Upbuilding Congregational Singing

Upbuilding Congregational Singing--No. 2

In part two of our discussion, we turn to a definite considera­tion of how the four basic causes for indifference and nonparticipation in congregational singing may be eliminated, and how we may improve our musical worship.

By DONALD F. HAYNES, Pastor, Jackson, Tennessee

We turn now to a definite considera­tion of how the four basic causes for indifference and nonparticipation in congregational singing may be eliminated, and how we may improve our musical worship.

1. The Element of Inattention.—Par­ticipation in sacred music is a divine obliga­tion. (See Ps. to6:1 ; 100:2-4; "Ministry of Healing," p. 254; "Patriarchs and Prophets," p. 594; "Christ's Object Lessons," p. 207.) Enthusiasm is rightfully a part of the wor­shiper's attitude in participating in sacred song. But to stimulate that enthusiasm it is not legitimate to use devices that are worldly in their origin and influence. Jaunty rhythm, melodies which had their origin in secular music and have been adapted to sacred words, and parodies on secular tunes should have no place in divine worship. Their use betrays a lack of understanding of the elements of true reverence. Their elimination will result in building effective worship services. We suggest as a substitution a return to the time-honored music of the church, born in sacrifice, in persecution, and in the rigors of profound and moving religious experience.

Many ministers have a deep-seated love for music. Their influence will go far in improv­ing the trend toward a wholehearted partici­pation in the benefits of music in divine wor­ship. Jesus in His worship set an example of the rightful place of music. In "The De­sire of Ages" the statement is made that He was the Author of sacred song: "It was He that filled the earth with beauty, and the air with song."—Page 20. (See also pages 75, 804, 805 ; "Ministry of Healing," page 52.) Through the help of musically inclined minis­ters and leaders, and with the influence of our consecrated musicians in kindly and tactfully assisting in the raising of our standards of worship, surely an improvement is not only possible, but highly probable in encouraging freer participation in sacred music.

We should give attention to specific things, such as the choice of hymns, special numbers, choir responses and anthems, and the choice of individuals who participate in these parts of the service. The music director should work closely and cooperatively with the pastor, who, in consideration of his position, is really the final authority in matters musical. A thorough understanding between these two church officers will result in mutual helpful­ness for the ministry of music and the minis­try of the Word.

It is a fine thing when confidence exists to the point of delegating all the music respon­sibilities and interests to the director of music, who will then submit to his pastor his pro­grams and plans for the improvement of the music activities of the church. These rela­tions will go far in eliminating the unfortu­nate reputation into which some choirs have fallen—that of being dubbed the "war depart­ment" of the church. This cooperation should be projected into all the services of the church, and not laid aside with the passing of the Sabbath. All the other services of the church should have careful planning in their musical functions and in the provision for helpful congregational music.

Hence, for the solution of problem number 1, we should set our faces to the accomplish­ment of these ideals: First, the elimination of all that is worldly from our hymnals, and the inclusion of hymns that are not only fun­damentally sound musically, but that are in­spirationally helpful and theologically true; second, the choosing of hymns that blend in spirit and in thought with the sermon theme, giving careful preparation to planning this part of the service, so that there may be no jolt when passing from the ministry of the Word to the ministry of music; third, the proper announcement of hymns and special music.

We should encourage the leaders of our services to give study to the making of dig­nified announcements of hymns and special numbers. Three things should always be in­cluded in announcing a music feature—the title of the number, the composer, and the name or names of those participating in its rendition. In announcing congregational hymns, we should give not only the number of the hymn, but the title as well. For the sake of clear understanding, it is well to give the number both before and after announcing the title. A sample announcement follows : "We will join in singing hymn number 312, 'Fairest Lord Jesus.' Hymn number 312."

When it seems appropriate, it is well to read the whole hymn through, or at least the first stanza. Many times it is expedient or necessary to omit one or more stanzas. It is good in such cases to so state in the announce­ment of the hymn, so that there need be no interruption between stanzas. It should not be considered obligatory to sing all the stanzas of a hymn. We are always at liberty to choose certain verses from a chapter or book in the Bible for a Scripture lesson. The same privi­lege should be granted in the singing of hymns. Common sense must be given leeway here.

