
least part of it be sung by the congregation. This collection of six different Kyries for the
Mass ranges from unison chant from the Liber
David von Kampen Usualis to SATB settings composed by Michael
Forgive Us, Renew Us in Scriptural Praetorius and Hans Leo Hassler. The LSB
Meditations. rite uses a Kyrie following Confessional and
SATB, soprano descant, keyboard or guitar. Absolution, and the ELW rite suggests it as one
Concordia (98-4151). of the options for the Gathering Rite. One of
This is a brief, Taizé-like composition. The LSB the chant settings would be a suitable choice
rite allows the Rite of Corporate Confession for Ash Wednesday.
and Absolution to be used. In this rite penitents
may be absolved individually, in which case the Lent Prose.
choir could sing this chant throughout the time Chant.
where absolution is given. The chant is simple The Lent Prose, otherwise known as Attende
enough that the congregation could join in. Domine, is from the Liber Usualis. There is a
transcription of the Latin chant on the Choral
Harrison Oxley. Public Domain Library (CPDL #29677) on the
Forty Days and Forty Nights. Internet. There is also an English and Latin
SATB, organ. version in Ash Wednesday to Easter for Choirs
Distributed by Mel Bay Publications (MB97597 A). (ed. Lionel Dakers and John Scott, Oxford
This is a typical anthem setting of an English University Press [978-0-19-353111-6]), with an
hymn tune. Oxley uses his own tune and sets organ accompaniment by Scott. The two Latin
it to the text of G.H. Smyttan and Francis Pott. editions are compatible with one another.

From Depths of Woe I Cry to Thee. Richard Farrant.

Arr. Bret Heim. Hide Not Thou Thy Face.
SATB, organ. SATB, unaccompanied.
Concordia (98-3879). CPDL (multiple files).
Heim provides a compilation of two 16th-
century Lutheran composers (Johann Walter and

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Benjamin M. Culli. Kenneth T. Kosche.
Oh, the Height of Jesus’ Love. Return to the Lord.
SATB, horn, organ. Two part, equal or mixed, accompanied.
Concordia (98-3941). Concordia (98-3798).
This is a setting of William McComb’s text Chief of This is a simple choral setting of Joel 2:13, the
Sinners Though I Be; the composer has re-ordered Gospel Acclamation in both the LSB and ELW rites.
the stanzas. Culli uses the tune GETHSEMANE as the
basis for both the choral lines and horn descant Carl Schalk.
but with significant development. The Lord Is Righteous in Lamentations of
Jeremiah.
Thomas Tallis. SATB unaccompanied.
Purge Me, O Lord, from All My Sin. Concordia (98-3601).
SATB, unaccompanied. This brief setting of Lamentations 1:18 could
CPDL (#02781). be used as additional choral music during the
Imposition of Ashes, during the offering, or
David von Kampen. during distribution.
Remember That You Are Dust in
Scriptural Meditations. Stephen Rosebrock
SATB unaccompanied. Kantor
Concordia (98-4151). Hope Evangelical Lutheran
This is a setting of Genesis 3:19, the versicle used Church
in the Imposition Rite in both LSB and ELW. Saint Louis, MO

0XVLFRIWKH&KXUFK$Q(QGWR'LYLVLRQ"continued from page 4

• Celebrate the Eucharist weekly and the greater Jonah bounding/From the grave,
prayer offices during the week with the His three-day bed,/Wins the prize:/Death’s
fullness of our Lutheran heritage; support demise—/Songs of triumph fill the skies”). The
the pastoral office; support collaborative hymn festival at the Good Shepherd Institute
discussion; do the work of the church to featured a string of typically creative, elegantly
the glory of God and resist anything that crafted settings by Kantor Kevin Hildebrand,
pretends to be a silver bullet; resist defining including a joyous processional for trumpet and
worship by instrumental style; resist the organ prefacing “Rejoice, O Pilgrim Throng” in
temptation to be exclusively local and which one could vividly see the high-mounted
contextual; support the use of the Revised festal banner waving and sparkling in the sun.
Common Lectionary; and trust the Holy
Spirit to sustain the church. Nancy Raabe
Both conferences included outstanding Composer, author, and church
hymn festivals. At the Lectures the music of musician
Walter Pelz was featured, with Pelz heroically Milton, WI
holding forth at the organ for the entire service. Editorial board, CrossAccent
Perhaps most affecting was his magnificent
setting of “All the Earth with Joy Is Sounding,”
which sent into heavenly orbit Stephen Starke’s
soaring images of the resurrection (“He, the

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by Kent Burreson

“STYLES OF WORSHIP.” The phrase Creek Community Church, South Barrington,

undoubtedly provokes visceral reactions— IL) regarding contemporary styles:
both positive and negative—for pastors, Contemporary worship endeavors
church musicians, and worship leaders. In to use modern instrumentation (e.g.,
many ways it was the phrase that galvanized guitars, drums, synthesizers, percussion,
the church’s worship life in the 1990s. As one horns), contemporary music styles (e.g.,
way of attending to the diversity in modern rock, jazz, hip-hop, rap, gospel), and
culture, the foray into styles of Christian freshly written or arranged songs (both
worship spawned such new ecclesial industries new choruses and fresh treatments of
as Christian Copyright Licensing International traditional hymns) in the language of this
(CCLI) and also spawned a new vocabulary to generation to lead people into authentic
describe worship, including such phrases as expressions of worship and a genuine
“contemporary,” “blended,” “traditional,” and experience of the presence of God.3
“Hip-Hop Eucharist.”1 In Lutheran circles many While Horness does not limit a contemporary
articles and books fostered the discussion about style of worship to musical styles, both the
styles of worship, including David Luecke’s quote and the title of his article, “Contemporary
Evangelical Style and Lutheran Substance: Music-Driven Worship,” do betray where his
Facing America’s Mission Challenge and The focus and direction lie. Contemporary worship
Other Story of Lutherans at Worship: Reclaiming styles have been driven by questions about
Our Heritage of Diversity.2 what style of music is most attractive to those in
Often conversations and debates about various generational groups, starting with the
styles of worship have focused almost Baby Boomers.
exclusively on styles of worship music. Notes In certain regards the preoccupation
Joe Horness (former worship leader at Willow with music in questions about style is

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justifiable. Music serves as a primary mode of perhaps even post-modern/emergent service.
communication and participation for human While these are often seen primarily from the
beings in worship. The emotive value of music music perspective, there is much more at stake:
is significant and heightens the experience of how does all that the church does in worship
engagement with God and his community, the reflect its grappling with a wonderfully,
church, in worship. Music multifaceted cultural milieu?
permeates all cultures, and :RUVKLSTXHVWLRQV Worship questions no longer
the music to which we listen can be framed solely within
and sing shapes our human QRORQJHUFDQEH the paradigm of styles of
perception and what it means IUDPHGVROHO\ZLWKLQ worship. The questions
to live our lives. Music is a vital have shifted to the broader
component in the discourse WKHSDUDGLJPRI dialogue between tradition
of faith and the experience VW\OHVRIZRUVKLS and context, an eternal gospel
of living as a baptized child in a multicultural world.
of God. Whether an organ 7KHTXHVWLRQV My personal experience
or an electric guitar is used KDYHVKLIWHGWRWKH speaks to the drift of style
in worship is an important to the periphery. I arrived
question that has implications.
EURDGHUGLDORJXH at Concordia Seminary in
The organ has proven EHWZHHQWUDGLWLRQ St. Louis as professor in
its versatility in leading 2000. The issue of style was
congregational song for
DQGFRQWH[WDQ still very much alive in the
centuries. The guitar, while HWHUQDOJRVSHOLQD church’s conversation. That
less ably equipped to serve
PXOWLFXOWXUDOZRUOG conversation often focused
that purpose alone, captivates on music, but involved other
modern sensibilities about music to which one things such as the structure of the service (did
can easily listen and in which one can easily it follow the received Western rites), presiding
participate. The question of musical style is an style, worship architecture, the use of electronic
important question. media, and the like. Concordia Seminary
Musical style is a question that attracts much offered only one style of worship in its daily
disagreement, but it is not the only question. chapel services: traditional, hymnal-structured
Questions of style are not shaped solely by worship led by an organist. While students have
the issue of particular musical styles or usages. raised the issue of styles of worship and often
Ultimately styles of worship involve a plethora advocated strongly for or against particular
of things including the sacraments, the role of styles during my earliest years as a professor,
the word and preaching, prayers, dialogue, the language about worship has definitely
acts of reconciliation, postures and gestures, shifted over the past six or seven years.
hospitality, dress and vestments, liturgical Discussions in worship classes are less vitriolic
environment and architecture, exhortation, than they once were. Instead of focusing on
witnessing, and the like. Issues of style push the question of which style of worship might
the church to consider the entire contextualized most effectively make a congregation attractive
setting of worship. But is the concept of style to the unchurched, students are now more
sufficient to address the underlying questions engaged with asking: How can worship be
of contextualization? Lutheran in a multicultural environment? How
Now that we are into the second decade can we engage the traditions of the church,
of the 21st century, one wonders whether and of Lutheranism in particular, in the current
the profuse discussion of styles of worship cultural and ecclesial context? What do worship
is dead. Could it have been purely a cultural services look like that are for the sake of the
fad? The phrase certainly is still in use, and baptized? What does a worship setting look
many Lutheran churches offer more than one like that is for the sake of the mission of the
style of worship service on any given Sunday: church to the unbaptized? How can the word
a traditional, blended, contemporary, and and sacraments be at the center of Lutheran

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 worship and best give shape to current cultural 7KH&XOWXUDO)DG7KH)DGLQJRIWKH6W\OH
forms? These questions push us well beyond 4XHVWLRQ
questions of musical style, instrumentation, and Cultural, theological, and ecclesial shifts
performance, and they transcend the limiting have precipitated a movement to the periphery
perspective of styles of worship. They reflect of debates over styles of worship and music.
the wonderful complexity of the cultural matrix As already noted, there have been significant
in which worship is enacted and embedded. cultural shifts for the church in North
America over the past 50 years. The lens of
7KH OHQV RI VW\OH SUHVXPHV D IDLUO\ À[HG style presumes a fairly fixed, structured, and
coordinated relationship between culture and
VWUXFWXUHG DQG FRRUGLQDWHG UHODWLRQVKLS the church’s worship. But the cultural shifts
EHWZHHQFXOWXUHDQGWKHFKXUFK·VZRUVKLS have been so momentous as to create a seismic
%XWWKHFXOWXUDOVKLIWVKDYHEHHQVRPRPHQ fracture in the tidiness of that relationship. As
David Kinnaman notes regarding the shifts
WRXV DV WR FUHDWH D VHLVPLF IUDFWXUH LQ WKH in culture and their impact on the Mosaic/
WLGLQHVVRIWKDWUHODWLRQVKLS Millenial generation (born 1984–2002; the
eclectic generation):
But is the issue of styles of worship The next generation is so different
really dead? Might not the question of style because our culture is discontinuously
in worship be a perennial question for the different. That is, the cultural setting
church? In Evangelical Style and Lutheran in which young people have come of
Substance, Luecke made the negotiation with age is significantly changed from what
culture sound very simple, like a mathematical was experienced during the formative
equation. Negotiating culture is a matter of years of previous generations. In fact I
substance and style: believe a reasonable argument can be
Congregations or church bodies have made that no generation of Christians
as their substance the part of their has lived through a set of cultural
identity that has to remain unchanged. changes so profound and lightning
Style can be identified with how a fast. . . . The last fifty years have
church expresses that substance. been a real-time experiment on the
Style can and does change over the next generation, using free markets,
years, just as languages and cultures media, advertising, technology,
do. Adopting new styles of church politics, sexuality, and so on as our
expression amounts to adapting to lab tools. The experiment continues,
changes in culture.4 but we can already observe some
Mix Lutheran substance (at the heart of of the results: Fluidity—Diversity—
which is the unchanging gospel) and style in Complexity—Uncertainty.5
the proper proportion and out pops a Lutheran The fluidity, diversity, complexity, and
service that fits the cultural context. Admittedly, uncertainty of the cultural experience everyone
Luecke’s books do not actually argue that the has undergone means the paradigm of worship
negotiation with culture is this simplistic. But styles is simply insufficient as a cultural and
conceiving of cultural engagement simply ecclesial category from which to address
from the perspective of style inordinately worship in the 21st century. Styles presume
makes a challenging question a simplistic one. that Christians (and the unchurched) live within
From that perspective the question of style in some fairly uniform cultural paradigms. But the
worship indeed is dead. But when this question cultures around us are so richly diverse that
points to the larger question of how the church various styles of worship cannot capture that
manifests its ecclesial identity within a diverse cultural diversity.
cultural context, the question of style is very Styles of worship also were developed
much alive. The church’s engagement with to make the church’s worship attractive to
culture is a perennial question. the unchurched who were not attuned to the

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church’s worship culture. The various styles of respectively. Both hymnals represent Lutheran
worship were grounded in particular assumptions worship that is grounded in the primary
about missiology. Those assumptions included acts of God through God’s Word—baptism,
operating within the attractional and consumerist proclamation of the word, and the supper of the
paradigm of ecclesiology. Here the assumption Lord, and the primary response of the people
is that “to bring people to Jesus we need to first of God in prayer, praise, song, and lament.8 As
bring them to church.”6 These attractional and a result, important questions about the styles of
consumerist assumptions have been overturned music, communication, preaching, hospitality,
as the church has encountered a society and leadership increasingly are framed within
increasingly disassociated from and antipathetic the context of worship that is centered on
toward the church. New forms of evangelism God’s actions as revealed through the biblical
and new approaches to missiology have arisen narrative and experienced in a symbolically
that question the assumption that the church’s enriched ritual context.
worship is the primary ground for evangelism These changes are encapsulated in the move
and that the worship service is the primary away from a contemporary, church growth
agent for attracting the unchurched. These new response to the de-churched and unchurched
models, says Alan Hirsch, demand that we and toward an emerging Christian response
Engage our culture on its own turf to the church’s life and witness. The emerging
(missional), rather than expecting church, which often challenges contemporary
them to come to ours (attractional). . . . responses to church life and worship, doesn’t
Missionary questions . . . require that approach the question from the perspective
we pay attention to the existential issues of an attractive style, but from the perspective
confronting a people as they experience of forming and shaping authentic disciples
those issues. And that we try to shape of Christ. For Jim Belcher, author of Deep
and form communities of faith so that Church: A Third Way Beyond Emerging
they can become an organic part of and Traditional, the emerging church has
the cultural social fabric of the people prompted serious engagement with worship
group we are trying to reach. . . . We that forms faith-seeking disciples in substantive
concluded that the missional church ways.9 He describes worship at congregations
must seek to redeem the social pattern/ affected by the emerging church approach as
rhythm of such spaces—reinvesting worship with depth: worship that is ancient
it with religious significance—and and new; represents the biblical drama; is
express what it means to be a people filled with joy and reverence; involves the
of God [in that context].7 priesthood of all believers; contains profound
Worship in this re-envisioned missional but accessible sermons; is focused around
context is concerned with the formation of weekly communion; and is for believers but
disciples/missionaries within a particular is hospitable to unbelievers. More than the
cultural context and not solely with an attractive question of the most effective style, what is at
and desirable style of worship. Culture gives stake is worship that forms and shapes disciples
shape to worship that forms disciples who are as the body of Christ for life in the world.
at home in culture. Yet they also live in contrast
to and, when necessary, against the culture as (QJDJLQJWKH&XOWXUH0RYLQJ3DVW6W\OH
those formed by the church’s worship to live The shifts that have occurred in Christian
as disciples. worship since the Second Vatican Council of the
New ecumenical and Lutheran perspectives Roman Catholic Church have been profound for
on worship have given shape to a renewed all Christian traditions. Whether considering the
theology of worship, which is represented in liturgical movement across Christian traditions
the new hymnals of the Evangelical Lutheran and the renewal of worship and hymnbooks,
Church in America (ELCA) and The Lutheran or the interaction between southern and
Church—Missouri Synod (LCMS), Evangelical northern hemisphere Christianity, or the
Lutheran Worship and Lutheran Service Book, questions raised by contemporary approaches

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 to worship on the basis of generationally (1971–2011); Lead Me, Guide Me (2 editions;
focused styles, all have had one thing in 1987, 2012); five volumes in the Gather
common: the intention to engage the diverse series (1988–2011); Hymnal for Catholic
cultures standing on the doorstep of Christian Students (1988); Hymnal for the Hours
churches. In a 2001 article titled “Beyond (1989); Hymnal Supplement 1991 (1991);
Style,” John Witvliet (director of the Calvin RitualSong (1996); Catholic Community
Institute of Christian Worship) noted that many Hymnal (1999); Singing Our Faith (2001);
factors led to the profusion of worship styles, Oramos Cantando/We Pray in Song (2005);
including the liturgical movement, the church and Cross Generation (2009); and
growth movement, the hymn renaissance, • Liturgical Press: The Collegeville Hymnal
the cross-cultural sharing of resources, the (1990); and Sacred Song (2004).
charismatic movement, the inclusion of Lutheran churches exhibit a similar proliferation,
children in worship, technology, and liturgical here grouped by denomination:
eclecticism.10 These factors, which originally • Association of Free Lutheran Congregations:
propelled the move toward a plurality of styles Joyful Sounds: The New Children’s Hymnal
in worship, also prompted a more substantive (1977); and The Ambassador Hymnal (1994);
and detailed engagement with culture that has • The Lutheran Church—Missouri Synod:
moved beyond the question of style. Three Lutheran Worship (1982); All God’s People
of the factors Witvliet isolated in particular Sing! (1992); Hymnal Supplement 98 (1998);
have facilitated this localized, congregational and Lutheran Service Book (2006);
negotiation with culture: the proliferation of • Evangelical Lutheran Church in America:
hymns, hymnals, and worship resources (the Lutheran Book of Worship (1978); With
liturgical movement and the hymn renaissance); One Voice (1995); and Evangelical Lutheran
localized worship production capabilities Worship (2006);
(technology and liturgical eclecticism); and the • Evangelical Lutheran Synod: Evangelical
global sharing of worship resources through Lutheran Hymnary (1996); and
the World Wide Web or Internet (cross-cultural • Wisconsin Evangelical Lutheran Synod:
sharing of resources and technology). All three Christian Worship: A Lutheran Hymnal (1993);
factors together entail a move beyond style and Christian Worship Supplement (2008).
to specific engagement with ecumenical and And these are just two traditions in the
global expressions of Christian worship and United States! The provision of and availability
the diversities of cultural expression. We have of hymnals to congregations, pastors, and
access to and are influenced by an incredible music leaders has opened the floodgates of
variety of worship resources from a great worship resources that can be accessed, thus
diversity of cultures. confounding the question of distinct styles.
It has nearly become a platitude to say Along with this hymnal proliferation, the
that in the 20th and 21st centuries there has advent of the personal computer and printer
been an explosion in hymn writing, and that has enabled congregations to produce and
these centuries have been the most productive print their own worship resources in-house. For
in hymnic composition. Yet the evidence is the first time, worship folders can be produced
the hymnals.11 As examples, first consider the that are completely contextualized to one
primary publishing houses associated with the particular congregation and its setting, a style
Roman Catholic Church in the United States.12 all its own. Broad style descriptions no longer
These are the hymnals published since 1970 by have viability, because a congregation’s ritual
those publishing houses: practices, textual choices, and musical genres
• OCP Publications: Flor y Canto (1989); Rise can be unique to that particular congregation
Up and Sing (1992); Journeysongs (1994); at any particular worship service/event. Just
Glory and Praise (1998); Spirit & Song as the printing press further decentralized
(1999); One Faith, Una Voz (2005); and worship on a regional basis in the 16th
yearly missal and music publications; century, so the personal computer and printer
• GIA: four volumes in the Worship series have decentralized worship on a local basis

