CROSSACCENT. PRELUDE Editorial Comment Jennifer Phelps Ollikainen 3 TAKENOTE 38 CHORUS 40 BOOKREVIEWS SOUNDFEST. New Music 64 POSTLUDE

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1 vol 23, no 2 SUMMER 2015 CroAccent i publihed three time per year by the Aociation of Lutheran Church Muician. Subcription i included with memberhip in ALCM. Librarie may ubcribe at $60 per year by contacting the Buine Office. Copyright 2015 Aociation of Lutheran Church Muician. The view expreed on the page of the journal are thoe of the author and do not reflect official poition of the editorial board of the journal or of the Aociation of Lutheran Church Muician. Thi periodical i indexed in the ATLA Religion Databae, a product of the American Theological Library Aociation, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. atla@atla.com, ISSN Editor: Jennifer Phelp Ollikainen Muic Editor: Lara Wet Book Editor: Paul Grime Copy Editor: Anne-Marie Bogdan Graphic Deign: Kathryn Hillert Brewer Editorial Office Jennifer Phelp Ollikainen, Editor 1127 Magazine Road Green Lane, PA croaccent@alcm.org Editorial Board Kent Burreon Paul Frieen-Carper Joeph Herl Nancy Raabe Stephen Roebrock Advertiing Office Cheryl Dieter, Advertiing Coordinator 810 Freeman St. Valparaio, IN ad@alcm.org ALCM Buine Office Cheryl Dieter, Buine Manager Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN office@alcm.org The Aociation of Lutheran Church Muician i a ervice and profeional organization that work to trengthen the practice of worhip and church muic of all North American Lutheran. Memberhip i open to any peron or intitution whoe interet are in harmony with the Aociation goal. Addre all change of addre, ubcription, and buine correpondence to the ALCM Buine Office. CROSSACCENT journal of the aociation of lutheran church muician 2 PRELUDE Editorial Comment Jennifer Phelp Ollikainen 3 TAKENOTE ALCM Faithful Servant Award: 2015 Honoree Nancy Raabe 5 COUNTERPOINT The Hymn of the Day: Central Song a Proclamation Paul Wetermeyer Peel Here : Label and Language in Worhip Planning Chad Fothergill Interection between Muic Therapy and Worhip Jennifer Phelp Ollikainen 38 CHORUS The Hymnal and Our Great Body of Song Nancy Raabe 40 BOOKREVIEWS The Lyrical Theology of Charle Weley: A Reader, by S. T. Kimbrough, Jr. Robert D. Hawkin SOUNDFEST New Muic 64 POSTLUDE From the ALCM Secretary/Treaurer Kevin Barger The God We Worhip: An Exploration of Liturgical Theology, by Nichola Woltertorff Gordon W. Lathrop Church Muic in the United State: , by David W. Muic and Paul Wetermeyer Mark Bangert Cover art: Juan Gri, Guitar with Clarinet, ALCM OFFICERS Preident: Anne Krentz Organ Preident-Elect: Julie Pott Grindle Secretary/Treaurer: Kevin Barger Director at Large: Scott Hylop, Michael Krentz Region 1 (Northeat) Preident: John Weit Region 2 (Southeat) Preident: Sarah Hawbecker Region 3 (Midwet) Preident: Linda Martin Region 4 (Wet) Preident: Kim Cramer Summer 2015 CroAccent 1

2 PRELUDE The Rev. Dr. Jennifer Phelp Ollikainen Editor, CroAccent What tool do we have a church muician to hape the muic of worhip? How do you approach thi acred trut? I am certain we all have our well-worn pattern and habit of planning. We have our way of managing the cacophony of element pulling u one way or another a we approach thi holy tak. Steeped in the Holy Spirit, we look to Scripture, repertoire, worhip book, planning tool, the community, and more to hape our deciion, which in turn hape the worhip of the church. Thi iue of CroAccent explore thi ongoing tak we hare a we plan the worhip of our local congregation. Wetermeyer trace the hitory and rie of the hymn of the day a Lutheran tied thi central ong of the liturgy to the proclamation of the biblical reading. Thi i no paue in the action of the liturgy, but central proclamation of the word of God. Wetermeyer raie the bar for how we chooe the muic of thi moment. Neither preacher nor aembly ha a monopoly. Rather the ong proclaim the word on it own term for the ake of the whole aembly. Fothergill guide our reflection on breaking open the label, language, and proce we ue for planning worhip a church muician. He remind u that worhip planning reource and ever-available Internet reource help but do not replace our call to wretle with biblical text, teach about the church muic, and remain attentive to a deep and intentional proce for worhip planning. I preent a piece that explore the interection between the therapeutic dicipline of muic therapy and the minitry of haping the muic of worhip. Muic proceed in the brain in powerful way hape our repone to and participation in the muic of worhip. The craft of haping worhip can be informed by muic therapy intentionality about haping muical experience toward a goal. Here i another perpective for church muician who plan and hape the worhip of the church. God entrut the church with the gift of worhip that i haped by the clarity of the proclamation of the gopel and the complexity of our human condition. Thi i no eay tak! But by the grace of God, the body of Chrit proclaim life and hope in a ong that ring through the age, ung by broken bodie and made new again and again in the death and reurrection of Jeu Chrit. 2 Summer 2015 CroAccent