A dignified announcement of a hymn will go far in helping the individual worshiper to assume the proper attitude in singing it. The leaders on the platform should be encouraged to sing, and not to sit and gaze idly over the congregation.

1. Need for Freshness in Use of Hymns.—We would lay further emphasis on the care­ful choice of hymns to accompany a given sermon topic. Now, the inclination at present is to find something singable. If it is possible to combine with that the element of suitability to the theme, we are glad to do it, but if the hymn is irregular in its rhythm, or hard for the music director to lead or for the organist to play, we usually pass it up for something more familiar. The common cause for this is too much haste in the selection of hymns_

With careful study given to the large variety of hymns to be found in our standard hymnals, we can usually find just the right hymn. The element of freshness and up-to-dateness will be present in our services when we employ the use of new hymns and new ideas.

2. Need for Training Congregation.—There is need for training the congregation in the art of singing hymns correctly. Several suggestions are available for the solution of this difficulty. We should find time for the training of the whole church in the proper interpretation and expression of the fine hymns of the church. This may be done by an occasional fifteen-minute period in the Sab­bath morning worship hour, studying some outstanding hymn, and teaching it to the con­gregation in much the same way as new pieces are practiced by the choir. The choir should know the proposed hymn well, so that they may be called upon to sing the hymn for the congregation. Then a short, intensive prac­tice session for the whole church may be con­ducted by the music director.. It should be added here that the pastor must lay the foun­dation for such procedure, so that the church may understand the objectives to be gained.

A feasible plan is to have the whole con­gregation sing the melody in unison a few times, so as to get a true picture of the hymn, before attempting to sing the various har­monic parts. Another good plan is to devote part of the vesper service on Sabbath after­noon to a study of the music program of the church, and spend some time in practicing the more unfamiliar hymns. A portion of the prayer meeting may well be devoted to this purpose, and to the training and development of musical tastes and ideals.

It will also help in the church singing on Sabbath morning to have the choir sing in unison on the first, third, and fifth stanzas, and in parts on the second and fourth stanzas, etc. This will give a strong leading influence at the very start. On the even verse it is a good plan once in a while to train two or three selected sopranos in the choir to sing a fifth part written in above the regular so­prano part. The voices chosen sing a con­tinuous tone on the syllable "la." This has the effect of an obbligato, and adds interest, variety, and beauty to the singing of the hymns. Such an arrangement will take care­ful and long study on the part of the music director, but when done right, it is a worthy addition to the worship service. It is well to aim at singing one of the more unfamiliar hymns in each service, after the hymns have been given proper attention in these planned practice sessions.

These devices will not only serve to strengthen the music mind and understanding of the congregation, but will also, if rightly conducted, serve to put life into the services. Apt illustrations of special songs and hymns may be interspersed to give added interest, especially to the young people. In this con­nection it should be added that the success of the music program of the church depends to a strikingly large degree upon the leadership chosen for this important church work. We ought to be just as careful in the choice and training of musical leadership and talent as we are in any other church activity.

3. Eliminating Interruptions.—It is al­ways a problem to know how to deal with interruptions. Some churches need much at­tention in this respect. Others have the situa­tion well in hand. Perhaps the place to begin is in the work of the pastor. He can make announcements to the congregation from the pulpit, through the church bulletin, or in a church letter, that will set before the people the need of absolute silence during the rendi­tion of sacred music. When this has been done and results are not satisfactory, it be­comes necessary to stop right in the middle of a song, or wherever it is that some breach of conduct occurs—a latecomer, a crying baby, or an indiscreet deacon adjusting a window—and pause in silence until the inter­ruption has passed. Often this is good medi­cine and very effective.

The next step, if these two means fail, is to openly call attention to the breach. This is the hardest of all three to do. Sometimes it is necessary, nevertheless, and when neces­sary it should be done at once with all avail­able good grace. It will seldom need to be done again in a hurry. Silence should prevail in the house of God except during the acts of direct worship. Then only the voices of those engaged in it should be heard.

Whispering, rattling of papers, crying, and other extraneous sounds should consistently be eliminated until we come into perfect con­formity to the letter and spirit of the divine command: "The Lord is in His holy temple: let all the earth keep silence before Him."

By DONALD F. HAYNES, Pastor, Jackson, Tennessee

December 1940

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