As early as records extend, music—both vocal and instrumental—seems to have had a large place in public worship. Though it be granted that in some types of worship music has been overemphasized and in others sadly perverted, every successful gospel worker has also discovered the great spiritual asset that consecrated and properly directed musical talent can be, both in the winning of souls and in the conduct of the worship of the church. The following is not written from the viewpoint of a musician, but of one who has some appreciation of what can be done to make the ministry of music more effective in worship, and one who feels keenly the need for improvement in this aspect of worship in many of our churches.
Speaking particularly with the Sabbath worship hour in mind (though much of what is said is applicable in large degree to any public religious service), it will generally be conceded that the central constituent of this service is the sermon. It follows, then, that all the other parts of the service should be planned and built around the sermon topic, with a view to unity of theme and singleness of objective, as far as possible. This calls for careful thought and preparation for each service, in which minister, choir leader, and organist will all need to cooperate. In churches of any size, with the fine talent usually available, it should be possible to have all of the music, hymns, instrumentals, and special numbers contribute toward—or at least be appropriate to—the central theme of the hour. Then such careful preparation and organization should be effected as will allow the service from beginning to end to proceed toward its objective with a minimum of interruptions, and without unnecessary intrusion of personalities or irrelevant matters.
A sympathetic choir, chorister, and organist can do much to enhance the beauty, order, and reverence that should characterize the worship of the saints. One of the most worshipful services which it has been my privilege to attend, was in a small rural church in which the only instrument was an inexpensive reed organ and the only musician was an elderly gentleman. But this devout brother, sensing his responsibility for the services and understanding how to use effectively the stops and bellows, by introducing appropriate preludes and interludes, and by able instrumental leading of the congregational singing, contributed much toward bringing a near cathedral-like atmosphere of reverential worship into the humble frame building.
The order of service will naturally be somewhat different and simpler in the smaller churches from that of the large city churches. But regardless of size, our congregations will be benefited by an order that shows carefulness of thought and coordination of parts. Some such plan as the following has been found very conducive to orderly procedure and effective utilization of the various functions of music.
1. The Instrumental Voluntary.—A well-chosen voluntary reverently played during the interval between the Sabbath school and the church services serves to maintain quiet and to prepare the hearts of the worshipers for the services to follow.
2. The Choir's Contribution.—The choir, which has assembled in an orderly manner, may sing some short prayerful call to worship which will announce the entrance of the ministers, who kneel for silent prayer during its closing measures and take their seats when the "Amen" has been sung. A very short response by the choir after the ministers are seated can also be made effective.
3. Restricted Announcements—The announcements, which should be reduced to a minimum and strictly limited to such as pertain to the church and are appropriate to sacred services, and any necessary introduction of visitors who may be taking public part in the services, might well be made at this point, before entering into the main body of the service, thus avoiding further interruption.
4. Offertory Arrangements.—The offering, as a concrete expression of gratitude, could well be made the first act of worship on the part of the congregation as a whole. If called for at this juncture, while the pastor is already on his feet, time can be saved and the unity of theme of the remaining parts of the service be strengthened. The deacons could well be seated on the front row in readiness to arise for the offertory prayer, after Which the organ offertory is played during the passing of the plates.
5. The Congregational Hymn.—If the hymn number has been displayed on a hymn board or printed bulletin, the organist can make a natural transition from the playing of the offertory into the hymn, unannounced. The congregation finds the place in the hymnal, and is ready to stand at the signal of the chorister, without the loss of time or further interruption caused by announcement of the number from the desk.
Order of Church Service
a. Invocation (unannounced). Congregation kneeling.
b. Musical Number (unannounced). Choir number, solo, or other rendition, or second hymn by congregation.
c. Sermon, (without further introduction or explanation).
d. Closing Hymn (not announced if number is posted).
e. Benediction, after which congregation remains standing, in silent devotion, while organ plays prayerful strain, or choir softly hums a similar strain.
f. Postlude by organ as worshipers quietly depart.
This order, of course, can be varied or modified to suit local needs and conditions, but serious thought should be given to remedying the slipshod, haphazard, perfunctory manner in which our sacred services are at times conducted.