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and created the possibility of worship styles through the Internet is the development and
potentially equal to the number of global growth of CCLI. The idea was developed in
congregations. While this development raises 1984 at Bible Temple church in Portland,
serious challenges to ritual unity across regional OR, by music minister Howard Rachinski,
and denominational lines, it does enable and it was incorporated in 1988 as Christian
congregations to grapple with the culture that Copyright Licensing, Inc. (“Inc.” was later
surrounds them and it gives shape through changed to “International.”) A year later it was
worship to the lives of those who comprise the serving 9,500 congregations; it now serves well
body of Christ in that place. over 200,000. Through its licensing services,
Finally, the most significant factor in the congregations can access and download for
cultural shifts has been the development use over 300,000 worship songs, essentially all
of the World Wide Web or Internet. This of the contemporary worship songs that have
development has revolutionized worship, been published.13
allowing congregations, pastors, and worship CCLI usage over the years manifests the move
leaders unprecedented access
-XVW DV WKH SULQWLQJ beyond style to engage the
to global and denominational culture in more substantive
worship resources at the touch SUHVVIXUWKHUGHFHQ ways. Comparing the top 25
of a keyboard. In a matter of WUDOL]HGZRUVKLSRQD Christian songs in terms of
seconds, in so far as language usage from CCLI in the years
is not a barrier, one has access UHJLRQDOEDVLVLQWKH 1992 and 2012 bears this
to worship materials from the WK FHQWXU\ VR WKH out. In 1992 the orientation
World Council of Churches, of the songs was toward
the Vatican, Orthodox and SHUVRQDO FRPSXWHU what has been labeled
mainline Protestant churches DQGSULQWHUKDYHGH “Praise and Worship” music.
throughout the world, and As defined by the editors of
evangelical and Pentecostal FHQWUDOL]HG ZRUVKLS the Word Music collection,
churches from sub-Saharan RQDORFDOEDVLVDQG Praise and Worship music
Africa to Brazil to India. is “congregational song
Technology has fed a
FUHDWHGWKHSRVVLELO that usually incorporates
liturgical eclecticism in which LW\ RI ZRUVKLS VW\OHV harmonies and rhythms.
congregations increasingly
became willing to draw from
SRWHQWLDOO\ HTXDO WR Its lyric usually utilizes a
first person expression of
a variety of resources to WKHQXPEHURIJORE praise to God for who he
construct worship services.
DOFRQJUHJDWLRQV is. . . . The melody supports
Such resources could be as the heart of the lyric by its
wide-ranging as the hymn “Let All Mortal Flesh emotionally expressive contour and design.”14
Keep Silence” (from the 5th century liturgy of A good example is the most utilized song as
St. James) to Keith Getty and Stuart Townend’s reported in 1992, “He Has Made Me Glad,” by
modern hymn “In Christ Alone” to Chris Tomlin’s Leona Von Brethorst:
midrash on Amazing Grace, “Amazing Grace, Chorus
My Chains Are Gone.” Pastors, musicians, He has made me glad,
worship leaders, and congregations will He has made me glad,
continue to use the Internet to access, develop, I will rejoice for
and share worship resources. Those who plan He has made me glad.
worship within this richly multifaceted culture He has made me glad,
are called to be discerning and increasingly He has made me glad,
intentional about the musical setting, content, I will rejoice for
purpose, and meaning of worship services and He has made me glad.
practices for the sake of the church’s life. Stanza
A prime example of the accessibility of I will enter His gates
worship resources and hymnody and songs With thanksgiving in my heart,

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 I will enter His courts with praise. The simple praise element is present
I will say this is the day in the ending. But the song itself might
That the Lord has made, be considered in the tradition of Christian
I will rejoice morning hymns. It develops a narrative from
For He has made me glad.15 morning to evening, from the beginning
Repetitive and simple, the song allows of life to the end of time. It praises God
the individual believer to rejoice in the Lord. for the morning; reflects confident faith in
However, the language lacks references to one’s daylong singing; praises the Lord for
the biblical narrative, to Christ, to the Trinity, the Lord’s love, mercy, and kindness; and
to salvation, or to any of the fundamental concludes in stanza three with an expression
teachings of the Christian faith, except a subtle of eschatological hope. Although it does
allusion to creation: “The Lord has made me.” not reference Christ or the Trinity or other
It is a simple song of praise. foundational themes of the Christian faith,
In contrast, the top two songs for 2012 it possesses significantly more theological
manifest a decided shift in content and, I substance than a simple praise hymn.17
would contend, a different understanding The second-most-used song in 2012, “How
of the church’s engagement with a changing Great Is Our God,” was written by Ed Cash,
culture. The top song is “10,000 Reasons Jesse Reeves, and the most prolific Christian
(Bless the Lord)” by Matt Redman and Jonas worship song writer of the last decade, Chris
Myrin. While also a praise song, it is not Tomlin. Six of Tomlin’s songs appear in the
simple in content. 2012 top 25. Even more than “10,000 Reasons,”
Stanza 1 this song exhibits the shift toward engagement
The sun comes up, it’s a new day dawning; with a Christian culture that is woefully ill-
It’s time to sing Your song again. informed both about the biblical narrative
Whatever may pass, and whatever lies before me, and about fundamental biblical themes and
Let me be singing when the evening comes. a Christian culture that is awash in a secular
Stanza 2 culture to which the biblical narrative and
You’re rich in love, and You’re slow to anger. gospel story are at minimum severely distorted,
Your name is great, and Your heart is kind. if not completely foreign. The song praises God
For all Your goodness, I will keep on singing: with the repeated title refrain. But it does so in
Ten thousand reasons for my heart to find. the midst of stanzas that highlight the contrast
Chorus of darkness and the light of God; the power of
Bless the Lord, O my soul, God’s voice; God’s eternity; God’s providence;
O my soul, and that God is Alpha and Omega, Three-in-
Worship His holy name. One, Father, Son, and Spirit, and the Lion who
Sing like never before, will lie down with the Lamb.
O my soul. Chorus
I’ll worship Your holy name. How great is our God,
Stanza 3 Sing with me.
And on that day when my strength is failing, How great is our God,
The end draws near, and my time has come; And all will see,
Still my soul will sing Your praise unending: How great, how great is our God!
Ten thousand years and then forevermore Stanza 1
Ending The splendor of a King,
Worship Your holy name, Clothed in majesty.
Lord, I’ll worship Your holy name. Let all the earth rejoice,
Sing like never before, All the earth rejoice.
O my soul. He wraps Himself in Light,
I’ll worship Your holy name, And darkness tries to hide
Worship Your holy name, And trembles at His voice,
Worship Your holy name.16 And trembles at His voice.

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 Stanza 2 matrix for congregational life and worship. Yet,
Age to age He stands as Witvliet observed in 2001,
And time is in His hands. Many congregations are discovering that
Beginning and the End, while they have obsessed about stylistic
Beginning and the End. identity in worship, they have failed to
The Godhead Three in One, cultivate conversations about its deeper
Father, Spirit, Son; meaning. Style has taken precedence
The Lion and the Lamb, over content. These congregations are
The Lion and the Lamb. discovering the need for a winsome, well-
Bridge grounded, and well-articulated vision for
Name above all names, the purpose of worship.20
Worthy of all praise. While we are showing signs of moving
My heart will sing beyond the question of using a particular style
How great is our God!18 of worship toward engaging the multiplicity of
While simple praise songs are still in use by cultures with worship that is richly meaningful
congregations that offer different styles of worship, for Christian faith and life, the postmodern
the move toward increased use of biblically and environment and the attendant consumerist
theologically more substantive hymns represents culture has created the worship mall in which
a move beyond an appealing and engaging style congregations shop for an endless variety of
toward an intentional and deeper engagement with options for use in public worship.21 Such
a culture that is estranged from the biblical narrative. liturgical and worship consumerism can
Is this proof that we are moving beyond style to move toward liturgical and ecclesial nihilism.
deeper meaning and greater intentionality about Everything is available for the choosing, but
context and culture in worship? Jim Belcher, in his increasingly the freedom of choice becomes
assessment and critique of the emerging church, one’s god and the mishmash of choices
would respond in the affirmative with regard to becomes a vanity of vanities. What will save us
the engagement with post-modern culture. A third from the mall of liturgical death?
way beyond the traditional contemporary style
divide is possible. Here is worship that “embodied :RUVKLSWKDWLVSODQQHGIRUWKHOLIHRIWKH
a genuine encounter with God, had depth and
substance, included more frequent and meaningful ERG\ RI &KULVW PXVW PRYH EH\RQG WKH
communion, was participator, read more Scripture P\ULDG FKRLFHV LQ WKH ZRUVKLS PDOO LQWR
in worship, creatively used the senses, provided
more time for contemplation, and focused on the DFORVHH[DPLQDWLRQRIFXOWXUHWUDGLWLRQ
transcendence and otherness of God.”19 The ready FRQWHQWDQGPHDQLQJ
availability of such songs through the Internet and
from licensing services such as CCLI and OneLicense Worship that is planned for the life of the
has allowed congregations to choose a diversity body of Christ must move beyond the myriad
of ways in which they can engage the culture in choices in the worship mall into a close
liturgy, ritual, hymn, and song. examination of culture, tradition, content, and
meaning. Such worship both practices and
/XWKHUDQ 6W\OH :RUVKLS 7KDW ,V IRU WKH /LIH juxtaposes the central things that express and
RIWKH%RG\RI&KULVW constitute the life of the body of Christ: word,
In order to invigorate congregational life and water, bread, and wine. In those central things
shape worship that is attractive to those outside is the life of an assembly. In such worship
the worshipping community, congregations the assembly lives by remembering the story
often focused on developing a style or styles of and promises of God. The assembly lives in
worship that best served their worship identity cleansing, quenching, and life-restoring water.
and mission. Developing worship that is The assembly lives by eating the bread of the
contextualized in the way of a particular style is reign of God and drinking from the cup of the
certainly one aspect of attending to the cultural crucified One who was raised to live forever.

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 The assembly lives by the words of the Lord. question. While the question of style moved
The assembly lives by the creaturely gifts that the church to take seriously the engagement
flow from these central things: reconciling with a changing and diversifying culture,
words; oil that heals; hands that love, invite, there is much more to the issue behind the
and touch in care; times and seasons that live question. Authentic, contextual and faithful
us into the story of God; and furniture, crosses, Christian worship:
paintings, icons, and sculptures that allow us to • will not take the minimalist route and
glimpse the life of the body of Christ in God’s communicate in cultural forms that fit a style
final, eternal reign. pleasing only to some;
Worship that attends to the life of the body • will flow from the biblical story interacting
of Christ and is set within the local Christian with our lives today;
assembly necessarily dialogues with the culture • will reveal and empower the living
so as to effectively communicate the story of body of Christ in the local worshipping
God and to form the assembly to live as the Christian assembly.
body of Christ today. The church’s attempt to • will proclaim the living presence and
define that dialogue through style categories promise of God in Jesus Christ in song,
helped to open the door for more intentional praise, and prayer;
dialogue with culture and context. Worship that • will sing the story of God in Christ and
has moved beyond style inculturates the gospel in Christ’s Body through the gifts of the
so that the texts, rituals, symbols, music, and numerous cultural languages that surround
song of the Christian assembly can be claimed us; and
by the assembly as their own within the greater • will embrace the cultural traditions of the
context of God’s story in the saving work of church’s past, including those of music and
Jesus Christ.22 song, in service to the church’s life today
Worship that attends to the life of the body Christian worship practices the faith in
of Christ in the local Christian assembly forms cultural forms that are more than just a style.
and shapes disciples of God the Father through Here the church is culturally at home: washing,
the Son Jesus Christ by the power of the Holy eating, drinking, reconciling, praying, praising,
Spirit through its worship practices. It is the singing, thanking, celebrating, loving, and
meaning of and formative power of practice serving—disciples living and desiring the reign
not style that shapes disciples who live by the of the Lord.
word, pray to the God who loves them, love
and forgive all those around them (including
enemies), tend the gift of God’s creation and Kent Burreson is associate
sing in prayer, lament, and praise. Worship that professor of systematic theology
forms disciples through liturgical praxis should, and dean of the Chapel of St.
as Spinks observes, Timothy and St. Titus at Concordia
Entice and enchant us not only to desire, Seminary, St. Louis, MO. He
but also to fall in love with God the researches the history of Reformation and post-
Trinity, and thereby love our neighbours. Reformation worship; worship and culture;
. . . Serious postmodern worship, what- worship as ritual performance; and the theology
ever its actual form, and wherever it of worship. Burreson served on the liturgy
takes place, should ravish the heart, and subcommittee of the Lutheran Hymnal Project
wound the soul with love.23 that prepared Lutheran Service Book.
Worship that shapes disciples who trust and
love God and love their world is worship that
has moved beyond style. Notes
What style of worship do you employ? 1. On Hip-Hop Eucharist, see Bryan D. Spinks,
The Worship Mall: Contemporary Responses to
One of my colleagues is fond of asking Contemporary Culture (London: SPCK, 2010), 14–17.
“Why do you want to know?” in order to
discern what the pressing issue is behind any 2. St. Louis: Concordia (1988) and Tempe, AZ:

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 Fellowship Ministries (1995), respectively. Compare from primarily mainline Christian music publishers;
Rick Stuckwisch, “The Other Story of Lutherans at CCLI (www.ccli.com) primarily represents the
Worship?” Logia 5, no. 3 (1996): 39–44. evangelical music publishers.

3. Joe Horness, “Contemporary Music-Driven Worship,” 14. Songs for Praise & Worship, Worship Planner ed.
in Exploring the Worship Spectrum: 6 Views, ed. Paul (Waco, TX: Word Music, 1992), 446, quoted in Luecke,
A. Basden (Grand Rapids, MI: Zondervan, 2004), 102. The Other Story of Lutherans at Worship, 24.
15. Maranatha Praise (1976).
4. Luecke, Evangelical Style and Lutheran Substance, 21.
16. Shout! Publishing (2011).
5. David Kinnaman, You Lost Me: Why Young Christians
Are Leaving Church—and Rethinking Faith (Grand 17. The purpose of praise songs and hymns is to glorify
Rapids, MI: BakerBooks, 2011), 38 (author’s italics). and praise God, usually for an attribute of God or for
an act of God. They allow a direct and focused praise
6. Alan Hirsch, The Forgotten Ways: Reactivating the and thanks to God. The Agnus Dei is a simple praise
Missional Church (Grand Rapids, MI: Brazos, 2006): hymn in the traditional western ordo.
275. As Hirsch notes, “Consumption is detrimental to
discipleship” (45). See also pages 42–45. 18. Alletrop Music (2004).

7. Hirsch, 37 (author’s italics). 19. Belcher, Deep Church, 124.

8. The work of Gordon Lathrop, an ELCA pastor, 20. Witvliet, 21 (italics mine).
has had significant influence on a Lutheran (and
ecumenical) theology of worship. See his trilogy, 21. See Spinks, xiii–xxiv.
all published by Augsburg Fortress (Minneapolis):
Holy Things (1992), Holy People (1999), and Holy 22. On inculturation, see Anscar J. Chupungco, “Liturgy
Ground (2003). In the LCMS, renewed attention to the and Inculturation,” in Fundamental Liturgy, ed.
Lutheran Confessions and Martin Luther’s theology of Chupungco, Handbook for Liturgical Studies vol. 2
worship has invigorated a deeper appreciation for the (Collegeville, MN: Liturgical Press, 1998), 337–75.
vitality of word and sacraments and for the rhetorical
and symbolic power of rites. 23. Spinks, 216.

9. Downers Grove, IL: IVP Books (2009).

10. John D. Witvliet, “Beyond Style: Asking Deeper

Questions about Worship,” Congregations 27, no. 4
(July/August, 2001): 19–21, 35.

11. See Studia Liturgica 31, no. 1 (2001): 2–124. Articles

include John F. Baldovin, “The ICEL Proposed
Sacramentary”; David Stancliffe, “The Making of the
Church of England’s Common Worship”; Norman
Wallwork, “The British Methodist Worship Book”;
Stewart Todd, “The Book of Common Order of the
Church of Scotland”; Frank W. Stoldt, “New North
American Lutheran Worship Material”; Ruth A.
Meyers, “Ongoing Liturgical Revision in the Episcopal
Church USA”; Alan Barthel, “The United Church of
Canada Celebrates God’s Presence”; Yngvill Martola,
“Worship Renewal in the Evangelical-Lutheran Church
of Finland”; Nils-Henrik Nilsson, “The Church of
Sweden Service Book”; K. H. W. Klaassens, “A New
Dutch Reformed Service Book”; Stuart Ludbrook, “The
1996 Liturgy of the French Reformed Church”; and
Thaddeus A. Schnitker, “The New Altar Book of the
Old Catholic Church in Germany.”

12. Wikipedia provides a very helpful listing by

denomination of the hymnals those denominations
have published, primarily in the 20th century: “List
of Hymnals,” last modified Oct. 27, 2013, http://
en.wikipedia.org/wiki/List_of_hymnals.