3 by Nancy Raabe ALCM Faithful Servant Award: 2015 Honoree TAKENOTE Faithful Servant Award The Faithful Servant Award ha alway been part of ALCM miion. Etablihed in recognition of and appreciation for thoe who have made extraordinary contribution to the worhip life of the church, the award have been preented at every ALCM biennial conference ince A partial lit of recipient may be found at faithful-ervant-award/. Wilbur Held Wilbur Held wa not Lutheran; in fact, much of hi life wa pent a an Epicopalian and then in United Church of Chrit. But hi muic i o widely embraced by organit everywhere, and it diplay uch a fine enitivity to liturgical eaon and proclamation of the gopel, that hi body of work trancend denominational diviion. A thoughtful and meticulou muician, Held crafted elegant prelude, potlude, and hymn etting publihed largely in themed collection that remain central to the repertoire of church organit around the globe. Born in 1914 in De Plaine, IL, Held began hi muical career at age 2 a a violinit. While he remember enjoying the intrument, hi mother found hi tone unpleaant and advied him not to purue it. He took up the piano intead but tudied only caually until graduation from high chool, when he became intereted in a career in muic. He enrolled at the American Conervatory of Muic in Chicago and earned both hi bachelor and mater degree. For even year during that time Held worked with Leo Sowerby at St. Jame Cathedral in Chicago. In 1946 Held began a 30-year tenure a head of the keyboard department at The Ohio State Univerity (OSU) in Columbu. He alo erved a muic director of Trinity Epicopal Church in downtown Columbu. Summer tudy at Union Theological Seminary in New York enabled him to ignificantly expand the church muic program at OSU, a legacy for which he i well remembered. After retirement Held and hi wife Virginia moved to Southern California, and following her death he moved into a retirement community in Claremont, CA. He continued to compoe, give organ recital, and play for virtually all ervice there. Hi lat publication wa a 2014 collection for MorningStar titled New Every Morning. Held wa notified of thi award in January When it became known in March how eriouly ill he wa, an attempt wa made to get the certificate to hi bedide. The effort fell jut hort, and Held died on March 24, 2015, a few month hy of hi 101t birthday. Victor Gebauer Over the pan of hi long career, Victor Gebauer ha contributed generouly to a deeper awarene of the hitory and practice of Lutheran church muic. For 30 year he held the poition of dean of chapel, chair of the diviion of fine art, and profeor of muic and religion at Concordia Univerity, St. Paul (MN). From Summer 2015 CroAccent 3

4 TAKENOTE 1996 to 2001 and again in he wa executive director of Lutheran Summer Muic. Gebauer remain today a prolific author on the muic of the church and it hitory. Formerly the editor of Repone (the journal of the Lutheran Society for Worhip, Muic, and the Art), he ha authored article appearing in uch journal a Church Muic, The Hymn, Current in Theology and Miion, CroAccent, Patoral Muic, and Dialog. He edited ALCM former newletter Grace Note and authored the popular column Cantor of the Church (ome of which may now be found at Profile in American Church Muic on the web ite for the Center for Church Muic at Concordia Univerity Chicago: cuchicago.edu about-concordia/center-for-church-muic/ profile-in-american-lutheran-church-muic/ eay). Gebauer alo erved for year a a key member of the editorial board for CroAccent. Hi lit of publication include numerou entrie for Worhip Muic: A Concie Dictionary, Key Word in Church Muic, and the New Wetminter Dictionary of Church Hitory (forthcoming). Hi Manual for Altar Guild wa publihed by Augburg Fortre, and he i a contributor to the forthcoming hymnal companion for Lutheran Service Book. Gebauer wa born in 1938 in Chritchurch, New Zealand, where hi German-born father had been called to erve. After the family made a perilou journey and returned to America a the war ecalated, he tudied at Concordia Junior and Senior college. He went on to Concordia Seminary, St. Loui, and then to the Univerity of Minneota for hi doctorate in muicology. Upon return from Fulbright tudy in Germany, Gebauer began hi career at Concordia St. Paul, where he worked cloely with Paul Manz. Walter Pelz A renowned compoer, choral director, organit, and educator, Walter Pelz regularly perform recital, dedication, and hymn fetival and appear a a clinician for organ and choral workhop throughout the United State. He ha compoed everal hundred work, including vere and offertorie, anthem, olo, cantata, hymn, choral ymphonie, and piece for organ. Hi muic ha alo been featured on the compact dic Joy i Sounding in ALCM Congregational Song Serie, with narration by former Faithful Servant honoree Walter Bouman. A native of Chicago, Pelz tudied organ at the American Conervatory of Muic in Chicago. He received hi undergraduate degree from Concordia Teacher College (now Concordia Univerity Chicago) in River Foret, IL, and earned hi mater degree in organ and church muic from Northwetern Univerity (Evanton, IL). Pelz obtained hi doctorate in theory and compoition from the Univerity of Minneota, where hi organ intructor wa Heinrich Fleicher and hi compoition teacher were Paul Fetler and Dominick Argento. Pelz ervice a a church organit date to hi high chool day. Early in hi career he taught in the Lutheran parochial chool ytem, where he erved a organit and choir director. He joined the Bethany College (Lindborg, KS) muic faculty in 1969 and taught theory, compoition, piano, and organ; directed choir; and wa the college organit. Here he wa named the Billue-Burnett Ditinguihed Profeor in Muic, a poition he held until he took early retirement in 1989 to devote more time to compoing and performing. Winner of numerou award, Pelz continue to be active in retirement a a compoer and organit. He recently formed the choral group Bethany Singer, which ha preented yearly concert at Bethany Lutheran Church in Lindborg. He i a charter member of the Aociation of Lutheran Church Muician. Nancy Raabe i Aociate in Minitry at Luther Memorial Church, Madion, WI. 4 Summer 2015 CroAccent