13. A similar examination could be made of the other

principal hymn licensing service, OneLicense (www.
onelicense.net), which provides hymns and resources

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&2817(532,17

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SUHVHQWHG WKH IROORZLQJ DGGUHVV
DW WKH WK ,QVWLWXWH RI /LWXUJLFDO 7KH%RGLO\$FWLRQVRI-HVXV
6WXGLHV DW 9DOSDUDLVR 8QLYHUVLW\ ,1 Eight days after Jesus’ birth, his father clipped the foreskin
LQ $SULO  +H QRWHV WKDW 6DLQW from his penis, an action indicating the father’s public
$XJXVWLQH HQXPHUDWHG RYHU 
acknowledgment of the newborn child as his son (Luke
VDFUDPHQWVRUZD\VLQZKLFK*RG
2:21).1 Upon reaching puberty he was taught to trim his beard
FRPPXQLFDWHV *RG·V SUHVHQFH
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and cut the hair on his head short—short—for no male was to
WKURXJKRUGLQDU\JHVWXUHVSRVWXUHV look like a female whose hair grew long. Each year of his life
DQGDFWLRQVLQFOXGLQJVDFUHGVRQJV he drank wine cut with water and ate unleavened bread with
$OWKRXJK 7RUYHQG GRHV QRW GUDZ roasted lamb at the spring equinox. At some point in early
D OLQH GLUHFWO\ WKURXJK WKH PXVLF adulthood he was washed in river water, joining a group in
PLQLVWU\ RI ZRUVKLS KLV ZRUN LQ WKLV waiting for the advent of their god (3:21). One report notes
MRXUQDOLVLQWHQGHGWRLQYLWHUHDGHUV that he was able to read the Scriptures in the midst of an
WRLPDJLQHKRZPXVLFLQSDUWLFXODU assembly, claiming as his own the words of a prophet who
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JUDFH RI *RG LQ EUHDWK JHVWXUH the blind, and freedom for the oppressed.
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37; 8:26-39), healed people with fevers (4:38-39), exorcised
DQGKRQRUVWKHJLIWRIWKHERG\LQD
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JLIWV RI WKH KXPDQ ERG\ WR LQYLWH surprisingly, touched the leprous with his own hands (5:12-
WKH ZRUVKLSSLQJ DVVHPEO\ LQWR WKH 16). It was said, “all in the crowd were trying to touch
SUHVHQFHRI*RGWKURXJKVRQJ him, for power came out from him” (6:19; italics mine). He
gained a reputation for joining meals with hated agents of
3XEOLVKHGE\SHUPLVVLRQRIWKH,QVWLWXWHRI empire (5:27-32) and the wretchedly poor (9:12-17), with
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ZZZYDOSRHGXLOV male critics who held him in skeptical regard (7:36-50) and

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women who were his students (10:38-42), encountered, to their utter surprise, two men in
with political assassins (6:15) as well as the dazzling clothes, an astonishing counterpoint to
nonviolent. He was familiar with the need for the borrowed shroud that only recently covered
grain (6:1-5), daily bread (11:3), salt (14:34), his deathly nakedness (24:1-7). On the next day,
fish (9:12-17; 11:11), wine, and olive oil (16:1- a work day, he who once was dead appeared
9)—all elements of a Mediterranean peasant on a road and interpreted the Scriptures for a
diet—but also counseled his followers to disheartened couple and then, at table, gave
live from day to day on the generosity of thanks over bread, broke it, and gave it to them,
strangers (10:1-12). leaving them shocked and amazed (24:13-35).
From time to time he left the crowds and On that same day, a work day, he who once
wrapped himself in stillness (4:42; 6:12; 9:10). was dead appeared to his followers and, in
Indeed, he stopped frequently to pray, alone the midst of their astonishment and fear, said
and with others. While the religious leaders of to them, “Touch me and see”—touch me and
his day—lovers of their holy text—were known see—“for a ghost does not have flesh and bones
for their wordiness, it seems that he did not fear as you see that I have” (24:39). And this, too, he
but rather embraced the great silence. As a man asked, as if the prodigious labor of being raised
from peasant stock, he wore an ordinary tunic from the dead had sapped his energy: “Have
yet was familiar with fine clothing (7:25) and you anything here to eat?” (24:41).
the purpled garments of the wealthy (16:19).
He noted that sitting in sackcloth and ash 7KRXJKHDFKHYDQJHOLVWRIIHUVDGLVWLQFWLYH
signals the turning of the heart to God (10:13). SRUWUDLWRI-HVXVDQGKLVGLVFLSOHVWKH\DUHRI
He received the marking of his feet with tears
and fragrant oil from a prostitute who had RQHYRLFHLQWKHLULQVLVWHQFHWKDWZLWKXVKH
turned herself toward his mercy (7:37-38), and ZDVÁHVKDQGEORRG
after his death some of his women followers
prepared spices and oils in order to anoint his Though each evangelist offers a distinctive
dead body (23:55–24:1). portrait of Jesus and his disciples, they are
Toward the end of his life, he led a procession of one voice in their insistence that, with
into the great city and, upon seeing it, began us, he was flesh and blood. That is, with all
to weep, exclaiming that its inhabitants had humanity, he was and remains an “adam”
not “recognized . . . the things that make for (Hebrew ‘adam, an earth creature). While a
peace” (19:42). At what would be the last Hellenistic viewpoint would suggest that he
supper with his followers, he gave them food and we are incarnate spirits (emphasis on the
and drink and, turning social and political spirit), the anthropology of Jesus’ ancestors,
practice upside down, suggested that leaders the Hebrews, would suggest that he and we
exercise their influence and power in service to are animated bodies (emphasis on the body).
others (22:24-27), their lives broken apart like Thus the Gospel writers draw our attention to
nourishing bread, their power poured out like his birth and his death; to his Galilean mother,
wine flowing from a flagon into a cup for the Mary; and to Pontius Pilate, prefect of the
thirsty. While he had once received the tender Roman province of Judea, under whose rule
kisses of a weeping woman (7:38), he also he was crucified.2 The gospels note that he was
recognized that a kiss can be a sign of betrayal fed, clothed, circumcised, washed, anointed,
(22:47-48). Captured by the police, he was caressed, kissed, tortured, stripped, placed on
blindfolded, mocked, and tortured (22:63-65), a cross, wrapped in linen, and touched in his
stripped of his clothing, placed upon a cross wounded side—things done to Jesus. At the
with arms outstretched, and there, in an unholy same time, they narrate a variety of his bodily
place outside the great city, he died. (23:26-46). actions, gestures, and postures: speaking,
His body was wrapped in donated linen and reading, singing, calling to people, bowing,
placed in a rock-hewn tomb (23:53-54). sitting, reclining, healing the sick or possessed
Some women came to the funerary cave by touching, spitting, marking, shouting,
ready to complete the burial practice, but transforming water into wine, weeping,

129(0%(5_ & 5266 $ &&(17 

 mourning, lifting his arms, lifting his hands, the Lord’s body and blood as John’s narrative
giving thanks over food and drink, eating of the passion, death, and resurrection is read
and drinking, walking into a place of silence, aloud. The deceased is clothed in a burial
leading a procession, carrying a cross beam, shroud of cotton or linen, so that their clothing
showing his wounded body and asking others could be worn by a member of the family or a
to touch him. “Touch me and see,” he says, “forpoor person, and then sprinkled with baptismal
a ghost does not have flesh and bones as you water before burial.
see that I have” (24:39). Some of these actions—washing and eating,
for instance—are referred to as sacraments
7KH$FWLRQVRIWKH5HGHHPHU+DYH3DVVHG among most Christians and, as sacraments
LQWRWKH/LIHRI+LV%RG\ have received, in the history of Christianity,
Leo the Great, bishop of Rome in the 5th considerable attention from bishops, theologians,
century, preached this during the Easter season: and catechists in terms of their dominical origin,
the actions (sacramenta) of the Redeemer benefits, and significance for Christians. As you
during his life on earth have passed into the life well know, some of the theological debates of
of his body through the actions of the church.3 the 16th century centered on the number of
That is, the Lord’s bodily presence, to which sacraments: Roman Catholics held to seven and
the Scriptures testify, has been poured into Lutherans claimed two based on their dominical
the lives of every new generation through the origin and promise. But I wonder:
gestures, postures, and actions of the Christian • Is it possible that the debates and their
people, the body of Christ: his visible and public subsequent solidification of seven or
presence in the world. Thus for Leo, Christians two sacraments have obscured from our
are washed in water, smeared with fragrant vision and thus from our practice the
far greater number of bodily gestures,
postures, and actions to which the New
7KDWLVWKH/RUG·VERGLO\SUHVHQFHWRZKLFK Testament writings and the Christian
WKH 6FULSWXUHV WHVWLI\ KDV EHHQ SRXUHG tradition bear witness?
LQWR WKH OLYHV RI HYHU\ QHZ JHQHUDWLRQ • In the conflicted atmosphere of the 16th
century, did the understandable need
WKURXJKWKHJHVWXUHVSRVWXUHVDQGDFWLRQV and incredible effort to identify one’s
RIWKH&KULVWLDQSHRSOHWKHERG\RI&KULVW group (e.g., Lutheran) over and against
another (e.g., Roman Catholic) actually
KLVYLVLEOHDQGSXEOLFSUHVHQFHLQWKHZRUOG relegate the many actions of Jesus
and his companions to the category of
oil, clothed in a white robe, handed a burning adiaphora, matters of indifference neither
torch, led in procession to the assembly, to be forbidden nor commanded, actions
greeted with bows, kissed repeatedly, marked of seemingly little consequence, bodily
with pungent incense, served honey mixed actions meriting little or no homiletical
with milk, and given a fragment of real bread and theological reflection?
and a generous drink of wine. They fast with • Was St. Augustine on to something
the Lord throughout the year on Wednesdays when he claimed that there are at least
and Fridays, keep silence in prayer, and receive 300 Christian sacramenta or sacred
the imposition of hands on their heads as they actions, at least 300 ways in which God
mourn their sins. They are veiled or crowned, communicates God’s presence and grace
kissed by the presider, and receive cups filled through ordinary matter, through ordinary
with new wine when they present themselves gestures, postures, and actions?5
for the blessing of their union. When ill or • Does an understandable and necessary
near death they are marked with oil of the concern to establish sacrament—a means
sick or invited, if you can imagine, to drink of grace—within dominical origin bear
4
this “healing fat of the olive tree.” At the hour the unintended consequence of limiting
of death, the dying are to receive, if possible, the flow or radiance of grace?

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• Why would there be a concern to name one “catechism” alive in the hearts and minds
as “indifferent” what may well be in our of those who constitute the worshipping
own time the astonishing experience of assembly. It is to suggest that the culture we
God’s presence and grace? inhabit is not a value-free and neutral reality,
I ask these questions not only out of a desire
though much of the time this is the experience
to expand our lexicon of ritual actions, bodily and understanding of culture with which
actions, and sustained and serious reflection on we are raised. Rather, our culture is full of
their meanings—I do mean to do that, not one messages that invite you and me to imitate
without the other—but also because we live in various lifestyles, of visual images and musical
a time when ecological theologians, Christian messages that seek to shape our consciousness,
ethicists, feminist historians, New Testament and of persuasive communications prone to
scholars, pastoral counselors, and social deception and manipulation. While we might
activists are drawing attention to the human think that we participate in or inhabit North
body and to earth’s body, that is, to the mysteryAmerican culture, it is probably far more
of the Incarnation. Indeed, are not many of our accurate to say that North American culture
contemporary social issues actually issues of theinhabits us, given the pervasiveness of the print,
body: abortion, capital punishment, domestic digital, and electronic media we and others may
abuse, famine, gender construction, healthcare find so difficult to turn off or ignore. This is to
reform, hunger and food insecurity, marriage suggest that powerful and persuasive forces in
and divorce, sexual relationships, and torture? our culture aggressively and constantly shape
All of these we find present, to one degree or perceptions of our bodies and of others’ in
another, in the Scriptures and in the life of theorder to achieve a particular end. For instance,
early Christian community. Indeed, in light of we inhabit a capitalist economic system in
these contemporary crises and questions, biblicalwhich we are free to acquire as much capital as
scholars, ethicists, historians, and theologians possible, unfettered, it seems, by any restraint.
are constructing Christian histories, ethics, We also inhabit a culture in which we are told
and theologies of the human body and earth’s daily that one’s body is in constant danger
body, but alas—but alas—histories, ethics, and of aging, of becoming unproductive. Here’s
theologies rarely grounded in the liturgical and where economics and marketing converge: if,
sacramental practices of the churches. in a free-market economy, you or I have the
Is that so, I wonder, because the churches funds, and we must have the funds, to purchase
have given considerable attention to the the right exercise regime, diet, clothing, or
celebration of the liturgy and very little injections, we are promised in the most alluring
attention to the body in liturgy and in life? Is manner that we will be saved from a dated
that so, I wonder, because the churches and and useless future, from—note the word—the
their leaders have seen the manifold actions, “ravages” of time, an understanding of time
gestures, and postures of Jesus as mere matters alien to Christian faith and life. One wonders,
of indifference, his speaking, his preaching then, how the precious teaching on justification
alone regarded as significant? by grace might offer a robust critique of this
ever-present “cultural catechism” whose
:KRRU:KDW6KDSHV2XU([SHULHQFHDQG curriculum subverts the great baptismal action
3HUFHSWLRQVRIWKH%RG\" of unity by, in fact, dividing male from female,
At this moment I am mindful of the ethnicity from ethnicity, the privileged from
university students I teach and of the enquirers the powerless, the wealthy few from the many
or seekers who come to the parish where I poor, the young from the old—dividing people
serve, many of them with some experience in into neat demographic quantities for the sole
the churches yet all of them—all of them with purpose of increasing market share and making
you and me—schooled and tutored, whether a profit.6
we know it or not, in what I call the catechism My university students, tutored in this
of contemporary American culture. Of course cultural catechism, are well acquainted with
such a claim implies that there is more than political leaders who divorce their spouses

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 diagnosed with cancer and tweet photographs by the fashion industry, have suffered with
of their genitalia to high school girls. They astonishing degrees of anorexia and bulimia,
are well aware of church leaders and athletic their male classmates have finally caught up
coaches who privately molest children and with them in the pursuit of the perfectly ripped
publicly condemn faithful relationships between body, aided by harmful steroids and punishing
gay and lesbian Christians. In the midst of exercise regimes. No wonder it is easy for them
much body anxiety, I wonder if our students to consume the paper-thin wafer we call the
can experience the compassionate and healing body of Christ and the tiniest sip of grape juice
touch of Christ, mediated through my hands, from a shot glass: the thought of eating real
your hands. I wonder if they or their children bread and drinking real wine is anathema to the
will experience the baptismal bathing and the cultural tutors in bodily perfection.
generous anointing of their bodies with fragrant
chrism. Having rarely if ever experienced ,VWKH&KULVWLDQ/LWXUJ\D)RUPRI5HVLVWDQFH
formation in their God-given social nature and WR&XOWXUDO0DOIRUPDWLRQ"
the ways in which their actions affect others, I think we would all agree that the practice of
they are not immune to binge drinking and date the liturgy and the celebration of the sacraments
rape. Experts at finding every website on the are primary means of grace, God’s merciful
Internet, they have quick access to hundreds of advance in Christ toward God’s creatures.
porn sites yet they are quick to hear from their But I wonder if the liturgical and sacramental
conservative evangelical friends that the Bible practices—if the gestures, postures, and actions
teaches a punishing sexual ethic and absolute of the worshipping assembly—might also serve
sexual abstinence prior to marriage. Between as an embodied form of resistance to a cultural
these two extremes—the sexually objectified catechism focused on toxic individualism (that
body and the untouchable docetic body—there is, only my body matters) and as a consumerist
seems to be no other alternative. I wonder: why? commodification (that is, your embodied well-
being is dependent on your capacity to purchase
0\VWXGHQWVDUHQRZVXUURXQGHGE\QRLVH goods and services, unfettered by regard for
others and the earth)? On the one hand there
GD\DQGQLJKWDGGLFWHGZLWKPDQ\RIXV is the idolatry of gaining and hoarding earth’s
WRWKHVPDUWSKRQHRUWKHHDUEXGVVHDOLQJ goods for the individual or closed community
alone, an objectification of creaturely, bodily
RII DQ\ YRLFH IURP WKH RXWVLGH $QG \HW , existence and a subsequent reduction of
GDUHVD\WKDWRQFHPRQDVWLFVLOHQFHZDV personal relationships to “dominance and self-
aggrandizement.”7 On the other hand there is
WKURZQ RXW WKH ZLQGRZ LQ WKH UHIRUP RI the Christian liturgical and sacramental vision of
WKHWKFHQWXU\WKHQHHGIRUDFRQVWDQW life as relationship with embodied and different
others—different others—and life as a generous
VWUHDPRIZRUGLQHVVKDVEHHQWKHKDOOPDUN sharing of God’s gifts among all God’s creatures.
RIPRVW3URWHVWDQWZRUVKLS In other words, might we see the Christian
assembly as a gathering before God in
My students are now surrounded by noise which the word of God is proclaimed in its
day and night, addicted (with many of us) to the evangelical radiance and the gestures, actions,
smart phone or the ear buds sealing off any voice and sacraments of grace are celebrated in their
from the outside. And yet I dare say that, once catholic fullness and, at the same time, might
monastic silence was thrown out the window we recognize that at the center of this gathering
in the reform of the 16th century, the need for is the One, crucified and risen, who—with
a constant stream of wordiness has been the his bodily gestures, postures, and actions—
hallmark of most Protestant worship. Entering questioned, critiqued, and reversed cultural
the great silence with Jesus does not seem to messages and expectations?
be a productive use of one’s time in a capitalist Might we see the Christian assembly as
economy. While college-age women, schooled that gathering in which we actively cultivate

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practices that honor the body: the body in need the liturgical and sacramental rites themselves—
of washing, moisture, clothing, and light; the themselves—communicate messages to us and
body in need of others in order to become more with us. That is, these actions communicate
fully human; with hands opened, the body in persuasively, louder than words, “especially
need of food and drink in order to live; the body when we are not passive observers but active
fasting from food and drink, fasting in order to
share bread and cup with the hungry poor; the
body at rest and repose in the great silence;
,VLWSRVVLEOHWKDWWKHPDQ\FRQJUHJDWLRQV
the body—marked repeatedly in the sign of the VFKRROV DQG VHPLQDULHV RI WKH FKXUFK
cross—processing (walking) steadfastly into a
world marked by overwhelming suffering; the
PLJKW \HW EHFRPH FHQWHUV RI IRUPDWLRQ
sick or suffering body receiving the healing oil LQSUDFWLFHVLQVSLUHGE\WKH%LEOHDQGWKH
and caress of the olive tree; the body crowned
OLWXUJ\ WKDW ERWK KRQRU WKH ERG\ DQG
with greens and flowers, crowned with another
body in common faith and mutual love until FKDOOHQJH WKRVH FXOWXUDO SUDFWLFHV WKDW
death parts them; the body of the font, ambo, GLVKRQRU RU PDOIRUP WKLV SURIRXQGO\
and altar, the bodies of the very young and the
very old, of the “abled” and disabled honored SHUVRQDODQGVRFLDOJLIWRI*RG"
with profound bow and the pungent smell and
smoke of incense; the dying body touched and participants in the ritual [actions] for they
held tenderly, fed a morsel or given a sip of immediately affect our behavior, and through
Christ’s own food and drink, surrounded by repetition influence our perduring attitudes
images of the Lord’s suffering and resurrection; and inclinations.”9 We hold—do we not?—
the dead body clothed in the baptismal garment, that through the liturgical preaching of the
crowned with earth’s flora, and laid to rest in gospel of Jesus Christ, the Spirit awakens or
God’s garden, the earth? re-awakens the assembly to faith in God and
Is it possible that the many congregations, love for the neighbor in need. That is, there
schools, and seminaries of the church might is a theological dimension—trust or faith in
yet become centers of formation in practices, God—and an ethical dimension: faith active in
inspired by the Bible and the liturgy, that love for the neighbor in need, not one without
both honor the body and challenge those the other. But I wonder: Do we recognize
cultural practices that dishonor or malform this and affirm Martos’ claim, that the bodily
profoundly personal and social gift of God? gestures, postures, and actions of the liturgy are
prophetic communications of God’s presence,
'LVFHUQLQJ D WKHRORJLD FUXFLV LQ &KULVWLDQ a presence marked not only with personal but
5LWXDOVRIWKH%RG\ also social and ethical value? That these actions
In his work on the prophetic dimension affect behavior, attitudes, and inclinations?10
of the liturgy and sacraments, Joseph Martos If the bodily gestures, postures, and actions
notes that “what Christians find in the Bible is of the liturgy are simply matters of indifference,
. . . a prophetic revelation of who we are and mere adiaphora, why bother? But if there is
what we are called to be. The proclamation of any truth in Leo’s claim that the actions of the
the Scriptures in the midst of the community Redeemer during his life on earth have passed
is prophetic in that it reveals what God wants into the life of his body through the actions
us to hear, not about there and then, but of the church, do not such bodily actions call
about here and now.”8 (Good God, deliver the out for sustained practice, engaging catechesis,
churches from those preachers who invite the and greater theological reflection, catechesis
assembly to imagine what it would be like to not marked—not marked—by deadening
be with Jesus in the 1st century, when what the “explanation” but rather by the evocative
assembly desperately needs to hear is how he unfolding of the gestures’ many meanings? And
is with us in the 21st century!) Yet Martos also one wonders why the churches are in decline.
notes that we should not overlook the fact that Is it not clear that too often and too widely the

129(0%(5_ & 5266 $ &&(17 

 mystery of God’s holy and life-giving presence ordinary actions, rooted in our biology, ecology,
is transformed—by sermon, lyric and tune—into and psychology are transfigured by Christ into
the tiresome and the conventional, the worship of gestures of identity and purpose, thanksgiving
the churches into an unending stream of chatter? and supplication, lament and healing.
Indeed, I want to suggest that the many bodily In his little yet remarkable book Sacred
gestures, postures, and actions of the liturgy Signs, a commentary on the body in worship, the
possess not only a theological dimension—Christ German liturgical theologian Romano Guardini
acting in the assembly through the assembly’s wrote that Christian leaders and theologians
actions—but also an ethical dimension. Let me readily avoid talk of the body, perhaps because
offer one example. In Luther’s condemnation they are uncomfortable in their own bodies,
of the spiritual economy of the late medieval perhaps because they are susceptible to the
church, he saw an intimate relationship between gnostic heresy that always asks for hearing in
the human condition apart from grace—the every generation. “Something within us objects
self turned inward on the self alone—and [to such talk],” he wrote. Within the prosaic and
an insatiable desire for wealth manifested in analytical systems of our cherished theology and
individuals, corporations, and empires.11 Such theological categories, perhaps the body—with
overwhelming desire for more and more in the its vulnerability and inevitable diminishment
presence of incredible need could be symbolized and decay—seems unworthy of much attention.
by what Luther and his colleagues witnessed And so Guardini offers this advice: “Let us avoid
everywhere: the grasping hand of a robust all empty and unreal talk and concentrate the
mercantile class, greedy clergy, and the imperial more carefully on the actual doing [on the bodily
pillaging of the New World set next to the open actions themselves]. That—the doing of the
hand of orphans, widows, the homeless, and the actions—is a form of speech by which the plain
hungry poor begging for food or coin. The power realities of the body say to God what its soul
of grace, so Luther claimed, was the power to turn means and intends.”13
the self-absorbed and grasping hand open and Yes, I say: let us avoid unreal talk and
outward in evangelical charity to one’s neighbor concentrate on the actions and their meaning for
in need. At the same time, the open hand is also life in this beautiful yet troubled world. Yes, I
recognized in the crucified hand, where one sees say: let us avoid unreal talk and enter into the
God’s embrace of human suffering. And this, bodily gestures of the One who humbly chose
too: the open hand receives the gift of Christ’s the Virgin’s womb.
body given in a fragment of bread. Here the
theological—Christ’s gift—joins the ethical—care Samuel Torvend is professor of
for the suffering neighbor. Is it any wonder, then, religion and holds the University
that Luther’s last will and testament, inscribed on Chair in Lutheran Studies at Pacific
that scrap of paper found in his coat, read “Wir Lutheran University in Tacoma, WA.
sind Bettler” (we are beggars).12 For Luther knew He teaches courses in the history of
well and had reflected on the evangelical and early, medieval, and reformation Christianity as
ethical significance of the open hand: God’s open well as historical courses on the reform of social
hand casting seed on the soil of the newly created welfare, Christian art and architecture, and
earth; Christ touching the leper with his open Christian worship. As the University Chair in
hand and thus joining him as an outcast; the open Lutheran Studies, he teaches courses and
hand of the crucified Christ; the open hand of seminars on Martin Luther, the Lutheran heritage,
the Christian awaiting the Bread of Life; the open women reformers, Lutheran higher education,
hand of the poor, hoping for a morsel of bread to Lutheran art and music, and the Reformation.
sustain them through a cold and bitter night. And
so I wonder: might there yet be a resurrection of
the body, that is, a revitalization of the gestures, Notes
postures, and actions of the body in Christian 1. All Bible references in this article are to the Gospel of
Luke (NRSV).
worship, the Christian’s imaginations, and
Christian life in the world? For indeed, these very 2. Note their mention in the Nicene and Apostles’ Creeds.

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3. Leo the Great, “Sermon 74,” in Sermons, trans. Jane musical—is offered in a ‘menu’ of services has more
Patricia Freeland and Agnes Josephine Conway, to do with the practice of McDonald’s than it does a
Fathers of the Church, vol. 93 (Washington, DC: clear sense of Christian identity and purpose.”
Catholic University of America Press, 1995), 326.
7. Michael Paul Gallagher, Clashing Symbols: An
4. Robert Cabié et al, The Sacraments, trans. Matthew Introduction to Faith & Culture (New York: Paulist
J. O’Connell, new ed., The Church at Prayer, vol. 3 Press, 1998), 129.
(Collegeville, MN: Liturgical Press, 1988), 123–124.
8. Joseph Martos, The Sacraments: An Interdisciplinary
5. “St. Augustine had enumerated 304 sacraments,” and Interactive Study (Collegeville, MN: Liturgical
writes Leonardo Boff, Sacraments of Life: Life of the Press, 2009), 228.
Sacraments, trans. John Drury (Washington, DC:
Pastoral Press, 1987), 56. Boff offers no reference in 9. Martos, 228.
the works of Augustine. More to the point: “Now,
every reader will notice that Augustine calls all kinds 10. If there is any truth in this claim, one then wonders
of things sacramenta. . . . In the letter to Januarius . . . how robust catechetical, homiletical, and theological
he uses the word sacramentum for the constituent reflection—in the midst of enquirers, catechumens,
elements of the visible cultus, and its meaning is children, and the assembly—will take place, given the
much wider than it is with ourselves. . . . He applies remarkable paucity of resources available to Anglicans
the same word [sacrament] to the annual celebrations and Protestants. Consider Antonio Donghi, Words and
of Christ’s resurrection. . . . Elsewhere he speaks Gestures in the Liturgy (Collegeville, MN: Liturgical
of the following as sacramenta: the sign of the Press, 2009); Elochukwu E. Uzukwu, Worship as Body
cross, salt, exorcisms, contemplation, the penitential Language: Introduction to Christian Worship: An
garment; the bowing of the head, the transmission of African Orientation (Collegeville, MN: Liturgical Press,
the symbolum [the Creed], the taking off of shoes, and 1997); Liturgical Gestures, Words, Objects, ed. Eleanor
other rites of the catechumenate; and the entry on Bernstein (Notre Dame, IN: Notre Dame Center for
the period of being competentes; the octave of Easter, Pastoral Liturgy, 1995); Balthasar Fischer, Signs, Words
penance, the laying-on of hands, reconciliation, the & Gestures: Short Homilies on the Liturgy (New York:
great fasts, spiritual songs, the Lord’s Prayer. Their Pueblo, 1981); and Romano Guardini, Sacred Signs
common characteristic is that they are all of some (St. Louis: Pio Decimo, 1956; rev. ed., Wilmington, DE:
spiritual importance and are externally visible,” Glazier, 1979). These book chapters discuss selected
writes Frederik Van der Meer, Augustine the Bishop: gestures, postures, and movements: Anna Kai-Yung
Religion and Society at the Dawn of the Middle Ages, Chan, “Participation in the Liturgy,” in Fundamental
trans. Brian Battershaw and G. R. Lamb (New York: Liturgy, ed. Anscar J. Chapungco, Handbook for
Harper & Row, 1961), 280–281. See as well Augustine, Liturgical Studies, vol. 2 (Collegeville, MN: Liturgical
Sermons on the Liturgical Seasons, Fathers of the Press, 1998); Peter J. Elliott, “Ceremonial Actions,” in
Church, vol. 38 (New York: Fathers of the Church, Ceremonies of the Modern Roman Rite: The Eucharist
1959), 198–202, in which he speaks of a great many and the Liturgy of the Hours (San Francisco: Ignatius
sacramenta (sacred signs or actions). Press, 1995); Aimé Georges Martimort, “Liturgical
Signs,” in Principles of the Liturgy, ed. Martimort, The
6. Is no one struck by the ways in which such Church at Prayer, vol. 1 (Collegeville, MN: Liturgical
corporate thinking has thoroughly permeated the Press, 1987); and Gilbert Ostdiek, “Liturgical Action”
life, thinking, and language of the contemporary and “Liturgical Objects,” in Catechesis for Liturgy
church? With declining numbers and the anxiety (Washington, DC: Pastoral Press, 1986).
such a decline prompts among some, the churches
have run to corporations and non-denominational, 11. See “Greed Is an Unbelieving Scoundrel,” in Samuel
non-sacramental, and thoroughly American church Torvend, Luther and the Hungry Poor: Gathered
growth strategies in order to find the “solutions” that Fragments (Minneapolis: Fortress, 2008), 115–123.
will allegedly staunch the bleeding. One is mindful of
Dietrich Bonhoeffer’s condemnation of the church in 12. Martin Luther, D. Martin Luthers Werke: Kritische
Germany: “The price that we are having to pay today Gesammtausgabe, Weimar Ausgabe, vol. 85, 5
in the shape of the collapse of the organized Church (Weimar: Böhlau, 1909), 317–318.
is only the inevitable consequence of our policy of
making grace available to all at too low a cost. We 13. Guardini, 18.
gave away the word and sacraments wholesale: we
baptized, confirmed, and absolved a whole nation
unasked and without condition. Our humanitarian
sentiment made us give that which was holy to the
scornful and unbelieving. We poured forth unending
streams of grace. But the call to follow Jesus in
the narrow was hardly ever heard,” in The Cost of
Discipleship, trans. R. H. Fuller, rev. ed. (New York:
Macmillan, 1959, reissued 1963), 58. As one German
Lutheran commentator of North American liturgical
practice recently noted: “The American tendency
to ensure that every single option—liturgical and

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ELJVWRFNSKRWRFRP
$XGLR7HFKQRORJ\LQ:RUVKLS
.HHSLQJWKH&HQWUDO7KLQJV&HQWUDO
by Ron Rienstra

,QWURGXFWLRQ As the opening story demonstrates, every

The pastor was known for beginning worship action and event in worship carries with it—
punctually. Even though the volunteer technician explicitly or implicitly—some theological
who ran the computer and the PowerPoint had meaning. And the theological meanings
not yet given the go-ahead, it was 9:30 and God’s of technology in worship are profoundly
people were waiting. So the service began with a ambiguous. Technology can be a source of great
familiar call to worship from Psalm 121. promise and blessing but also be a potential
“I lift my eyes to the hills,” the pastor intoned. distraction and, at its worst, a subversive siren
“From where will my help come?” responded call to idolatry.
the congregation. My intention in this article is neither to look
And then, in the breath before the pastor back with rosy glasses at some pristine past
could speak the next verse, the answer was before technology intruded in the sacred space
provided, booming over the sanctuary speakers: nor to uncritically embrace every next new
the distinctive and familiar startup sound of the thing. It is, instead, to help pastors, musicians,
computer’s operating system, a sonic signature and those involved in the preparation of worship
that seemed to answer the congregation’s think carefully about technology in order to keep
question not with the biblical “My help comes the central things central.
from the Lord,” but with a more problematic “My There are, of course, many types of
help comes from Microsoft.” technologies in use in North American churches
Astute interpreters of Psalm 121 will know every week: ATM cards for giving offerings,
3RUWLRQVRIWKLVDUWLFOH that there is ambiguity in its opening lines: are electronic nursery signs (“child #42 has a dirty
ZHUHRULJLQDOO\ the mountains to which the Psalmist looks a diaper”), live-blogging a sermon, or a preaching-
SXEOLVKHGLQ)XOOHU
source of the sought-for help? Or are the high event Twitter feed, and the like. But to keep our
7KHRORJLFDO6HPLQDU\·V
7KHRORJ\1HZV  places there a source of danger? Or perhaps they explorations manageable, I will focus primarily
1RWHV6SULQJ are a distraction from the One who is able to on audio amplification technologies for voice
8VHGZLWKSHUPLVVLRQ help: the shomer, the maker of heaven and earth? and music.

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6RPH3UHOLPLQDU\$VVXPSWLRQV • THOUGH: we are full of foolishness
Two preliminary assumptions will inform and hubris;
our exploration. First, technology is not an • STILL: God is in the salvage business and
inherently bad thing. On the contrary, it is an can bless our imperfect use of technology.
inevitable part of human cultural creativity, and
its use in worship is common, uncontroversial, &HQWUDO7KLQJV
and desirable. The City of God in Revelation To carefully discern the proper use of
welcomes the products of human activity as technology, then, requires recalling worship’s
we transform and unfold the potential found primary purpose, reminding ourselves of the
in God’s good creation. Some often think of central things to which we attend when God’s
technology primarily as something electronic or people assemble to worship. Gordon Lathrop’s
newfangled. But the church’s worship has long Central Things provides a short, simple list:
involved technology. Think of candles, stained Word, Bath, Table, Prayer.2 All our technology
glass, organs, central heat, and timepieces. The should serve to lift up these things: to deepen
more mechanically sophisticated technologies and strengthen our prayer and our song;
available to us today (spotlights, screens, to enrich the reading and proclamation of
amplifiers, microphones, and so on) do not Scripture; to strengthen the bonds of community
necessarily displace these others but stand within the assembly; to make us mindful of and
alongside them. grateful for Christ’s sacrifice, God’s holiness,
Second, technology is more than just physical and the Spirit’s gifts to the body. All that we
devices. When we bring technology into the do in worship serves the encounter with Christ
sanctuary we bring along with it the symbolic that is at the heart of the assembly of God’s
meanings and uses that are attached to them people. We must not allow the meanings and
in other cultural arenas. A car, for example, values associated with technology to distract
speaks symbolically of “independence.” A cell us from worship’s fundamental purpose. The
phone says “connection.” Not every technology dangers here are many.
carries the same amount of signifying freight.
Candles and watches and air conditioners are so $OO WKDW ZH GR LQ ZRUVKLS VHUYHV WKH
ubiquitous that they carry thin symbolic meaning.
But technologies common in other arenas— HQFRXQWHUZLWK&KULVWWKDWLVDWWKHKHDUW
particularly entertainment—bring these meanings RIWKHDVVHPEO\RI*RG·VSHRSOH
with them into worship. When a worship leader
is projected onto a jumbo-size screen wearing Some will argue, for instance, that a church
a headset microphone, the larger-than-life image needs technology to keep up with another church
says “celebrity”—and this meaning may be very or with the culture at large. Or it needs to make
far from what we believe worship leadership is use of high-end amplification equipment in order
about, theologically speaking. to encourage more powerful worship experiences,
Quentin Schulze suggests, in his book High- especially for the young people. Or that it needs
Tech Worship, that a wise approach concerning screens and video technology in order to attract
technology is to practice saying “Yes, but . . . .”1 seekers. These are not unimportant goals for
• YES: we will consider using it to love others, a church. But if churches decide that attraction
to glorify God, and to build up the body rather than adoration is the fundamental purpose
of Christ, of worship, they put themselves in competition
• BUT: we won’t be duped by inflated rhetoric with every other institution and cultural structure
about its inherent goodness or badness. that offers an attraction. Once the church steps
• YES: new technologies are part of the on that playing field, the game is lost. The church
unfolding of God’s original creation, down the street—or the multimedia conglomerate
• BUT: we are fallen and can never use them pushing content though TV, movies, and the
to usher in heaven on earth. Internet—will always have more resources and
Or, to turn the syntax around: thus a more attractive show.

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 The thing we need most for good use of do themselves. And in some congregations
technology is not so much the technical know- the sheer volume of the amplified music
how (though the church could certainly could can alienate people from their own
use more people who value such know-how). worship service, as they are blasted into
What we need most is liturgical sensibility and stupefied silence.
sensitivity, i.e., people who know how to put a Of course, this dynamic is not unfamiliar
liturgy together and how each part does what to congregations with a large organ and an
it does, people who are able to work with the insensitive organist!
complexity that technology brings to worship Another technological innovation related
and find it a stimulating challenge. to aural amplification that is finding its way
into worship is the personal computer and
$XGLR$PSOLÀFDWLRQ special sound effects software. This technology
One of the most common technological is foreign to most churches, as it emerged
additions to a church’s worship life in the from the urban rave culture of the last few
past few decades has been the use of aural decades, but it is now rather common in what
amplification equipment. Few churches are are being called “emerging” or “alternative”
now without microphones, speakers, wires, worship gatherings.
and all that go with them. So maybe it’s helpful The software—sometimes called DJ,
to practice the “yes, but” exercise we spoke looping, or mixing software—can take small
of earlier. bits of recorded sound (a “sample”) and play
• YES: An amplification system can lift up for it repeatedly, in a loop. The sounds can also
all ears the quiet things in church: the voice be manipulated electronically in hundreds of
of a lay speaker, a child reading Scripture, ways, changing fundamental and subtle sonic
a gentle flute obbligato floating over a characteristics such as pitch, timbre, reverb,
sung psalm. Put in common theological and so on. Looped sounds are then layered
terminology, amplification can enable with other sounds—typically with synthesized
the full, conscious, active participation drums and strings—to create a unique aural
of the whole congregation in the acts of environment. Those who use this software
corporate worship. Amplification has thus are both technicians and musicians. They do
been a special blessing for the elderly and programming and preparation beforehand, but
hard of hearing, who can now participate the environments they create in a particular
by listening in ways they heretofore service are as unique as any live musical event.
could not. Likewise, many congregations
are now blessed by the thoughtful and $PSOLÀFDWLRQDQG0XVLFDO6W\OH
passionate preaching of individuals who The question of musical style as it relates to
just a generation ago would have been amplification technology needs to be addressed.
considered unsuitable to step into the pulpit Perhaps the most noticeable change as a result
because they had not been blessed with a of the use of amplification equipment has been
strong voice. a musical shift in many congregations: a shift
• BUT: The cords, monitor speakers, and away from an organ-and-choir-led style of
other visible components of a sound system congregational song (predominantly hymns
can be visually distracting, as when a large and anthems) to a pop/folk style of singing
soundboard, placed in the center of the driven by keyboard, guitars, and drums and led
sanctuary, has more prominence than the by a small team of vocalists. There are those
font or pulpit or table. Likewise, the voices who declare that this shift is a “dumbing down”
of a congregation can be displaced by the of worship, and others who suggest that it
voices of a new select priesthood: the praise has brought a spirit-led vitality to a moribund
band singers, armed with microphones and church. Perhaps neither side is quite right, or
spotlights and amplifiers, doing for the altogether wrong.
congregation what Martin Luther and others It is true that praise band singers use a very
so passionately fought for congregations to different vocal style than does the traditional