5 COUNTERPOINT istock/pavila The Hymn of the Day: Central Song a Proclamation A hitorical ummary and an analyi with implication for current worhip practice by Paul Wetermeyer BACKGROUND Thi article began a a workhop for the January 2015 Conference on Liturgy, Common Ground: Hearing the Word through the Lectionary. I had for a long time thought that the hymn of the day encompaed a longer hitory and more implication than we normally aume. Though I had purued piece of it trajectory from time to time, I never worked at it a a whole until thi aignment. A I worked I dicovered the reach wa even greater than I had thought. The hitory ugget that the church intinct which Lutheran have developed i to tie a central muical feature of it ong to reading from the Bible. What follow i a hitorical ummary, till ometime unclear and debated, and an analyi with implication for current worhip practice. HISTORICAL SUMMARY From a Reformed Perpective The Prebyterian hymnologit, Loui Benon ( ), 1 ay 2 that the quetion around which the whole hitory of hymnody turn i thi: Ha the church a right to uperede or even enlarge the hymn book which i of canonical authority? (57ff.). By canonical authority he mean text from the Bible, principally the Palm of the Old Tetament, poibly plu canticle in the New Tetament like thoe in Luke and Revelation. He had argued earlier that Paul authorized thi kind of enlargement, but the quetion ha divided the opinion and practice of the Church (57). Benon give five ettlement of thi quetion followed by it modern dipoition. Firt he run out ome of the hymnic and muical part of the church early hitory which, he note (15ff.), were in hi time (a now) left out of Summer 2015 CroAccent 5

6 COUNTERPOINT Catacomb of Pricilla the training of pator. He give a general weep (58 63) from Alexandria and Clement to North Africa and Tertullian to Ignatiu, Athenogene, Hippolytu, Dionyiu of Alexandria, the Egyptian bihop Nepo, Greek hymn, Epiphaniu, Hieraka, the Didache, and Jutin and Antioch. He then work through (63ff.) Paul of Samoata (the heretical bihop of Antioch after the mid-3rd century who had uppreed noncanonical palm but who wanted another erie of palm ung to him by female choir), Bardeane (who had compoed a rival palter of 150 palm ), the Gnotic Valentine and hi hymn, Marcion, and the hymn that carried the Arian herey. He locate the Council of Laodicaea in 363 and quote it like thi: Palm compoed by private men mut not be read in the church nor uncanonical book, but only the canonical book of the New and Old Tetament (65), 3 noting that read cover both palmody and the lectionary becaue they were both ung. Benon call thi the Firt Settlement, the Greek one. The Greek anwer to hi quetion i no. The church can only ue the biblical Palm and not palm of human compoure (66). He note further that the Council prohibited the people from taking any part except a litener (66). 4 Hi next tatement i intructive: Both the cope and the effectivene of thi ban put upon private Palm are debatable. Certainly it did not hinder the development of an extenive Greek hymnody (66). Benon now work through (67 74) the Palm in Latin in North Africa (the mother Palmody i a major part of the church ong. of the Wetern Church ), Tertullian, Hilary, Jerome, the people inging of hymn that Ambroe ( the father of Latin hymnody ) developed in Milan, Augutine Confeion, hymn at matin and veper (which were taken from congregation a acetic departed for a life of prayer in the wilderne ), Benedict, council that debated hymn inging (Braga in 563, which forbade it; Tour in 567, which received it; and Toledo in 633, which had to explain why it hould be allowed), and 7th-century Spain, Gaul, and Ireland, where Ambroian hymn had won a pyrrhic victory in the daily office. Benon decribe the Second Settlement, the Latin one, like thi: the canonical Palm are the ource of the ubject-matter of praie both in the Daily Office and the Ma. Scriptural canticle and a few ancient proe hymn from the Greek are ued in the liturgy and a limited number of approved hymn of human compoure are inerted at fixed point of the Office. The actual inging in churche, whether monatic or parochial, wa to be done by officiant in the choir. For participation by the congregation in the nave there wa no proviion and no opportunity. (74 75) That i, palmody i a major part of the church ong, with a few hymn. The congregation i not included, at leat not officially. The Third Settlement i the Lutheran one (76). Canonical palmody i kept, the model of 6 Summer 2015 CroAccent