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choir. It is a style that makes trained vocalists Solomon). Some might say that these two types
cringe: loud without proper breath support, of expression, authentically felt and expressed,
often sung “up in the head” with little tonal are at the heart of a valuable Christian piety.
control, employing highly idiosyncratic melodic Worship that had lost them has found them
embellishments that can make it difficult for again, and there is much rejoicing.
congregations to follow along. And too often
the traditional choral and community task of
blending voices together in song is displaced
0XVLFLQZRUVKLSVHUYHVDOLWXUJLFDOSXUSRVH
by a congregation whose voices are lost in or DQG WKHUH DUH VRPH WKLQJV ZH ZLVK WR VD\
superfluous to the sea of sound washing from
WR*RGRUKHDUIURP*RGWKDWDUHQRWÀWWLQJ
the front of the sanctuary.
While this may seem a disaster, there is O\ RU H[FHOOHQWO\ H[SUHVVHG LQ D IRONGHULYHG
something else going on here. The question PXVLFDOJHQUH
to ask is not whether these sorts of stylistic
changes in worship make for better or worse
musicians, but whether they make for better Unfortunately, in borrowing and baptizing
or worse worshippers: whether they make popular music, composers have often limited
for better or worse Christians. What we need themselves to these two dominant models,
to explore is this: does the new music help which for all their benefit tend to emphasize
people to participate more fully, more actively, internal, individual, positive emotional states.
more intelligently? Does it deepen their prayer Surely there are many other underutilized and
and lift up their spirits? Does it call forth wholly fitting musical options: jazz to express
their presence to engage the presence of the the complexities of the Christian life, blues for
Triune God who meets them in worship? The communal prayers of lament, and even heavy
surprising answer, at least in those churches metal for Psalms of imprecation. There is still
where the congregation has not lost its voice work to be done.
altogether, is a qualified yes. Of course, even if fully developed, this still
The inclusion of folk and popular music has significant limitations. Music in worship
styles in worship is not merely a capitulation to serves a liturgical purpose, and there are some
culture, it is (or can be) a healthy enculturation things we wish to say to God or hear from God
of congregational song. The Reformers long that are not fittingly or excellently expressed in
ago realized that worship was the “work of a folk-derived musical genre. As Matt Redman, a
the people,” not the sole province of a trained popular contemporary songwriter and worship
clerical class. The Word needs to be spoken leader once told me: “Love it or hate it, the
and responded to in the vernacular of the organ in a cathedral tells us that we worship
worshipping congregation. The church honors a majestic God. I can do intimacy on my
martyrs who died because they believed this. guitar, but when I try to use it to communicate
And here’s the cultural reality check: in North transcendence, it just sounds inky-plinky.”
America at the start of the 21st century, folk Then there is the matter of the song lyrics:
music and musical styles emerging from folk there is a troubling lack of theological content in
music (pop, rock, blues, and the like) are the the most commonly used repertoire of popular
musical vernacular for most people in most of worship songs. A study by Lester Ruth, associate
our congregations. Thus to make use of these professor of liturgy and worship at Asbury
styles in worship is to allow the people to Theological Seminary, discovered that the most
express their prayer in their own language, to commonly sung contemporary worship songs
speak to God in their native musical tongue. for a recent 15-year period (as measured by CCLI
This language is particularly well-suited reporting data) demonstrate an almost complete
to certain types of expression. Exuberant absence of Trinitarian language for God.3 Of
joy and praise is very fittingly expressed in course it doesn’t have to be this way. With
pop music, as is intimate loving and longing the skill and the will, theologically substantive
(a devotional trope at least as old as the Song of lyrics that balance God’s objective activity with

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 our subjective appropriation of it can be set to it might ebb and flow from intense to barely
contemporary folk music—as, for example, the noticeable, but its values are quite different
growing body of work from songwriters Keith from other church music: it is more concerned
Getty and Stuart Townend show. with texture than with structure, with ambiance
than with content, and its patterns are cyclical
rather than linear.
:KHQWKHSURIHVVLRQDOTXDOLW\RIDPHGLDWHG This sort of music reflects a theology of
DFFRPSDQLPHQWLVSUHIHUUHGRYHUWKHLQGLJH worship that resembles that of our Orthodox
brothers and sisters. In an Orthodox-influenced
QRXVLQFDUQDWHJLIWHGQHVVRIWKHORFDOERG\ view, worship’s purpose is to draw back the
ZRUVKLSLVYHHULQJGDQJHURXVO\FORVHWREHLQJ veil separating heaven and earth, to invite the
congregation into the constant, cosmic worship
UHGXFHGWRPHUHHQWHUWDLQPHQW of the Trinity by all creation. Both Orthodox
worship and this ambient music have a sense
&DXWLRQV of mystery, timelessness, and hospitality.
I have two concluding cautions about the
use of amplification technology and its effect &RQFOXVLRQ
on worship style. First, any amplification Whether the trends highlighted here stand
brings with it a complicating intermediateness the test of time—whether they offer something
that should give us pause in embracing it of lasting value to the life of the church—
too quickly or completely. Jesus Christ was remains to be seen. But they are all attempts
the Word made flesh. As a professor of mine today to open up and make use of culture,
used to say, Jesus went to some trouble to to follow the creation mandate to fulfill and
become incarnate. Our own expressions of the subdue the earth. Avoiding technology in
Word then—whether in spoken proclamation worship is simply not an option. Whatever the
or in music, in voice and string and waves future holds, the church will continue to need
of sound—ought to have an incarnational pastors, pastoral musicians, and artists who are
character about them. Confounding to me is theologically astute, culturally discerning folk
the phenomenon of what I call Karaoke Kirk, who can help design, develop, and support
where a vocalist offers “special music” in worship that brings glory to God and enhances
worship, accompanied not by another church the worship of God’s people.
member, but by a recording played over the
sound system. When the professional quality Ron Rienstra is assistant professor
of a mediated accompaniment is preferred over of preaching and worship arts at
the indigenous, incarnate giftedness of the local Western Theological Seminary in
body, worship is veering dangerously close to Grand Rapids, MI. He is an
being reduced to mere entertainment. ordained minister of Word and
Second, it’s important to note that the Sacrament in the Reformed Church in America.
function of the music created with mixing or
looping technology is very different than the
function of the music previously discussed. It Notes
is still used to engage the worshipper, to draw 1. Grand Rapids, MI: Baker (2004), 44.

the worshipper into the presence of God. 2. Minneapolis: Augsburg Fortress (2005).
But it is not intended as accompaniment for
congregational song, to give voice to the prayer 3. “Lex Amandi, Lex Orandi: The Trinity in the Most-
Used Contemporary Worship Songs,” ch. 14 in
of the people. Rather, it is meant to shape
The Place of Christ in Liturgical Prayer: Trinity,
space with sound, to provide a sonic backdrop Christology, and Liturgical Theology, ed. Bryan D.
to whatever liturgical or ritual action might be Spinks (Collegeville, MN: Liturgical Press, 2008),
taking place (prayer, offering, meditation on 342–59.

Scripture, hand-washing, and the like). The

“feel” of the music might be agitated or peaceful,

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 %22.5(9,(:6

Stuart Forster.
Hymn Playing: A Modern Colloquium.
Fenton, MO: MorningStar, 2013.

352 pp.
ISBN-13: 978-0944529607.
$24.95, paperback.

THIS NEWLY RELEASED BOOK is an engaging the preface that throughout the interviews there
and unique publication for organists. It is helpful are duplicate answers and even contradictory
to examine what this book is and what it is not. opinions, as will be the case when gathering
It is not an organ method book. It is not a how- opinions from any number of experts.
to or self-help book. Neither is it part of the ever- And therein lies a real strength of the book’s
expanding “For Dummies” genre. Instead, its topic: there is no one silver bullet or magic
subtitle, A Modern Colloquium, better describes formula for hymn playing. There are good
the book as a collection of wisdom, thoughts, overall principles, but ultimately each organist
and ideas from several leading organists. Forster must struggle, experiment, and be creative in
is really more of an editor or arranger who his or her own church in order to find what
interviewed the subjects and organized their works or doesn’t. Gleaning the interviews for
thoughts into a systematic whole. ideas to use in one’s own parish is arguably the
The subjects are eleven organists and best way to read this book.
teachers from around the United States (and Organists will undoubtedly read some ideas
one from Australia), including familiar ALCM that they have already found useful and helpful
members David Cherwien (Mount Olive in their own circumstances, though perhaps
Lutheran, Minneapolis) and John Ferguson expressed in a better and more complete
(St. Olaf College), as well as such other noted manner. There are other sections that provide
organists as Bruce Neswick (St. John the much food for thought, such as Cherwien’s
Divine, New York City) and John Scott (St. anecdote about Paul Manz stating that he used
Thomas, also New York City). Topics discussed the entire compass of the organ registration in
by the interviewees range from such practical order to be a good steward. Equally interesting
considerations as articulation, tempo, and were John Ferguson’s suggestions about
registration to such other influential factors as involving the choir in helping to try out one’s
working with choirs and clergy. ideas for a hymn.
Reading the book is enjoyable and easy, The topic of hymn playing is broad enough
with the content of the book consisting of edited for organists in a variety of local congregations
transcriptions of the interviews conducted to find plenty of useful information. If there is
with each subject. The language flows any criticism of the book, it would be that the
conversationally, the way a good teacher would interviewees—an array of excellent teachers
conduct a lesson, filled with ideas, illustrative and stellar organists—all represent significant
examples, and humor. Forster freely admits in congregations or colleges with such splendid

129(0%(5_ & 5266 $ &&(17 

 resources as magnificent pipe organs, choirs have mastered basic technique and who desire
of men and boys, superb architecture, and to continue to improve their playing will find
large budgets. Of course, when you want many gems within the covers. Hymn playing is
to ask expert organists, many of them play really the most important playing that church
in such settings and their counsel is wisely organists do. This volume will encourage
sought. However, many of these settings and hymn playing in a well-informed, creative, and
circumstances are far from the norm in many engaging manner.
congregations. The organist in a parish with
modest (at best) resources would be wise to Kevin J. Hildebrand
use discernment regarding suggestions such as Associate Kantor
what to do with a 55-rank organ or how to Concordia Theological Seminary and St. Paul’s
work with a professional brass quartet. Lutheran Church
Who would benefit most from reading the Fort Wayne, IN
book? Experienced and skilled organists who

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129(0%(5_ & 5266 $ &&(17 
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 %22.5(9,(:6

Kimberlee F. Strepka.
Handbell Artistry from the Inside Out.
Chicago: GIA, 2012.

166 pp.
ISBN-13: 978-1579999230.
$19.95, paperback.

A CHRISTMAS-SEASON ROMANTIC COMEDY handbell performance. This is well exemplified

currently in production is premised on the by the early Glee Handbell Choir under the late
meeting of two love interests who are members Katsumi Kodama and more recently by Kevin
of a church handbell choir. The producer asked McChesney’s Pikes Peak Ringers and Jason
if I could provide a troupe of handbell ringers Wells’ Ring of Fire. As ringers began to perform
for two of the scenes. The Concordia students increasingly challenging repertoire, ringers and
and alumni who were involved had great fun, directors became more conscious of ringer
but we wondered what such representations health. Thus emerged Susan Berry’s Healthy
say about the public perception of handbell Ringing (Dearborn, MI: Handbell Services,
artistry. Handbells have long been viewed 2012), a valuable book-size manual rooted in
primarily as tools for worship and music conversations with medical professionals about
education; or as a craft, hobby, or social the effects of ringing technique on the bodies
activity for artistic dilettantes; and perhaps of active ringers.
a musical activity for those who do not sing Strepka’s book is a natural and timely
or play other instruments. In her new book outgrowth of emerging interest in both
Strepka impresses upon us her “sincere desire handbell musicianship and the physical
. . . that these unconventional, but proven, underpinnings of technique and expression.
ideas will lead us toward a deeper level of She draws from a music education background
musical awareness, instruct us on how we can and a variety of sources to present a system
become more musical beings, and equip us leading to effective, artistic ringing through
to bring more expressive performances to our analysis of movement. She is influenced
audiences” (xxiii). by theories and practices of movement and
Though smaller volumes on handbell pedagogy familiar to many (such as those of
technique appear with some regularity, Jaques-Emile Dalcroze, Kevin McChesney,
notably the late Donald Allured’s Mastering and William Payn), but her undergraduate
Musicianship in Handbells (Nashville: encounter and long professional relationship
Broadman, 1992), the publication of a full-size with choral music professor James Jordan
book on any topic about handbells has been led her to drink deeply of the early 20th-
rare, no less one on the artistry of ringing. The century work of Hungarian dance pedagogue
cultivation of handbell artistry was arguably Rudolf Laban (1879–1958), noteworthy for
spearheaded by Dr. Allured and his Westminster his development of a system that “allows us
Choir College handbell choirs of the 1970s. to analyze, describe, and record movement
Since then numerous handbell ensembles on every level” (xii). “Labanotation” enabled
have explored how movement can enhance dancers to codify their movements such that

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 the movements could be learned by dancers conscious, intentional application of Laban’s
elsewhere, much as a musical score is read by theory or whether Strepka is imposing aspects
an orchestra. of Laban’s theory on McChesney’s model.
Laban determined that movement could be Chapter 8 is a case study of the American
observed through four models: Body, Shape, Negro spiritual as a genre that “presents unique
Space, and Effort. Strepka walks us through challenges to our instrument” (109). Based on
these models and several more layers of Laban’s insights into the history of Negro spirituals
theory, leading us to understand eight “Effort by Andre J. Thomas, Strepka suggests that by
Actions” that she considers an appropriate thorough analysis of the movement profile of
performance vocabulary for handbell artists, spirituals one can present “handbell spirituals”
namely Float, Glide, Dab, Flick, Wring, Press, in a “new style—the handbell spiritual” (113).
Punch, and Slash. Chapter 9 is an independent paper on
Most of these actions, she believes, can “Foundational Skills” by Strepka’s mentor
be directly observed, studied, practiced, and Jordan, who discusses the notion of
performed in handbell music, the results “entrainment” or “rhythmically empathetic
of which are healthy, artistic performance movement,” which would presumably be a
and musical empathy within the audience. valued goal of handbell ensembles. This goal
Moreover, directors can engage their ringers in is actually by implication, since handbells are
score study based on movement inherent in the discussed only in three sentences near the end
music, and the conducting gestures can depict of the paper. It is interesting and reasonably
these movements in musical ways, thus allowing appropriate but something of an interpolation
empathy to be aroused in audiences through both in substance and style, since it does not
the expressiveness of these movements. smoothly follow Strepka’s line of thought in
The structure of the book and its visual the book.
presentation are clearly the product of much Chapter 10 is a useful though catchall catalog
thought. Great pains have been made to break for score analysis, preparing for rehearsals,
the text into sections, with extensive use of warming up, troubleshooting, conducting,
numbered lists and boldface type to clarify and arranging handbell music with movement
concepts and terminology. in mind. Some of these areas merit some
Chapters 1 and 2 are a presentation of elaboration but certainly are adequate as a basis
Laban’s theory and an overview of applications for productive action by directors and ringers.
to handbell performance. Chapters 3 through 6 A helpful glossary and substantial
present more specific applications of the theory bibliography of handbell and dance sources
to handbell movement, including the central follow the body of the book.
concept of “bound flow” (discussed below). The typical director looking for clear and
Chapters 7 and 8 are two very different practical applications of Laban movement
modes of examining the nature of principles might find chapters 3 and 10 most
expressiveness through a wide range of short helpful with their descriptions of movements and
examples and a few longer musical ones. actions as they relate to ringing, as well as the
Chapter 7 is a kind of dialogue between Strepka discussions of how to analyze music and plan
and Kevin McChesney that interprets the role rehearsals using movement principles. Directors
of movement in several musical excerpts from who have been leery of encouraging their ringers
two perspectives. Strepka’s model describes to explore space with their bodies might have
“the ringers internalizing the Effort Action fun applying vertical, horizontal, and sagittal
words as they ring,” while McChesney’s depicts (diagonal) dimension and their combinations,
how “the ringers bring expressiveness to the such as the wheel, door, and table planes.
music by being intentional with the Space they Laban’s eight Effort Actions have obvious analogs
inhabit with their bodies and the Shapes they to handbell motion, though Wring (ironically)
create in the air” (88). It is interesting to see may be problematic. I do wonder what the
these two lines of reasoning in tandem, but it more daring but less movement-savvy director
is not clear whether McChesney’s model is a might do with young ringers in attempting these

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applications without a mentor present at some Handbell Artistry from the Inside Out is
point; one really needs to see these principles provocative reading for handbell directors and
in action. These Effort Actions will, however, ringers and will excite those who have sought
resonate with the physical sensibilities of ringers, clarity in teaching and learning about ringing as
though they might in their simplicity also be a movement art. It will challenge those who have
superficially abused, with ringers and directors at been suspicious or curious about forays beyond
risk of missing the deeper concepts Laban hoped the traditional marching-band style of ringing.
to communicate.
The thoughtful ringer might be especially Herbert Geisler
intrigued by the expanded and slightly more Concordia University Irvine
esoteric discussions in chapters 4 and 5 of Irvine, CA
“sonic” and “visual possibilities.” These are
meaty but not excessive extensions into aspects
of posture and its many visual and sensory
nuances with bells in hand, all with the aim of
developing a sense of “3-dimensional ringing.”
At the center of Strepka’s discussion, however,
is Laban’s concept of “bound flow,” described
in chapter 6, “Bound Flow Is Our Friend: The
Key to Stopped Sound Techniques.” Few will
argue that the rehearsal and performance of
martellato, malleting, echo, thumb damping, and
the like require the utmost discipline. Strepka
describes “bound flow” as movement that is
“cautious, controlled, and can be stopped and
started at will” (77), that is, movements that are
precise, studied, regulated, and give evidence of
the ringer’s ability to contain the outpouring of
emotions in deeply expressive ways.
Her discussion offers cogent thinking on
how to cultivate a more expressive integration
of mind and body through these techniques, and
assures the more reluctant ringers and directors
that these concepts are not about ostentatious
flailing of bells but about refined artistry of fine
musical repertoire, much as preachers practices
their rhetoric and presentation to illustrate more
effectively their exegesis of God’s word.
In general Strepka writes with refreshing
clarity of organization as well as lucidity and
accessibility of style. The book has something
for every conceptual level, from that of the
everyday church ringer to that of the astute,
experienced, scholarly director. The structure
of the book effectively supports Strepka’s
contention that “embodying the music we
perform is the highest form of artistry” (146)
and leaves the reader with a meaty menu of
material to absorb, reflect upon, and apply in
rehearsal and performance as well as pursue
through further study.

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%22.5(9,(:6

C. Randall Bradley.
From Memory to Imagination: Reforming the
Church’s Music.
Grand Rapids, MI: Eerdmans, 2012.

235 pp.
ISBN-13: 978-0-8028-6593-9.
$25.00, paperback.