7 the Ambroian metrical hymn i appropriated ide by ide with palmody, and inging i retored to the people. In the Fourth Settlement, the Calvinit one, the inpired ong of Scripture, ubtantially the Old Tetament Palter, furnih the excluive ubject matter of praie. Tranlated into the vernacular, verified in modern meter, et to congregational tune, they become the hymn of the church. (82) The Fifth Settlement, the Evangelical ettlement (88), i that of Iaac Watt what I would call the Englih verion of Ambroe work in Latin and Luther in German. The palm in the metrical form that Watt inherited are kept a a department of Chritian ong whoe ene and material were taken from the Bible. To thi wa added a body of hymn of human compoure o that the twin volume of Watt Palm and Hymn made themelve at home in the pew, and repreented repectively the Old and New Tetament in praie (91). The Modern Dipoition, ay Benon, i not a ettlement, but a natural reult of experimenting with Watt Palm and Hymn (91). It led to an era of hymn (92) that Benon regarded a a reverion to the Pauline ideal of Chritian ong and o faithful to the pirit and the letter of uch of the primitive hymn that have urvived (95). The Lutheran Settlement The New Tetament and the Early Church Since the Lutheran church i part of the church catholic that edit rather than abandon what it receive, we have to tart with the New Tetament and work forward through the centurie. Whatever Paul meant by palm, hymn, and piritual ong in Coloian 3:16, it mot likely included newly compoed piece. We get a picture of what happened after Paul time when Pliny, the governor in Bithynia, in 112 wrote to the Emperor Trajan and aked what to do about Chritian. Their fault, aid Pliny, wa to aemble before daylight, ing a hymn to Chrit a to a god, and bind themelve with an oath, not for any crime, but to keep the commandment. Then they departed and met again later to take ordinary and harmle food. 5 That i a bare-bone decription of the typical word-and-table equence before the two part were joined together in one ervice at the ame time, with a hymn in the word ervice. What wa thi hymn? Wa it newly compoed or part of the canon? We don t know. A long time ago a chant expert (I don t remember who) told me that the early church had 800 hymn in it oral memory bank. I aked a church muic cholar and hitorian about thi: Anthony Ruff, who wrote Sacred Muic and Liturgical Reform (Chicago: Hillenbrand, 2009). He told me it wa not that many, but there wa a large oral repertoire of congregational ong. Benon thought there were hymnbook (Benon, 45 48). Jame McKinnon i more retrained: it i true that coniderable evidence of warmth toward the notion of praiing God in ong appear in the page of the New Tetament, but there i a ingularly eluive quality about mot of the reference in quetion. While inging i mentioned frequently, it i extremely difficult to determine jut what i being ung and in what circumtance. (McKinnon, 12) McKinnon i even more reerved about the literature of the 1t and 2nd centurie: the literature of thi period conit primarily in the work of the Apotolic Father and the econd century Greek Apologit. Unfortunately neither group contribute much to our knowledge of early Chritian ong, but they do provide u with a variety of muical imagery. (18) Chritopher Page put it thi way: within the New Tetament book eventually received a canonical, evidence for the muical practice of Chritian aemblie i very pare, and i thinly pread over a much a three generation. (Page, 74) About the period before Contantine converion, Page ay: the tak of iolating a practical kernel of material relating to Chritian worhip in the firt three centurie i a hazardou one. Every reference to muic in early Chritian writing i of potential value for practice, however tenuou the link may appear, and aement of COUNTERPOINT Summer 2015 CroAccent 7

8 Judith E. Dietz COUNTERPOINT Salzinne Antiphonal, 1554, folio 2r, The Annunciation (Saint Mary Univerity, Halifax, Nova Scotia) what contitute practical information in the ource will vary from one interpreter to another. Yet certain text tand out for their concern to commend or condemn certain apect of worhip, including the ue of muic. (72) Calvin Stapert provide inight about thee commendation and condemnation. He decribe muic aociation with obcene luxury and neglect of the poor and needy a a backdrop for the New Tetament idea of true muic the praie and lament of palm and hymn in repone to God work on behalf of thoe whom the world neglect. 6 The Middle Age Joeph Jungmann trace the development from Hippolytu in the 2nd century through Leo the Great in the 5th and beyond. Reponorial palmody between cantor and congregation with congregational refrain developed between the leon and expanded to trophe which intertwined around the Palm. 7 An elaborate tore of hymn poetry developed (424). Thi gradual palmody (the graduale got it name becaue it wa ung from the tep of the ambo [pulpit] after the epitle, the ambo itelf reerved for the gopel) wa not given up even when the Old Tetament reading diappeared in the 6th century (425). On feat day it had a connection to the reading (434). In the 7th century the gradual were ung by ubdeacon, not by the choir from whoe literature they were independent, and not by deacon, ince Gregory the Great did not want beautiful voice to be what counted in promotion (430ff.). That little detail mean able muician with fine voice were required. The emphai on the gradual Alleluia led to florid melodie and tune piled on tune for the jubilu on the final a of the alleluia (436). Thi development yielded muical compoition called equentia (equence). In the 9th century text were added to make the muic eaier to memorize. That led to equentia cum proa (equence with text). 8 Thee became quite numerou for all of the Sunday and feat day of the year. Jungmann ay there were five thouand of them (Jungmann, 437), Luther Reed ay nine hundred, 9 and David Hiley ay everal thouand. 10 Thee elaboration in the Ma included drama plu the ue of bell and organ. Hiley note the virtuoity they required (Hiley, 21), and Jungmann note that they were the firt text of the Ma to be et with multivoiced compoition (Jungmann, 435). That i, gradual and equence moved away from the congregational impule under them toward what only oloit or choir could ing. But the congregational impule would not be denied. It re-emerged in a vernacular hymnody of the people, which developed from the equence into the Leien, folk hymn that took their name from Kyrie eleion, 8 Summer 2015 CroAccent

9 their characteritic refrain. Sometime Alleluia replaced Kyrie, a in the Leie titled Chrit it ertanden, which developed from the equence titled Victimae pachali laude. Thi bring u to the 16th century, about which Michael Krentz help u with hi doctoral reearch project on 16th-century German Lutheran equence. 11 The Sixteenth through Eighteenth Centurie At the Council of Trent ( ) the Roman church kept four equence: Victimae pachali laude for Eater, Veni Sancte Spiritu for Pentecot, Lauda Sion alvatorem for Corpu Chriti, and the Die irae for funeral. In 1727 the Stabat mater doloroa wa added for the Feat of Seven Sorrow. In hi Formula Miae (1523) Martin Luther ( ) aid that gradual of two Palm vere together with the Alleluia or one of the two hall be ung, a the bihop may decide; and the Quadrageima and other gradual that exceed two vere may be ung at home. He aid no to equence unle the bihop wanted to keep Grate nunc omne for Chritma and maybe Sancti Spiritu or Veni Sancte Spiritu for Pentecot. He commented that hardly any mack of the Spirit. Hi concern wa about lengthy gradual that quench the pirit of the faithful with tedium. 12 In hi Deutche Mee (1526) the Latin equence wa replaced with a German hymn uch a Nun bitten wir or other precedent in the Leien, which are the antecedent of the Lutheran chorale (Krentz, 6). Luther valued the Leien connected with the Latin equence, added to them, and ued them to develop chorale: he added even tanza to Gelobet eit du for Chritma and three tanza to Nun bitten wir; Gott ei gelobet wa originally a Leie connected with the equence Lauda Sion alvatorem for Corpu Chriti; and Chrit it ertanden i baed on Victimae pachali laude, which led to Luther Chrit lag in Todebanden (7). Krentz ay that Luther limited the equence but kept alive the baic idea of a hymn between the epitle and the gopel baed on the theme of the day (8). Though it may look a if Luther wa againt all equence, one alway ha to view him in light of what happened (he took the pat and preent practice of the church very eriouly) and in light of the ide comment he made (uch a unle the bihop want and let thee thing be free ). Here what happened (Krentz, 12 19). In Latin ervice ome equence were kept, and in German ervice ome equence were kept or replaced with omething ele like a chorale. Thee were called the equence hymn, the gradual hymn, the chief hymn (Hauptlied), or the hymn of the day, which Lutheran ordered for ue throughout the church year with the earliet lit coming in the 16th century. Krentz give a ampling of 16th-century Lutheran order and how they handled the equence or it relative. In the Wittenberg Order of 1533, from Chritma to Luther limited the equence but kept alive the baic idea of a hymn between the epitle and the gopel baed on the theme of the day. COUNTERPOINT istock/typo-graphic Summer 2015 CroAccent 9