IN HIS WELL-RESEARCHED BOOK Bradley We have retreated to the safety of the past and
engages in a detailed examination of the state of the security of the memory of a time that no
music in the church. He brings to this study his longer is nor shall ever be again” (14). Because
experience as both a practicing church musician of this we are unable to move ourselves from
and an academician. He has been part of the our memory into our imagination; unable to
music ministry in several Baptist churches; adapt to a new paradigm; unable to look at
and is the Ben H. Williams Professor of Music, the future, trusting that through God’s grace we
professor of church music, and director of will discover the new music, the new liturgical
the Church Music Program and the Center for patterns, and the new ways of organizing our
Christian Music Studies at Baylor University. He congregations that will speak to the post-
is Baptist by birth and training, having grown modern world in which we find ourselves.
up in southern Alabama, and has been an active The shortcomings of the institutional
musician in Baptist churches from an early age. church and its worship are addressed,
Bradley approaches the subject by including the church’s dependence on the
identifying church music prior to 1960 as being academy, which for generations has provided
part of the modern era with its “value for its highly educated clergy; its denial that it
absolute truth, researched knowledge, careful should radically change how it thinks about
order, emotional restraint, organized programs, worship and the relationship of the individual
outlined sermons, logical worship, fully orbed worshipper to it; its need to control and exercise
song texts, structured music and methodical power over the parish; its provincialism;
operational procedures” (14). Church music is its dependence on commercial interests as
rooted in that past, in that history, or—as he puts resources for worship; and its insistence on
it—in that memory. Modernity is this particular preparing a worship experience for those who
paradigm, and we have wrapped ourselves attend and in which they are expected simply
in it with the music, liturgies, structures, and to do what they are told.
practices that we know and with which we Musicians are taken to task for their fear of
feel comfortable. As post-modernism—with its the new; for creating leader-dominated music;
emphasis on the individual and on the lack of for maintaining their power over worship
ideological boundaries, philosophical fences, planning and not letting the worshipping
and clearly defined arguments—began to take community have any choice in the kind and
root in our culture, the worship of the church style of music through which they worship; and
found itself in crisis “because we have denied for creating music programs that are essentially
that cultural shifts have been occurring and that elitist in nature, performance driven, and lacking
these shifts have been affecting the church. . . . in imagination. In these comments Bradley

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does not take sides in the choir/organ vs. praise admit it) music that helps us maintain our place
band/worship team debate, pointing out that in the professional hierarchy of our profession.
both styles of music have similar characteristics However, in one provocative passage Bradley
of organization, power, and control, and that asks church musicians to consider that “the
their leaders often create musical groups that church’s music, the institutions it embodies, the
operate at musical levels open only to the ideals it upholds, and the legends and stories
skilled few in the congregation. that surround it are a multilayered myth that the
A chapter on music in the Bible details what church and its musicians have served without
Scripture does and does not say about music; pausing to question its origins, its contextual
another chapter on biblical interpretation truth, or its relevance to the future” (20). Is our
suggests that Scripture is open to many readings devotion to this myth what prevents us from
and points of understanding. The intent is to imagining a future different than our present?
encourage us to stop hiding behind the Bible Bradley makes many suggestions on how
by using selected Scripture passages to defend the church and its musicians can move from
our choices in music no matter what they are. their “memory” forward into their “imagination.”
Bradley recognizes that all of us who lead Each of the following points is fully developed
music in worship passionately defend our in the book, showing the many ways music can
work and our musical paradigms. The music play a part.
we do, even if very wide in stylistic breadth, is • Do not lose the historic music of the
what we know and what we have decided is church; it should be the foundation upon
in the best interest of our congregations. It is which we build the future but must not
music that artistically and emotionally suits us bind us to the past.
and the other musicians with whom we work, • Preaching must become collaborative and
music that is the product of our prayer and communal and provide opportunity for input
reflection, and (though we might not want to and shared ownership by the congregation.

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 • Community within the worshipping church Bradley’s vision for how the church moves
must be characterized by genuine love into the future with imagination will please
for God and for others, with everyone some, surprise a few, and frighten others.
having a sense of belonging, of friendship, He suggests that our overly zealous concern
and of having a place. We should make for theological orthodoxy, differing liturgical
the community a part of the creative practices, and music of our own choosing
process of worship planning, discarding should be replaced with shared beliefs and
the ”top down” model mentioned above. goals developed through the communal and
Our choices of music should represent a collaborative work of the church. I have
broad cross section of the body of Christ, difficulty understanding how worship and the
with everyone having an investment in music used in it would be planned routinely by
the plans that are made. No one musical people who—no matter how well-meaning—
style is more sacred than another, and the likely don’t have much knowledge about the
plans we make should be collaborative process and likely have little awareness of the
and communal, influenced by the histories, vast universe of resources available to them.
stories, and contexts of the people involved. I struggle with the notion that the liturgy
While recognizing that not everyone is a through which the church has sung its praises
composer or a poet or knowledgeable and laments, proclaimed God’s word, and
about repertoire, all can have a place celebrated the sacraments for millennia can be
by being a part of the education, prayer, casually set aside. The liturgy does not prevent
dialogue, and discernment process. us from singing new songs or limit the voices
• The chapter on hospitality may be one of that sing them. It does not prevent the creation
the most important in the book. Noting of new forms of proclamation or limit the
that “true worship involves our practicing telling of our own stories and histories. It does
hospitality as host, stranger, and guest” not depend on charismatic preachers, brilliant
(158), he discusses in great detail how the organists, splendid choirs, skilled praise bands,
church can become “home” for us when great buildings, beautiful bulletins, elaborate
we are hosts welcoming people to worship, vestments, or any of the other ways churches
when we are guests needing a temporary identify themselves. By rehearsing again and
home, and when we are strangers in need again the great arc of salvation history, the
of hospitality. liturgy provides an anchor, a constant in the
• Finally he suggests that church musicians midst of change, and a reliable place and way
must become multimusical, that we must for us as a community of whatever size to be
move out of our artistic and professional fed by the Word, to be put in touch with the
comfort zones. In order to sing God’s means of grace, to be renewed by them, and
redemptive story in a strange land, our from them be sent into the world to be the face
textual and musical vocabularies must not of Christ to all we meet.
be so foreign that those we are trying to I believe this is an important book and
reach are effectively shut out from our faith should be read by all church musicians. Each
communities. We need to learn new musical will have to determine what, if any, changes in
styles, even perhaps new instruments. We his or her ministries might result. But to labor in
should learn the histories and stories of ignorance of the world around us is to do the
folks with backgrounds different from our church and the people with whom we work a
own as well as their music, their songs, and disservice. This is our challenge now, as it has
their contexts. We should try to become always been. And only through God’s grace
acquainted with musicians who work in and the movement of the Holy Spirit will each
very different musical styles and learn to musician find his or her way forward.
value their art and their ministries. The
challenge is to preserve and treasure the Donald L. Armitage
historic music of the church while finding Cantor Emeritus, Augsburg Lutheran Church
or creating new songs to sing of God’s love. Winston-Salem, NC

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 6281')(67

&21*5(*$7,21$/621* João Wilson Faustini.

The Heavens Are Telling.
Wayne Leupold Editions (WL800039), $24.00.
Dan Damon and Gracia Grindal.
A Treasury of Faith: Lectionary Hymns, Designed as a companion for When Breaks
Series A. the Dawn (WL800014), The Heavens Are
Wayne Leupold Editions (WL800041), $21.25. Telling is a 182-page volume that can help
familiarize people with music from Brazil for
Here are 74 original hymn texts (originally possible inclusion in English worship services
published in 2006) on the Epistle or Gospel for and in denominational hymnals in the years
each Sunday and festival of Year A, along with to come. In the foreword of this opus, Pablo
74 original tunes (published with Grindal’s Sosa comments that “the use of minor modes,
texts in 2011). melodic turns and feminine endings create
a harmonic transparency and a distinctively
Like so many good hymn writers, Gracia Grindal Portuguese melodic sound” (viii), and these
honed her poetic craft through translating are the kinds of sounds that are prevalent in
classics. Her hymns in this collection not only Faustini’s work. He uses English prose and
draw the congregation into the Gospel for the poetry and weds it with Portuguese tunes
day but also to the Christ there revealed. More from folk traditions to create new songs for
than merely restating a Gospel, “lectionary the people of God. Brazilian folk songs and
based” means for her (as Luther said) “urging Brazilian modinha-style music (considered the
Christ (to us).” Here are solid hymns not only first type of Brazilian composition in the 17th
for the great festivals, such as “O Why Did century) make for Romantic songs of lament
Jesus Have to Come to Earth?” (Christmas in minor keys that characterize many pieces in
Day), but also useful hymns for other, more Faustini’s book.
difficult days, such as “Go Down, Joseph, Take
That Baby” (Matthew 2:13-18; Christmas I) or Faustini uses existing texts and also composes
“Christ Broke the Idols of My Heart” (Matthew new ones to use with these melodies that
23:1-13; Pentecost 26). underscore the broad beauty of the church’s
song. Although many of the modinhas
Dan Charles Damon, a United Methodist (which have been influenced by Portuguese,
pastor-musician in Richmond, CA, writes African, and Indian musical elements) have
accessible melodies that move step-wise or not been used previously for worship, they
in easy intervals—tunes that also express the are known by many in Brazil from childhood.
sense of Grindal’s texts. So, for example, the It is helpful that tune names and meters are
Christmas hymn above gets a noble, lyric kind provided for each hymn. Another bonus is
of tune (LEEDS), the Christmas I hymn a tune in that the hymnal is indexed by composers
minor like a spiritual (TURNBRIDGE), the hymn and arrangers, authors and translators, topic,
for Pentecost 26 a most “un-pharisaical” tune, source (Scripture citations), meter, tune, and
almost child-like in its joy (SHINGLE SPRINGS). title in the same way that many hymnals are
for easy reference and possible use by choirs
The book is well edited, with indexes of topics, and ensembles even where Portuguese is not
Scripture sources, tune meters and names, and currently spoken, since many of the texts are
first lines. Preachers will find here insightful in English.
help for preparing sermons on the Gospels.
Choir directors who buy enough copies for The volume combines pieces with easy refrains
their choirs will find a whole year’s worth of and antiphons that quote or paraphrase
possibilities for “Gospel motets.” DS Holy Scripture or homiletical ideas, and
congregations with intentionally progressive

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 musical leadership may see how many of the LOVE) of nicely sequenced phrases, not to
pieces can become congregational favorites mention a cheerful descant, too.
with ease, especially since many of the texts
are familiar in English already. Although not Like the Series A volume, this book is well
intended to be a self-standing hymnal, The edited and well supplied with indexes; highly
Heavens Are Telling provides a rich tapestry of recommended! DS
diverse and fresh Brazilian music that can be
used in Lutheran congregations with musicians
of all skill levels. DT
,167580(17$/_25*$1086,&

Amanda Husberg and Gracia Grindal.

A Treasury of Faith: Lectionary Hymns, James Biery.
New Testament, Series B. Journey to the Cross.
Wayne Leupold Editions (WL800044), $21.00. Organ.
Concordia (97-7537), $24.00.
This is a worthy sequel to the Series A collection
(above). Included are 70 singable new tunes Eight hymn tunes are set as preludes, suitable
by Husberg, all harmonized in four parts, 19 for the weighty messages of Lent and Holy
with instrumental descant. Husberg writes, Week. Biery’s treatments include the use of
“The music should not be so distinctive as to dissonances, such as diminished-5th and 7th
draw attention away from the words, but rather intervals, manual changes, effective registrations
should wrap itself around the text, weaving utilizing three manuals, changing meters, and
melodies over and under the rhythms of the range of dynamic expression. The tune KINGSFOLD
text” (viii). The 70 texts (mostly from Mark, is cast as an homage to J.S. Bach’s Erbarm
Year B Gospel) are ably crafted by Grindal. dich mein, o Herre Gott, BWV 721. His varied
Here are three examples. techniques bring to life the message inherent
in the music. These substantial preludes range
In “Lift Up Your Hearts with Joy and Sing” from simple to complex, from sight-readable to
(Advent 1), Grindal sums up well the “edgy medium level of difficulty. Other hymn tunes
reassurance” of Mark 13:24-37. Husberg’s 6/8 in the collection include CAITHNESS, FORTUNATUS
tune sustains us through this long hymn (847 NEW, LOVE UNKNOWN, NEW MALDEN, O TRAURIGKEIT,
847 887—22 bars) by quoting part of an older REALITY, and AN WASSERFLÜSSEN BABYLON. CP
Advent tune (MILWAUKEE), with syncopations (m.
7 and m. 13) and by climaxing about half-way
through (high D, m. 14). Jeffrey Blersch.
Partita on “Voices Raised to You We Offer.”
The text of “As Moses Lifted Up the Brazen Organ.
Sign” (Lent 4) gives John 3:16 a fresh refrain Concordia (97-7494), $20.00.
and strong key words—“For God so loved the
world he gave, he gave his Son, his only Son”— This enjoyable work features five settings of
and at the refrain, Husberg’s heretofore rather SONG OF PRAISE: “Fanfare and Dance,” “Duo,”
pedantic tune (SAMANTHA) changes tonality, “Trumpet Tune,” “Reflection,” and “Fanfare
rhythm, and lyricism to express it. and Toccata.” Utilizing mostly duple and some
irregular meter, Blersch dresses the hymn
From the complex gospel of Mark 3:21-35 tune in varied rhythmic colors, ending the
(Pentecost 4, Proper 5) Grindal has “coaxed collection with a brilliant toccata that contains
out” a hymn on family (certainly an underserved a straightforward pedal statement of the tune.
hymn topic!), “Christ Jesus Speaks with Love to Articulation and ornamentation add a tuneful,
Those.” This is well-matched to a tune (WITH upbeat quality, especially to the “Trumpet

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Tune,” and the “Duo” features interesting play Healing and Funeral.
between voices. Slightly above sight-reading Organ.
level, this collection could fill multiple needs Augsburg Fortress (ED023408), $40.00.
within a single worship context or make an
attractive recital offering. CP Augsburg has added this 10th volume to the
Augsburg Organ Library series. Included in
the collection are non-hymn-based pieces
David M. Cherwien. such as Peeters’ pensive and haunting Aria
Prelude and Postlude on THAXTED. and Ashdown’s lyrical Elegiac Pastorale.
Organ. Hymn-based repertoire on hymns old and
MorningStar (MSM-10-627), $11.00. new include Haan’s dignified setting of “Oh,
What Their Joy and Their Glory Must Be” (O
Marked “Mysteriously,” the prelude movement QUANTA QUALIA), Cherwien’s exuberant setting of
begins and ends with soft chromatic chords “Rejoice, Ye Pure in Heart” (MARION), and Aaron
and clear melodic statements. A louder middle David Miller’s playful setting of the Norwegian
section varies the tune slightly. The postlude tune I HIMMELEN, I HIMMELEN. The collection
movement incorporates several different toccata includes well-crafted arrangements of hymns
figurations, giving enough of each idea to unify often requested at funerals. such as “Abide with
the piece without letting any pattern become Me,” “Be Still My Soul,” “How Great Thou Art,”
tiresome. Melodic snippets drawn from the “On Eagle’s Wings,” and “Softly and Tenderly
hymn tune appear in the pedal in the opening Jesus Is Calling.” Editors Norma Aamodt-Nelson
and closing sections. The middle section is and Mark Weiler have compiled a collection of
primarily for the manuals, with the melody in arrangements that may well become your “go
the right hand. Faster toccata figurations at the to” book for funerals, healing services, and
end bring the piece to a triumphant finish. LW commemorations. JRB

David P. Dahl. Samuel Metzger.

Variations for Organ on DIX. The Festival Hymn Collection, vol. 2.
Organ. Organ, SSA.
MorningStar (MSM-10-212), $9.00. MorningStar (MSM-10-225), $29.00.

This piece was originally composed for an Festive hymn arrangements for organ and brass
antique Italian organ built around 1680. The are plentiful, but those for organ and choir
composer points out in his opening comments descant are less frequently found. This volume
that the bass on this instrument consisted of a contains organ settings of 15 familiar hymns
“short octave” in the bass, which explains why along with corresponding choral descants for
this set of variations could easily be performed SSA vocalizing on the vowel “ah.” A typical
on manuals alone. The variations are composed setting includes an organ introduction, standard
for the five-stanza text of “As with Gladness Men verse harmonization, an interlude that contains
of Old.” Variation 1, which is canonic in style, a modulation to a new key a step higher,
makes use of musical elements to bring out the and a concluding stanza in the higher key.
text and it begins with an upper voice ornament The concluding stanza in each setting has an
used to portray the twinkling star. Variation optional choral descant that may be reproduced
2 is written in a two-voice duo. Subsequent for the singers. Many of the concluding stanzas
variations are labeled as an aria, invention, and place the hymn cantus firmus in the tenor with
finale. The music is of medium difficulty and descant material in the right hand. While the
would be very useful in the Epiphany season as modulation embedded in the interlude may not
organ statements of a stanza of the hymn. MS be to everyone’s taste, the concluding stanza
descants are attractive and noteworthy. The
composer wisely recommends that users adapt

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 the material to their own needs. “Depending in D major” (from Suites, Lessons, and Pieces for
on the placement in the service, a shorter Harpsichord) by Purcell, “Rondeau de Concert”
introduction and interlude may be required. (from incidental music from Abdelazer) by
Feel free to shorten to suit your needs. Most Purcell, and “Sinfonia—Arrival of the Queen of
introductions end with the final phrase of the Sheba” (from Act III of Solomon) by Handel.
hymn—a logical place to start for a shorter In all of these pieces, repetitions of sections
introduction. The modulations may be replaced are further ornamented following the Baroque
or shortened as well” (2). JB practice. Janzer states in his preface that “As
arrangements, rather than transcriptions, free
use of additional material as well as alterations
Robert J. Powell. to the originals will be found throughout the
From Heaven Above. collection while still maintaining the musical
Organ. integrity of the original.” Janzer has skillfully
MorningStar (MSM-10-180), $10.00. handled these arrangements so that they are
idiomatic to the organ. Many of the works
While not explicit in the title, this collection would be highly suitable for weddings and
makes use of traditional German Christmas other festive occasions. JB
carols (although some are less familiar than
others). The first arrangement combines the
carol “While by My Sheep” (ECHO CAROL), played John R. Shannon.
on manuals, with Luther’s well-known hymn Improvising in Traditional 17th- and
“From Heaven Above” (VOM HIMMEL HOCH) in 18th-Century Harmonic Style, vol. 1.
the pedal. It begins quietly and then builds to Organ.
a rousing finish, which would work well as a Wayne Leupold Editions (WL600187), $28.00.
hymn prelude. The second piece is a setting
of SUSANNI (a carol that is also often translated Shannon’s fine instructional book on improv-
as “From Heaven Above”). The melody is first isation takes the approach that learning to
quoted in the pedal and then repeated with improvise and practicing this skill require
various registrations and in new keys. It retains choosing a musical style in which to develop
its essential characteristic as a lullaby and ends this art. His chosen style is the language of
with the “Susanni” refrain. In the final piece of the mature Baroque, a style very well suited
the set, Powell uses bird-like motifs and a light for the organist. Because of this approach
texture for the carol DIE WEIHNACHTSNACHTIGALL. to teaching improvisation, he weaves music
These settings may be especially appreciated by theory instruction throughout the book as a
German-speaking parishioners, but they would necessary foundation for gaining proficiency
also make a nice addition to your Christmas in improvisation. Shannon employs two basic
repertoire. DR perspectives in presenting improvisation:
contrapuntal and harmonic. Both are necessary
for a secure foundation, and it is to his credit that
Henry Purcell and George Frederick Handel. they are both included in this book. Already in
Organ Arrangements for Church and Unit Two students are introduced to two-voice
Concert, vol. 1, Selected Works. writing (essentially first species counterpoint).
Transcribed and arr. Dennis Janzer. A soprano melody (at first only the initial
Organ. phrase) of a familiar hymn tune is given and
Wayne Leupold Editions (WL600273), $24.00. the student adds a bass line to it. Harmony
in major keys is introduced by various chord
This volume provides the organist the categories: primary triads (I, IV, V), V7 chords,
opportunity to play works by Purcell and root position “secondary” chords (II, III, VI),
Handel originally scored for varied ensembles and later by inversions of both triads and V7
of strings, winds, brass, and percussion. These chords. A very useful summary of typical chord
include familiar favorites such as “Trumpet Tune progressions is given in Unit Four (30–31).