10 COUNTERPOINT the Purification, Grate nunc omne wa ung in alternation with Gelobet eit du; from Eater to Acenion, Victimae pachali laude with Chrit lag in Todebanden; at Pentecot, Veni Sancte Spiritu with Nun bitten wir; for the Nativity of John, Pallite regi notro; for Maria Magdalena, Lau tibi Chrite; and the Trinity equence wa ued a often a deired throughout the eaon (13). That ix equence, more than Luther eemed to anction in the Formula Miae and more than Rome kept. Other order were almot unanimou for Chritma, Eater, Pentecot, and Trinity. The Order of Naumberg approved twelve (14). Krentz note the variety that equence compoition included: Gregorian melodie were retained ; they could be upplemented with or replaced by polyphonic etting ; ometime the organ could play portion alone ; ometime there wa a chorale or Leie repone by cantor, choir, or congregation; and thee could all be interwoven, in alternatim praxi. Pre-Reformation muic and the muic of Roman Catholic compoer after the Reformation wa employed. Heinrich Iaac in hi Chorali Contantinu included many polyphonic etting (21ff.). Krentz alo note compoer, with example of their muic, including Johann Walter ( ), Johann Kugelmann (d. 1542), Luka Oiander ( ), Ludwig Senfl (c ), Johanne Hähnel (fl ), and Jakob Gallu ( ) (23ff.). In ummary Krentz ay that equence were ued on feat day throughout the 16th century in a combination of Gregorian and polyphonic etting, with choir or organ, and with German Leien a long repone between the epitle and the gopel. Thi i the rie of the Hauptlied, the chief hymn, the hymn of the day (42). Krentz add: complete lit of hymn to be ung between the Epitle and Gopel for each Sunday and Feat of the year [aroe] acro Germany, which were in ubtantial/almot univeral agreement about which hymn to ing. That i, in orthodox Lutheranim in Germany the early ixteenth century freedom at thi point in the ma wa gradually formalized and expanded, but in a way limited. Effectively, the Hymn of the Day became a ixth part of the proper of the ma. 13 Thi mean that the portion of the church called Lutheran took the bet practice of the church congregational and choral ong from acro a long hitory and developed them further. The cantata J. S. Bach and hi contemporarie wrote in the 18th century are part of thi development. They were created in a collaborative proce hared by the preacher, librettit, and compoer in connection with the lectionary, the hymn of the day (which Bach guarded with ome paion 14 ), and the ermon. They ometime urrounded the ermon. In Leipzig in Bach time the ermon wa an hour long and the cantata twenty minute or o. Cantata were conceived to break open the word by utilizing the fullet muical reource of choir, intrumentalit, and oloit, along with the poetic reource that writer created and compoer et for each Sunday and feat day. 15 Thi development took a number of hit: 1. Pietim, temming from Philipp Jakob Spener ( ) and hi book Pia Deideria (1675), legitimately reacted againt a cold and formalitic environment wherever it wa preent. Thi reaction generated a hymnody rich with the fullne of devotional fervor, but one which often degenerated into irreverent entimentalim Rationalim i evident in an 1814 hymnal and liturgy by Frederick Quitman ( ), 17 which neglected the characteritic Lutheran hape and theme of worhip in the Wetern Ma that Luther had horn of it acrificial accretion The Lutheran church in a Reformed climate, a in the United State, after the Wetminter Aembly of 1644 faced a Directory rather than a liturgy. Pator came to control worhip with little concern for the church a a whole and with few check beyond a narrow parochial frame. 4. Revivalim increaed thi trend. From the late 17th century through the 19th Lutheran increaingly neglected their church order, including the hymn of the day. A in all age, the church ubverive communal oae prang from the word anyway, but by the early 10 Summer 2015 CroAccent

11 19th century mot Lutheran and German Reformed churche in Pennylvania had lot their liturgical characteritic. Largely alike, they employed a free format which urround a lecture or ermon with prayer, leon, and hymn. 19 The ermon hymn, 20 connected to the dominant 18th-century ermon in a Reformed tyle, could be viewed a bearing ome relation to the hymn of the day. The Congregational pator Philip Doddridge ( ), a friend of Iaac Watt, i the author of the firt hymn preented in Evangelical Lutheran Worhip (Minneapoli: Augburg Fortre, 2006): Hark the Glad Sound (ELW 236). It i one of about 400 hymn Doddridge wrote to go with hi ermon. Doddridge and other Reformed pator may have gotten thi idea from the hymn of the day in the Lutheran heritage. (Doddridge maternal grandfather wa a Lutheran pator who came to England to ecape perecution in Prague.) Doddridge and other Reformed writer produced hymn that Lutheran have been wie to ue. But they are not conceived with the breadth of the hymn of the day, which relate to eaonal theme and to the whole church, not jut to more limited local ermon. Often even a Doddridge-tyle ermon hymn wa abent from Lutheran practice. Nineteenth- and Twentieth-Century Liturgical Renewal Renewal wa to come: the Oxford-Cambridge movement among Anglican, Soleme and the Caecilian movement among Roman Catholic, the Mercerburg movement among the German Reformed, Lutheran work after 1817 that led in thi country to the Common Service of 1888, 20th-century tudy of worhip throughout the whole church, and the Second Vatican Council ( ) awakened the church to it variou reource, not only for individual group but a contribution to the whole church. For Lutheran thi included the riche of the hymn of the day. 21 The column headed HD in the Indexe of Evangelical Lutheran Worhip yield a hymn-ofthe-day lit, 22 and Carl Schalk who ha tudied and championed the hymn of the day quite faithfully provide uch lit from Lutheran Book of istock/chritopher orange Worhip and Lutheran Worhip. 23 Thee lit do not olve everything. A Krentz ay, if eventeenth-century Lutheran had been editing our book of worhip, they would have placed a Hymn of the Day for each Sunday/Feat along with the prayer of the day and lectionary citation in the Calendar in the front portion of the book. Thu, one hymn for each day (or three, given our three-year lectionary) would have the ame authority a the appointed Gopel Acclamation and dare I ay a the lectionary? Chooing a different Hymn of the Day would be like chooing to change the Palm. 24 But we are not 17th-century Lutheran. We face quetion about who create the lit, by what authority, what to do about multiple lit, how much variability i good, and whether to ue a three-year or one-year et which raie other quetion: can we remember hymn acro three year or one year, and i the primary relation of the hymn of the day to the ermon or the eaon or the day? Thee quetion and the hymn of the day that timulate them point to the church communal reponibility and accountability, with potent implication. COUNTERPOINT The portion of the church called Lutheran took the bet practice of the church congregational and choral ong from acro a long hitory and developed them further. Summer 2015 CroAccent 11

12 COUNTERPOINT From the New Tetament onward the church ha wanted to ing the theme of the faith in it word with both a congregational and a choral voice. ANALYSIS The Proclamatory Progreion I have tried to cover a long and complicated hitory in a few word. There are many detail here, not all of them clear, ome of them hidden in the mit of our hitorical record never to be completely clear: the Council of Laodicaea may not have met in exactly 363 (Page, 90); Page warn u about the hazardou nature of reearch in the firt three centurie; and the origin and hitorical development of equence poe numerou problem, with continual cholarly warning about their complexitie and difficultie. Muician uually encounter ome of the detail when they tudy muic hitory, and people like Krentz work at them. However, with rare exception, mot muician do not encounter related theological and liturgical iue. Thoe who tudy to be pator eldom encounter thee iue. Modern urban legend make thing wore a leader propel them with comment like thee: everybody know that Luther broke from the church and it pat, that there wa no congregational inging before Luther, and that he and Calvin got their inpiration from bar tune. We need correct detail, but we can t wait for them (they will never be found to our atifaction) before we ak broader quetion. Whether all the detail are exactly right or not and whether my attempt to ummarize them i right or not, the dimenion of what we are dealing with are clear enough to drill down deeper. We certainly cannot let the excluion and miinformation of our period block or intimidate u. We a church muician are called on behalf of the church to break through the block to get at the broader quetion a bet we can not for the ake of an archaeological dig but to help u gain a much widom a poible in order to figure out the context we erve. Benon notion that the whole of Chritian hymnody turn on the quetion of the relation of the hymn to Scripture, whether exactly right or not, play itelf out in everal approache. One i to write off the church inging altogether, like Quaker or Zwinglian. Then there i no inging or muic at all. The church a a whole ha rejected that repone and will not be ilenced: it ing. That ha led to two oppoite tendencie. One i to retrict the church inging to text from Scripture, meaning the Palm and maybe a few other text uch a the New Tetament canticle. The other i to give free reign to hymn of human compoure. The firt confine the church inging to the letter of the biblical word or to careful paraphraing and tranlating of them. The econd can eaily pin off into private opinion (idiotikou palmou [privately compoed palm] in the Council of Laodicea parlance, parallel to Luther comment that pator are in danger of preaching ermon about private opinion or ocalled catle in Spain [ blue duck ]). 25 What a tudy like thi tell u, behind it complexity, i that from the New Tetament onward the church ha wanted to ing the theme of the faith in it word with both a congregational and a choral voice. Either or both of thee may be choked, but they will not go away. 26 Benon quetion might be rephraed like thi: how doe the church give wing to it ong yet keep it related to the norming norm of the biblical word without legalitic literalim or idioyncratic private opinion? The gradual/equence/ Leien/hymn of the day/cantata hitory ugget that the church intinct which Lutheran have developed i to tie a central muical feature of it ong to reading from the Bible. That mean ome central hymn of the day are ued to expre the theme of the gopel that over a year proclaim the whole tory. The proclamatory progreion on any Sunday or feat day goe like thi: Old Tetament reading; palmody, ometime with a refrain that give the focu for the day; epitle; gopel acclamation, a New Tetament palm vere with the light of Chrit; 12 Summer 2015 CroAccent