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Shannon introduces harmonic progression variations, and a finale. Harmonies shimmer
exercises to develop confidence and speed. The as the composer explores that quintessential
preferred format is one encountered in basic American tune, SIMPLE GIFTS, through a half-
continuo realization: three voices in the right dozen key changes and as many moods. Yet
hand in closed position over a bass line played there is a pervading, straightforward simplicity
in the left hand. Figured bass is introduced about the music that always keeps in touch
in Unit Six and serves admirably to imply with the Shaker hymn. The work is long for
harmony without immediate reference to chord Sunday morning worship. Each variation
function. Thus, given a figured bass line of half transitions without pause to the next, so there
notes, broken chords in eighth notes can begin is no graceful way of excerpting. The work
to be improvised in the right hand in two-voice might serve as an extended prelude for a
texture (46). Eventually nonchord figuration is service that includes “Lord of the Dance” or
added to the right hand in improvising on a some other text sung to SIMPLE GIFTS. Also the
figured bass or embellishing a familiar hymn many registration changes would be tough
tune (62ff). Some common nonchord tone to pull off without pistons. These challenges
figures such as changing note group, cambiata, aside, Thomas’ piece deserves to take its place
and messanza are studied. in the American repertoire alongside Ned
Rorem’s A Quaker Reader and Samuel Barber’s
Issues of part-writing are dealt with succinctly Wondrous Love variations. KO
as they arise. “Particularly, observe the general
rule when connecting one chord to another,
hold over common tones and move the other Jacob B. Weber.
voices the shortest possible distance” (19). Part- Christmas Mosaics.
writing the dominant 7th chord is taken up in Organ.
some detail in Unit Three. Two of the admirable Concordia (97-7517), $21.00.
features of this book are the inclusion of
excerpts from 17th- and 18th-century organ This is a collection of six settings of familiar
literature and the use of many hymn-tune Christmas carols. The arrangements range from
melodies. The inclusion of keyboard harmony easy to medium difficulty levels. The composer
exercises is also a valuable tool. Shannon has taken great care to present musical settings
wisely states in his Introduction, “Units are for an organist of average ability to use. Tunes
not intended to be completed within a given represented in this collection are AWAY IN A
amount of time. The techniques described in MANGER, CRADLE SONG, GLORIA, LASST UNS ALLE,
any good musical text likely take a long time MANGER SONG, TEMPUS ADEST FLORIDUM, and UN
to perfect. This is especially true of books on FLAMBEAU. The settings carefully reflect the mood
improvisation. Although it might be possible of the carol. The setting of “Away in a Manger”
for a student to use these books alone, the uses both of the familiar hymn tunes. The pedal
help of a competent, compassionate, and parts are generally easy; however, in a couple
interested instructor is certainly desirable” (4). of the settings there is a more challenging part
I wholeheartedly recommend this book for that is used to express the joy and excitement
those willing to put in the necessary practice to of the carol. MS
improve their improvisation skills. JB

Jacob B. Weber.
David Evan Thomas. Soli Deo Gloria: Eight Distinctive Chorale
Variations on Simple Gifts. Preludes for Every Organist, Set 2.
Organ. Organ.
MorningStar (MSM-10-450), $11.00. Concordia (97-7496), $19.00.

With the ghost of Copland hovering, David Evan Weber has distinctively cast eight chorale
Thomas gives us an introduction, theme, five preludes in settings that range from meditative

129(0%(5_ & 5266 $ &&(17 

 to martial. One particularly uplifting treatment hymnals (DARWALL’S 148TH, DIADEMATA, LOBE DEN
couples the hymn tune GRAFTON with a triplet- HERREN, NETTLETON, and SINE NOMINE). The other
rhythm accompaniment featuring articulative tunes included are also familiar festive hymns,
intricacy. Other melodies treated include among them AUSTRIAN HYMN; AZMON; CWM
DER MANGE SKAL KOMME, LAND OF REST, VIENNA, RHONDDA; DUKE STREET; FESTAL SONG; MENDELSSOHN;
and DIE GÜLDNE SONNE. Weber’s suggestions ST. ANNE; and ST. GEORGE’S, WINDSOR. LW
for registration add interest to the music and
foster the organist’s creativity. This collection
is well suited to an instrument with solid
principal and reed choruses. While at sight- .(<%2$5'$1',167580(176
reading level or slightly above, these settings
are well constructed, giving them a learned
air. Presentation is sure to orient the heart and Kenneth T. Kosche.
mind toward a great and holy God. CP The Creative Hymnodist: Sacramental
Hymns.
Keyboard, with optional instruments.
Raymond Weidner. Northwestern (27N0054), $20.00.
Invocation.
Organ. This is the final volume in the Creative
Paraclete (PPMO1146), $7.50. Hymnodist series, which features well-known
hymn tune settings as alternatives to standard
This subtle, brief piece marked “Slow and hymnal arrangements. They are designed to
Serene” features an undulating neighbor-tone be played on an organ, piano, or keyboard
figure in half notes and later in quarter notes without the need for pedals. Each tune is given
to accompany a lyrical, affettuoso melody in a brief introduction and two varied settings. The
the right hand. The contrasting section brings second setting includes an optional instrumental
us a new pentatonic melody still accompanied descant, and parts are provided for both cantus
by the undulating quarter-note figure in the firmus and the descant for both C and B-flat
middle voices and a few whole-tone sonorities. instruments. It is therefore possible to combine
Some large stretches in the “accompanying forces with whatever instruments are available;
hand” notated across two staves present some most should be playable by high-school level
challenges. A subtle touch of Lydian mode in orchestra and band students, perhaps even
certain places adds charm to this piece. JB well-prepared middle school players. All
settings are identified by tune names, making
it possible to apply their use to any texts that
Jerry Westenkuehler. use the given name. This volume centers on
Rejoice and Sing! Twenty Festive Hymn hymns associated with Holy Baptism and Holy
Introductions for Organ. Communion. Even if some tunes are not sung
Organ. or well known by a particular denomination
MorningStar (MSM-10-748), $19.00. or tradition, the settings provide a fine way to
introduce a new hymn and utilize the talents of
This will be a useful resource for organists. While instrumentalists in worship. JG
most of the introductions are not too difficult to
play, they communicate the excitement that is
appropriate for a festival day. Most introductions Organ Plus Brass, vol. 2.
are the length of one to two hymn stanzas, Eds. Carsten Klomp and Heiko Petersen.
and harmonies are creative without being Organ, brass choir.
overly dissonant. They include enough of the Bärenreiter (BA 11202), $16.50.
melody to encourage the congregation to sing
confidently. Several introductions are printed in This volume contains five Romantic chorale
two keys, to accommodate users of different preludes arranged for organ and brass. Each

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prelude is followed by a harmonization of the 3,$12
chorale tune written by Klomp. The editors
intentionally arranged the brass parts to be
playable by amateurs, and they simplified the Sandra Eithun.
original organ parts. The result is a collection of Little Ones to Him Belong: Sunday School
accessible, quality music. The chorale preludes Songs for Piano.
are relatively short (one to three pages in the Piano.
full score). The subsequent harmonizations Concordia (97-7543), $21.00.
assign the melody and a simple four-part setting
to the brass, giving the organ moving descants This newly published book contains eight
and countermelodies that expand on the brass piano settings of well-known and beloved
setting. Tunes included are WIE SCHÖN LEUCHTET; hymns. Each song would be an appropriate
JESUS, MEINE ZUVERSICHT; SOLLT’ ICH MEINEM GOTT; selection for a worship service, a children’s
NUN DANKET ALLE GOTT; and CHRISTUS, DER IST MEIN gathering, a funeral or memorial service, Rally
LEBEN. The brass score in C (BA 11202-51) and Day, or a celebration of Christian Education.
individual parts for B-flat trumpets (BA 11202- The book could even be a gift for a budding
52 and BA 11202-53), F horn (BA 11202-89), young pianist. The pieces may be played on
and trombones (BA 11202-58 and BA 11202-59) a synthesizer, allowing the performer to utilize
are available separately. LW other sounds. Using this collection may not only
give a young pianist an opportunity to inspire
older generations who recognize the tunes,
Anne Roberts. but also give younger generations a glimpse of
Traditional Hymn Tunes for Today’s how to incorporate keyboard music throughout
Ensemble. the worship service. Moderate difficulty. JG
Piano, solo handbells, 1 or 2 instruments.
GIA (G-7477 and G-7477INST), $25.00.
John Leavitt.
This collection with its arrangements specifically On Christmas Night.
for piano, handbells, and treble instruments Piano.
provides a unique resource of instrumental John Leavitt Music (JLPB030107), $17.00.
music. The handbell parts are for either a
3- or 4-octave set, designed to be played by This collection contains nine time-honored
one ringer, although that could be a shared Christmas carols in a variety of settings, plus an
responsibility. Both C and B-flat instrumental original composition by Leavitt himself. Each
parts are provided, and they also appear on setting is uniquely characteristic to the carol,
the piano part. Delightful arrangements for an capturing its essence. Ranging from whimsical to
ensemble include ancient tunes (VENI CREATOR dance-like to upbeat and challenging, Leavitt’s
SPIRITUS; NUN KOMM, DER HEIDEN HEILAND; and the arrangements will fill a variety of Christmastime
English tune KINGSFOLD), and two 20th-century worship needs. Most are a bit above sight-
songs, “The Summons” and “Canticle of the reading level. Taken from a variety of European
Turning.” These arrangements will provide traditions, settings include “Away in a Manger,”
an instrumental “breath of fresh air” for both “Come, All You Shepherds,” “On December
worshippers and musicians. GIA offers some Five and Twenty,” and “Sleep, My Little One.”
other mixed ensemble editions, mostly for A companion CD recording (JLRCD081306) is
keyboard, C instruments, guitar, and bass. More also available. CP
information can be found on the GIA website
(www.giamusic.com). JG

129(0%(5_ & 5266 $ &&(17 

 +$1'%(//6 Ron Mallory.
Come, Thou Long-Expected Jesus.
3–5 octaves handbells, with optional 2 octaves
Angels from the Realms of Glory. handchimes.
Arr. John A. Behnke. MorningStar (MSM-30-005), $4.50.
3–5 octaves handbells, with optional organ/
keyboard, congregation, SATB choir, brass This piece is a welcome addition to the Advent
quartet, timpani. repertoire. While this setting of JEFFERSON
Choristers Guild (CGB792), $4.95. requires no special bell techniques, dynamic
variations do add interest throughout the piece.
This festive setting of REGENT SQUARE can be Level 3. LS
rung strictly as a bell piece or with choir, brass,
and organ. The bell parts include martellato,
lift, and shake. The full score is CGB791; the James R. Murray.
set of reproducible parts is CGRP27 (for brass Away in a Manger.
quintet, timpani, and organ); the choral score is Arr. Joel Raney.
CGA1339. Level 2. LS 3–5 octaves handbells, with optional 3–5
octaves handchimes and instruments.
Hope (2655), $4.95.
Dan Edwards.
From the Heart. This charming piece begins as a soothing
2 octaves handbells or handchimes. lullaby and transitions to a childlike playfulness
GIA (G-8514), $5.25. in the middle section using plucks, thumb
damps, ring touch, mallets, and martellatos. The
Though scored for just two octaves, these concluding section ends as the piece began,
three arrangements are well written and within with the addition of chimes. The addition of
the scope of beginning handbell or handchime instruments would add a lovely dimension to
ensembles. This meditative collection includes the piece (piano, flute, and two violins and two
“Our Hearts Are Open, Lord,” “I Long for You, cellos [or synthesizer strings]). Level 3. LS
Jesus,” and “Cantate Domino.” Level 2. LS

Now All the Vault of Heaven Resounds.

Let All Mortal Flesh Keep Silence Arr. Cathy Moklebust.
(Processional and Meditation). 3–6 octaves handbells, 3–5 octaves handchimes.
Arr. Karen Thompson. Concordia (97-7488), $4.25.
2, 3 or 5 octaves handbells, 2, 3 or 5 octaves
handchimes (or keyboard), with optional This vibrant setting of LASST UNS ERFREUEN makes
suspended cymbal and chime tree. use of chimes and surprising harmonic changes,
Choristers Guild (CGB757), $4.50. keeping the piece interesting for both ringers
and listeners. Level 3. LS
The Processional has seven parts that are
memorized (4-measure patterns) and layered.
It is intended to begin with the ringers of each Sondra K. Tucker.
part positioned in different places in the room. Advent Suite for Handbells.
The Meditation is a duet with bells and chimes 2–3 octaves handbells, with optional 2 octaves
or bells and keyboard. The use of suspended handchimes, sleigh bells, finger cymbals, wind
cymbal and chime tree adds to the mysterious chimes, hand drum.
feel of this piece. Level 2. LS Beckenhorst (HB444), $5.95.

This versatile collection can played as a suite

or as three individual movements. Included are

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FREU DICH SEHR; NUN KOMM, DER HEIDEN HEILAND; large group of children singing the call with
and BEREDEN VÄG FÖR HERRAN. This compilation echo sung by smaller group, or solo voice
is a welcome addition to 2–3 octave Advent singing the call echoed by the remainder of
repertoire. Level 3. LS the choir. A bonus feature is the option for
rhythm instruments: tambourine, maracas, and
claves. These conceivably could be played by
When Morning Gilds the Skies. middle schoolers or older elementary youth
Arr. Sandra Eithun. with solid Orff background. Percussion parts
5, 6, or 7 ringers (2 or 3 octaves handbells). are included with the choral score. The piano
Choristers Guild (CGB789), $4.50. accompaniment is written in calypso style.
Individual components of text, melody, and
Written for smaller forces, this piece can be instrumentation embody innocence through
rung by five, six, or seven ringers. This lovely their uncomplicated styles, yet the sum total
setting of LAUDES DOMINI is melodic, interesting, is never trite or repetitious. Each musical
and accessible. Level 2. LS component is individual yet complementary.
This setting would enhance any Christmas
worship where children and youth participation
help relay the news of Messiah’s birth. CP
92&$/086,&_&+,/'5(1·6&+2,5

Larry E. Schultz.
Shaw Bailey and Becki Slagle Mayo. God Is There.
The Lord God Made Them All. Unison, piano, with optional violin.
Unison/two-part, piano, with optional 3 Choristers Guild (CGA1323), $2.10.
octaves handbells or handchimes.
Choristers Guild (CGA1322), $2.10. The message of this work is that God is found
in worship, in our families, and in our loving,
Bailey and Mayo give us a new musical setting making this a good general anthem for a
of “All Things Bright and Beautiful” that includes children’s choir. Schultz suggests also that the
an optional, fairly easy part for handbell (or first stanza can be used as a call to worship. The
handchime) choir. An optional responsive piece opens with a simple melody in F major.
reading based on Psalm 148 that precedes A contrasting section follows that can be sung
the anthem also involves the congregation. A as a “choral crescendo,” starting with one or
rhythmically straightforward melody fits the two singers and building the sound by adding
text well. The refrain is set to two different voices in successive phrases. The final section
melodies that combine (optionally) in the final brings back the original melody, modulating to
refrain, making this useful for children’s choirs G major. An optional violin part adds musical
new to singing in two parts. Useful for any interest and is within the capabilities of a good
Sunday focusing on creation or for services high-school player. AE
celebrating the blessing of the animals. AE

Timothy Shaw.
John D. Horman. A Psalm of Thanksgiving.
Echo Carol. Unison/two-part, piano, with optional C treble
Unison/two-part, piano, with optional instrument.
percussion, Orff instruments. Choristers Guild (CGA1321), $2.10.
Choristers Guild (CGA1319), $1.95.
Based on Psalm 100, this is an attractive,
With a text referencing the Nativity, this pleasing cheerful piece for one- or two-part children’s
melody will be highly teachable to elementary- choir. It is in an ABA form, the A being “Come,
age students. Suggested performance is for a all the earth, and praise the Lord, Be joyful

129(0%(5_ & 5266 $ &&(17 

 and sing, for the Lord is good,” and the gentler Augsburg Motet Book.
B section being, “You know the Lord is God Ed. Zebulon Highben.
who made us, and we are his.” The A material Various voicings.
returns with a fun Alleluia descant. Shaw gives Augsburg Fortress (ED018754), $18.95.
kids a singable, solid piece for Thanksgiving or
throughout the year. KO Meant as a companion to other recent collections
published by Augsburg, including the Chantry
Choirbook and Augsburg Choirbook, the
Augsburg Motet Book contains 36 pieces
$'8/7&+2,5 spanning seven centuries of motet writing.
For the purposes of this anthology the editor
used as his criterion the following definition:
Jay Althouse.
“relatively brief choral works on sacred texts,
What Star Is This?
to be performed unaccompanied or with
SATB, keyboard.
instrumental doubling.” In addition, the texts
MorningStar (MSM-50-2110), $1.70.
of the chosen works are mostly either biblical
prose or biblically inspired prayer collects. This
Althouse has composed a lovely setting for an
collection is a combination of some well-known
Epiphany text based on Charles Coffin’s “Quae
works (e.g., Vaughan Williams’ “O Taste and
stella sole pulchrior” from the Paris Breviary.
See”) and lesser-known and newer works (e.g.,
The music with its basic rhythms is simple,
Anne Krentz Organ’s “Love One Another”).
quiet, and prayerful. However, fluctuations
While the rationale behind the ordering of the
in tempo and dynamic as well as frequent
pieces is a bit unclear, the indexes allow the
ebbing and cresting of the melodic line will
user to locate a piece by title or composer.
keep the interest of the listener. Harmonies
Lectionary, topical, text source, and hymn tune
are traditional, with some 2nd, 7th, and 9th
indexes are also included.
intervals. A director and choir sensitive to
the text and skilled at bringing forth musical
All the works in this collection include English
nuance should help create a memorable
texts. Foreign-language motets are underlaid
worship experience inspired by the Holy Spirit
at this most meaningful time of year. CP with both the original language and an English
translation. The editor includes no editorial
performance markings on the scores themselves,
Franklin D. Ashdown. but the front matter contains a brief history of
Glorious Things of Thee Are Spoken. each piece as well as performance suggestions,
SATB, keyboard. a valuable addition to the collection.
Paraclete (PPMO1129), $2.90.
Churches with extensive collections may find
Ashdown begins his setting of Newton’s that they already own many of the older or
traditional hymn text with newly composed better-known pieces, so they will need to weigh
music subtly derived from the hymn tune the usefulness of the collection against the
NETTLETON. Written in the key of D-flat major, the price. Considerations also include being able to
phrases are gentle and fluid as they follow the have newer pieces alongside older and more
arc of the poetry. The second stanza continues well-known pieces, all in a newly engraved and
in this style but with yet another melodic line, easy-to-read anthology. Churches looking to
creating unity through the repeating rhythmic expand a smaller choral library may especially
patterns and overall mood. When the familiar find this collection to be quite useful. The
hymn melody finally appears in stanza 3, its complete table of contents for this collection
impact is all the more inspiring and affirmative. can be found on the publisher’s website (www.
This anthem would be a beautiful option for All augsburgfortress.org). AE
Saints Sunday or for general use on the themes
of eternal life, heaven, or the church. DR

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Elaine Aune. Lord”; Anonymous, “Rejoice in the Lord Always”;
Free to Serve. Praetorious, “To Us Is Born Emmanuel”; Schütz,
SATB, piano, with optional flute. “With Heart and Voice”‘ Farrant, “Lord, for Thy
Augsburg Fortress (ED023380), $1.80. Tender Mercy’s Sake”; Praetorius, “Today in
Triumph Christ Arose”; Tye, “O Holy Spirit, Lord
Aune gives us a beautiful setting of a new text of Grace”). Motets all include English text along
by Herbert W. Chilstrom. The flowing melody, with the original language for foreign-language
which features an interplay between G minor works. Burkhardt includes editorial markings
and G major, is introduced first in the women’s as well as keyboard reductions. He provides
voices. A brief two-part section that follows continuo realizations where appropriate and
underlines the plea to “Untie me Lord” and has added optional instrumental parts for
leads seamlessly to the second stanza, set for Michael Praetorius’s “En natus est Emanuel”
SATB. This piece would likely be within the (“To Us Is Born Emmanuel”).
ability of most SATB church choirs. With its
prayer to “untie me Lord, free to serve,” this Many of the pieces in this edition have been
anthem is a good choice for services centering published elsewhere, although some directors
on stewardship or vocation. AE may find useful the editorial markings,
performance suggestions, and brief historical
notes. Some may also find the new engraving
Mark Bender. and, in some cases, new English singing
How Sweet the Name of Jesus Sounds. translations worth the price. The audience
SAB, keyboard, flute. for this collection will likely be church choirs
Concordia (98-4156), $1.60. who want to quickly expand their library of
Renaissance and early Baroque motets. The
This fresh, new setting of the hymn text by John price includes permission to reproduce the
Newton is a good addition to the repertoire for music. AE
SAB church choirs, suitable for youth and adult
choirs. The dancelike 6/8 rhythm is punctuated
by brief sections in 3/4 meter at the ends of Come, Thou Long-Expected Jesus.
phrases. The interplay between flute and piano Arr. Nancy M. Raabe.
as they trade off 16th-note passages adds to the S(A)B, keyboard, with optional finger cymbals.
dancelike feel, with a nod to the Baroque. The Augsburg Fortress (ED023378), $1.80.
three stanzas are set for various forces. Stanza 1
is set for unison voices and stanza 2 for SAB. In Sometimes simpler is better. Raabe’s setting is
stanza 3 the voices exchange phrases, with the a case in point. The fine Charles Wesley text
altos singing phrase 1, baritones phrase 2, and has been set countless times, and this time is
sopranos phrase 3 before they all come together. paired with the tune JEFFERSON from Southern
The flute part is suitable for an advanced high- Harmony, yet Raabe’s setting sounds fresh.
school player. Medium-easy. AE Her austere texture and slightly dissonant
harmonies underscore the sense of longing that
is Advent. Modal touches and finger cymbals
Michael Burkhardt. give the piece an exotic touch. This music can
O Come, Ye Servants of the Lord. be performed effectively by the smallest choir.
SATB, with optional instrumental trio (2 C It could also be a lifesaver for a larger choir
instruments, bass instrument), keyboard, with limited rehearsal time during the busy
continuo. Advent/Christmas season. KO
Concordia (98-4136), $45.00.

This anthology contains seven motets from the

16th and 17th centuries arranged by liturgical
calendar (Tye, “O Come Ye Servants of the

129(0%(5_ & 5266 $ &&(17 

 Michael D. Costello. weaving over it a striking harmonic tapestry
Our Eyes Look to the Lord. with the choir singing on “ooh.” The wordless
SATB, congregation, organ, oboe. material alternates with a delicate setting of
Concordia (98-4152) $2.00. the text, gradually building to fortissimo at the
words “Love shall be our token, love be yours
This setting of Psalm 123 is taken from the Book of and love be mine,” then tapering off for a quiet,
Common Prayer (1979). The antiphon, written moody ending. The keyboard part is really a
for the congregation, contains intervals that are harp part, complete with glissandi. These are
easy for a congregation to sing. The oboe part, difficult to pull off on the piano and impossible
which is included, assists the congregation with on the organ. A sensitive accompanist will have
the first statement of the antiphon. The psalm to do some creative adapting, maybe omitting
verses are easily accessible for the average some of this material. The piece is worth the
church choir or small ensemble. Parts of the effort: a new look at a beloved poem with a
piece are unison or two-part, with four-part sound for our own time. KO
harmony used to bring extra emphasis to the
text. The congregational insert is included and
is reproducible for single uses. MS Sy Gorieb and Tim Hosman.
A King Is Born.
Arr. Tim Sarsany.
Benjamin M. Culli. SATB, tenor or soprano solo, piano, with
Come, Hear the Word. optional marimba, shaker, conga drums, and
SATB, organ, violin (or other C instrument). bass guitar.
Concordia (98-4155), $1.90. MorningStar (MSM-50-1125), $2.35.

Paul Hosea’s text paints a glowing picture of This exuberant calypso celebration will be
heaven as glimpsed in Revelation. The imagery sure to bring the joy of Christmas to all who
of the Bride, the city shining with precious hear it. Beginning with soloist and piano, then
stones, the river of life, and the everlasting feast moving into a dialogue between the soloist
are all there. Culli weds this beautiful text to and the choir, it requires a strong soloist and
an equally beautiful original hymn tune that he involves frequent syncopation, with three-
names LINDEMANN. The stanzas are punctuated by part divisi in both men’s and women’s parts.
interludes featuring a lyrical violin part over the A central a cappella section builds from one
organ accompaniment. The violin also provides voice to the full choir before returning to the
an obbligato over some of the stanzas, with main theme in a new key, again with full
the sopranos providing a descant on the last instrumentation. Full score (MSM-50-1125A)
triumphant section, when we “Shall know in and reproducible instrumental parts (MSM-50-
full the mystery of love.” Come, Hear the Word 1125B) are available separately. Also available
would be a fine addition to worship for All for TTBB (MSM-50-1135). LW
Saints, at funerals, or the church triumphant. KO

Christian Gregor.
Taylor Scott Davis. Hosanna!
Love Came Down at Christmas. Arr. Jeffrey Blersch.
SATB, keyboard or harp, with optional full SATB, children’s choir, organ or piano.
orchestra. Concordia (98-4140), $1.95.
MorningStar (MSM-50-1435), $1.85.
This festive Palm Sunday anthem is based on
Christina Rossetti’s lovely poetry has been set an antiphonal Hosanna chant by Moravian
to music plenty of times, but Davis’ setting is composer Gregor (1723–1801) and weaves in a
fresh and original. He opens with repeated stanza from the favorite hymn “Hosanna, Loud
accompaniment figuration à la Phillip Glass, Hosanna” (ELLACOMBE). The phrases alternate

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throughout between unison children’s choir and and piano, although the entire piece may be
SATB choir, and the children’s choir is given the performed simply with piano accompaniment.
hymn tune to sing. Singers will enjoy the quick An instrumental ritornello precedes the first
back-and-forth from choir to choir, and the three stanzas, which progress from unison to
part-writing is not difficult for the adults. For two-part women’s voices to four-part a capella
special effect you could position your choirs at in the relative minor. The ritornello is presented
opposite ends of the sanctuary or the aisle; you once more, and then the final three stanzas
might also consider having the anthem sung build in excitement all the way to the end.
while others process with palms. DR This piece would work in a program of lessons
and carols and could even be presented in the
weeks after Christmas as a call for peace. The
David Halls. edition reviewed here includes piano and vocal
Give Me the Wings of Faith. parts. The full score as well as the instrumental
Unison, with optional descant, keyboard. parts must be purchased separately. DR
Paraclete (PPMO1138), $1.70.

A new setting brings freshness to the well- Gustav Holst.

known Isaac Watts hymn text. The unison O God beyond All Praising.
indication is misleading, as the anthem is set Arr. Hal H. Hopson.
for mixed voices and includes a section of SATB, organ, with optional handbells, brass
two-part writing for soprano and alto. Hall sets quartet, timpani, assembly.
four stanzas in 3/4, the first two to the same Augsburg Fortress (ED023388), $1.95.
expressive melody and both stanzas 3 and 4
to different melodies. The work begins with Hopson arranged the well-loved pairing of
the lyrical phrase “How great their joys, How Holst’s THAXTED and Michael Perry’s hymn text
bright their glories be,” which Hall uses as a “O God beyond All Praising” for choir and
refrain that appears at the end of each stanza. organ plus optional instruments. In the first
He provides variety in the use of forces as well stanza, phrases in unison alternate between
as in key changes: stanza 1 for SA, stanza 2 for women and men before breaking into four-
all voices, and stanza 3 for SA divisi are all in D part writing. A choral Alleluia interlude set
major. The use of harmonies outside of D major as a three-part canon builds from piano to
add interest and help set up the move to B-flat forte, leading to the second stanza for choir
major in stanza 4, sung in unison by TB, before and congregation, with soprano descant. A
moving back to D major at the refrain. The final four-part choral Alleluia concludes this festive
refrain includes an optional descant. Medium- anthem. The sensitive part-writing puts this
easy. Good for general use, All Saints. AE anthem within the range of most SATB church
choirs, while the optional instrumental parts
and congregational participation help make
Neil Harmon. this anthem a good choice for a festival service.
I Heard the Bells on Christmas Day. Instrumental parts and full score available
SATB, flute, handbells (3, 4, or 5 octaves), separately. Medium-easy. AE
harp or piano.
MorningStar (MSM-50-1580), $1.85.
Scott M. Hyslop.
The appeal of this setting of the beloved In Adam We Have All Been One.
Henry Wadsworth Longfellow poem is SATB, 3 or 5 octaves handbells.
Harmon’s charming new melody, along with Concordia (98-4142), $1.60.
the instrumental colors (you can listen to the
complete version on the publisher’s website, The anthem is based on a hymn found in many
www.morningstarmusic.com). It would also be hymnals, using the tune THE SAINTS’ DELIGHT.
very effective with a set of 3-octave handbells It begins with octaves being played by the

129(0%(5_ & 5266 $ &&(17 

 handbells using the singing bell technique. (A use of dynamics, rhythmic figures, and vocal
wooden dowel is rubbed around the outside lines, which bring the text to life. The setting
rim of the bell in a circular motion, producing is written in D-flat major and uses a variety of
a “singing” effect.) This adds a mysterious and mixed meters. The quarter note does remain
much-sustained effect to the setting. Much constant throughout, which will help with
of the octavo is written in two-part (male/ the meter changes. The vocal range is kept
female) voicing. The fifth stanza is set in four- very comfortable for the outer voices. There
part harmony where the soprano doubles the is a reproducible congregational insert page
tenor and the alto doubles the bass part. In the included on the octavo. MS
final stanza the handbells break away from the
singing bell technique to a more active eighth-
note rhythm. This reflects the excitement of O Lord of Light: 9 Two-Part Mixed
the lyrics of that doxological stanza of praise. Anthems for the Church Year.
The anthem concludes quietly as it began, with Two-part mixed voices, keyboard.
a restatement of the first phrase of the hymn. MorningStar (MSM-55-9930), $8.50
This would be easily presented by a church
choir and handbell choir of average ability This collection, commissioned by Immanuel
but will present a new musical experience Evangelical Lutheran Church of Chicago,
for both the ensembles and the worshipping contains music by nine different composers,
congregation. MS providing quality two-part, mixed-voice music
for the liturgical seasons of the church year.
Accompaniments have been purposely kept
Robert Lehman. to either piano or organ, although options
Divès and Lazarus. are provided for some instrumentation; vocal
SATB, organ. ranges are moderate and interesting. Five
MorningStar (MSM-50-5220), $1.85. of the nine anthems are based on hymn
tunes. Each of the pieces in this collection is
Based on a traditional English carol, this striking available as a separately printed octavo and
anthem features newly composed music, with as a downloadable product on the publisher’s
text rooted in the Gospel of Luke 16:19-31. website (www.morningstarmusic.com). JG
Major and minor keys, tempo changes, and
dynamics help paint a picture of these two
biblical characters. Basic quarter- and eighth- Carl F. Schalk.
note rhythms add a sense of forward motion, Five Chorale Motets.
marching the characters toward their eternal SATB.
destinies. The voice and organ parts are not Concordia (98-4147), $4.75.
particularly difficult. The organ part at times
takes on a more independent role than mere The five works in this collection are all based
support of the choir. As such, a confident, on 16th- or 17th-century German chorale tunes:
capable, well-balanced choir will bring out the “Christ Is Arisen” (CHRIST IST ERSTANDEN), “From
best in this stirring piece of music. CP Depths of Woe” (AUS TIEFER NOT), “Grant Peace,
We Pray, in Mercy, Lord” (VERLEIH UNS FREIDEN),
“If God Himself Be for Me” (IST GOTT FÜR MICH),
Mark Mummert. and “O Morning Star, How Fair and Bright”
Psalm 46. (WIE SCHÖN LEUCHTET). All use English texts and
SATB, organ, assembly. are meant to be sung unaccompanied. The
Augsburg Fortress (ED023391), $2.25. motets evoke the style of Renaissance motets
in their use of imitative polyphony. Most
This setting has a memorable yet easy refrain pieces are for SATB choir, although there are
for the assembly. The choral settings of the brief divisi passages. The piano reduction is a
psalm verses are very musical, making sensitive practical feature. This is a useful addition for

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church choirs who can sing unaccompanied Jacob B. Weber.
with independent voice parts. The collection Create in Me a Clean Heart, O God.
includes anthems appropriate throughout the Unison or two-part voices, keyboard, 2 violins,
church year (Epiphany, Lent, Easter). The with optional violoncello.
prayerful piece “Grant Peace, We Pray, in Concordia (98-4133), $2.10.
Mercy, Lord” was written in commemoration of
the terrorist attacks of September 11, 2001. AE What a blast of nostalgia for Lutherans brought
up with the old communion liturgy on page
15 of The Lutheran Hymnal ! Jacob Weber has
Russell Schulz-Widmar. cleverly arranged the tune with Baroque-style
Three French Carols. ritornello material inserted between its familiar
SATB, two-part treble voices, keyboard. phrases. This piece would be sung effectively by a
MorningStar (MSM-50-1730), $2.35. treble choir, since the lower part may be muddy if
sung down an octave lower by men in a two-part
Schulz-Widmar has arranged three well-crafted mixed choir. The violin parts are not doubled in the
settings for the Advent and Christmas seasons: accompaniment, so they may not be considered
Three Great Kings (SATB), What Is This Lovely optional. Furthermore, the violin parts are very
Fragrance (two-part treble), and Carol of the high, so other C instruments would probably not
Birds (SATB). The vocal parts could be easily be a satisfactory substitute. Practical considerations
learned by most church choirs in a couple aside, the music is very successful. If there is a
of rehearsals. Of the three, Carol of the Birds criticism, it is that the piece feels short. One wants
requires fast, crackling diction and will take the Baroque dance to go on and on! KO
more time to prepare. What Is This Lovely
Fragrance is simple enough that it could be
performed by most children’s choirs. Three 6281')(675(9,(:(56
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 3267/8'(

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David Bielenberg
Executive Director, ALCM

“IS YOUR SERVICE TRADITIONAL OR by Samuel Torvend. This incarnation of God

CONTEMPORARY?” How many times have in our midst is what we anticipate in this
we all heard that question? Those two words season of Advent in both the remembrance
have been used to try to describe various of the birth of Jesus and the reminder that he
worship styles and practices—not to mention was and is human. “Touch me and see,” Jesus
musical styles—for nearly a half century now. told doubting Thomas (Luke 24:39). Both the
The question is misleading and tiresome. baby born in Bethlehem and the risen Christ
This is why Kent Burreson’s article is so are flesh and blood, just like us. This bodily
interesting. His argument that we are beyond reality of God infuses our worship in our
those questions in the second decade of the gestures, actions, and song. It is a gift of faith
21st century is intriguing. “Worship that shapes that urges us to believe the Gospel accounts
disciples who trust and love God and love their of God’s physical presence and the promise of
world is worship that has moved beyond style.” that presence in worship. It is true. Our music
Whatever your musical ministry is or is called, ministry is an experience of the holy.
let us all be practitioners of that kind of worship. “Lo! He Comes with Clouds Descending”
Ron Rienstra’s article about technology in (ELW 435, LSB 336, LBW 27, CW 29) is one of
worship, which asserts that technology should my favorite Advent hymns. Sung in our worship,
augment or support our worship rather than be the hymn speaks of that glorious day to come
a central focus, speaks a truth we all know but even as it is coming into our midst in worship.
sometimes forget. It can be a thin line at times, Lo! He comes with clouds descending,
and we need to be vigilant about our purpose once for our salvation slain;
in worship. We are reminded that the effect of thousand thousand saints attending
using technology may not always be what we join to sing the glad refrain:
had in mind. While we have come to easily Alleluia, alleluia, alleluia! Christ the Lord
welcome technology (such as the pipe organ returns to reign. (ELW words)
to support assembly singing, or microphones May your Advent be a time of hopeful
to amplify the voice of a lay reader or preacher anticipation for the coming of the Word
so that all can hear the word of God), newer made flesh.
technologies still warrant careful attention. We
are wise to examine our worship practice and
technological advances for how they support
the central focus of the gospel.
“And the Word became flesh and lived
among us . . . full of grace and truth” (John
1:14). This passage from the Gospel of John
came to mind after reading “Touch Me and
See: A Resurrection of the Body in the Church?”

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 2014
REGIONAL CONFERENCES
Region 1 Conference Region 3 Conference
July 14–16, 2014 July 28–30, 2014
The Three Days—Singing Salvation History Setting the Table Well: Feeding Hungry Worshippers
in a Fast Food Culture
Music plays an important role in bringing the
ancient liturgy of Maundy Thursday, Good Friday, Menu Includes—
and the Vigil of Easter to life in a contemporary • Spiritual renewal for leaders
context. Together we will experience and explore • Keeping worship fresh with music
some possibilities, imagining what will work in • Use of visual art
your unique congregation. • Keeping children, youth, and adults engaged
• Poetry and psalms
Scott Weidler, ELCA Program
Director for Worship & Music, Grace and Holy Trinity Cathedral
will guide our conversation Kansas City, MO
through the Three Days.
Featuring: Peter W. Marty,
Christ Lutheran Church senior pastor
Inner Harbor, Baltimore, MD St. Paul Lutheran Church
www.christinnerharbor.org Davenport, IA
Conference Hotel: Sheraton Inner Harbor located just
two blocks from Christ Lutheran Church www.ghtc-kc.org

Region 2 Conference Region 4 Conference

June 30–July 2, 2014 June 15–18, 2014
Many Voices—One Choir Emerging: Living and Serving on the Hinge of Change
Is it possible in today’s reality of differing worship • Living with grace as the world changes around us
and musical preferences and practices to worship • Adding and sharpening skills for ministry
God together with one voice? This conference will • Empowering young families in worship
address the challenges we face in engaging all people • Engaging children and youth
to proclaim the gospel through • Preparing for advances in
music in our own particular information technology
context.
Concordia University and
Christ Lutheran Church St. Michael’s Lutheran Church
Charlotte, NC Portland, OR

Featuring: Hymn Festival led by Opening Worship:

Mark Mummert Bach Cantata Vespers
www.christelca.org St. James Lutheran Church www.stmikeslutheran.org
Portland, OR
 $VVRFLDWLRQRI/XWKHUDQ&KXUFK0XVLFLDQV
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9DOSDUDLVR,1

OR GA N A N D CHU R CH MU S I C AT VA LPA R A I S O U N IV ER S IT Y
CHURCH MUSIC STUDIES 103 Rank Schlicker/Dobson Organ
Bachelor of Music in Church Music in the Chapel of the Resurrection
Bachelor of Music in Performance (Organ or Voice) 6 practice pipe organs
Bachelor of Arts

CURRICULUM INCLUDES
Church Music, Theology, Liturgical Organ Playing,
Conducting, History, Theory, Performance Studies

ENSEMBLE OPPORTUNITIES
Chorale, Kantorei, handbells, conducting and
leadership opportunities

FACULTY
Joseph Bognar, DMA, Chair, Department of Music;
Associate University Organist
Lorraine S. Brugh, PhD, University Organist/Frederick J. Kruse
Organ Fellow; Director, Institute of Liturgical Studies
Christopher M. Cock, DMA, Director of Choral and Vocal Activities;
Director, Bach Institute at Valparaiso University

Competitive scholarships available

For more information,
please contact the Department of Music
219.464.5454 or email [email protected]
valpo.edu/music Department of Music