13 COUNTERPOINT Intitute of Liturgical Studie, Valparaio, IN gopel; ermon; hymn of the day; and poibly a cantata here or urrounding the ermon. The palm and gopel acclamation are not reading in a ucceion of five, but ung congregational and choral repone of biblical word that give the whole context of human life in all it high and low before God, like the Palm in relation to the theme or theme of the day. The reading may alo be ung or chanted, the way they have been for mot of the church hitory, that i, in an individual recitative. The reading break into the congregational and choral communal tyle that provide the whole communal tableau and context of life. The reading from variou part of the Bible are et next to one another to give a full-orbed biblical narrative rather than an idioyncratic one. A ingle reading i not to be interpreted all by itelf. The preacher i called to tudy the reading and the biblical material that urround them and out of that fecund mix to peak the word of God in the preent day or the preent day in the context of the word with The hymn of the day follow, giving the church a chance to repond to the reading with the proclamatory breadth muic make poible. a laer-like beam. The hymn of the day follow, giving the church a chance to repond to the reading with the proclamatory breadth muic make poible. ( Here the editor of Evangelical Lutheran Worhip are to be congratulated: the rubric for the hymn of the day in the communion liturgy The aembly tand to proclaim the word of God in ong get it jut right. 27 ) Proclamation i not the ole reponibility of the preacher; muic join a the vox evangelii (the voice of the gopel). A hymn concertato or a cantata may extend thi proclamatory breadth, but even the implet hymn of the day can expre it very well in it introduction, variou harmonization on tanza, and alternation between tanza, cantor and congregation, choir and congregation, organ and congregation, intrument and congregation with textural contrat or whatever the reource, the hymn, and the day ugget. John Joeph Santoro Summer 2015 CroAccent 13

14 COUNTERPOINT The Reult Notice what i happening here. 1. The Palm and the canticle from the Bible are part of thi cluter and part of the ret of the church ong. What Benon call the hymnbook that ha canonical authority i not removed, but it doe not tand alone. 2. Hymn are alo pawned for thi and all other occaion in the communal and family life of the church, with certain one kept a hymn of the day. Thee are the one that are particularly worth keeping for the whole church over time; ably tell the variou part of the tory bet; are epecially prized and bear repetition; and are ung at a central place in the church life in connection with the reading and ermon on Sunday and feat day. 3. The Lutheran anwer to the quetion of whether the church ha a right to enlarge the canonical hymnbook i that the biblical canon and it hymnic enlargement have a place in the church ong and are intrinic to it. The church i called to ing both the Bible Palm and canticle and a body of hymnody beyond them. Through the hymn of the day a model and ymbol, hymnody i normed by and tied to the word of God. 4. The church lodge the hymn of the day in it communal memory bank and develop a full-orbed repertoire of text and muic worth inging over long tretche of time. Thoe alive now can ing together and thoe who follow can do the ame in an ecology of care for the other. Hymnody and muic are about the glory of God and the edification of humanity. 5. The Hymn of the Day become one of the way the church tell time. The people know that it i Eater, for example, becaue Chrit Jeu Lay in Death Strong Band i the Hymn of the Day 28 and becaue the muical ound of O Come, O Come, Emmanuel in Advent i different from O Morning Star in Epiphany, from Out of the Depth on Ah Wedneday, and from Come, Holy Ghot at Pentecot. 6. The church i protected from it curved-in tendencie. The liturgy, the church year, the lectionary, and the hymn of the day belong to the whole church catholic, not to any one ectarian group in or out of the church. The hymn of the day make the biblical word the norming norm of it faith and life. Proclamation i hared. 29 A Joeph Sittler aid, theme too hot to handle from the pulpit may be elaborated from the choir loft! 30 Pator, profeor, muician, theological etablihment, and other are not to take the Bible place a the norming norm of faith and life. The church i a proclamatory community. No peron or group get to trump the norming norm of the word or to ride off into narrow boxe of deluion ( catle in Spain ) with their own lectionarie or no lectionarie or any other of their private (idiotikou) opinion. Nor do they get to inert any hymnody they chooe to employ, epecially not at the hymn of the day. They are diciplined by the widom and the check John Joeph Santoro 14 Summer 2015 CroAccent

15 and balance of the church catholic like everybody ele in the life of the church and are required to take into account their iter and brother in Chrit acro the whole church, tied to the norming norm of the Bible and it life poured out for the world. Hard Word Thee are hard word for the etablihment of the church becaue of our tendency to collape the church into the marketplace and to ell Chritianity a one more product, with muic a the primary tool of the trade. The hymn of the day i a counter-cultural part of the church ubverive ytem of health not only in our age, but in every age with immene implication, more than we uually aume. Here are ome of them. The hymn of the day protect the pator from the people and the people from the pator becaue it call into play communal check and balance. Favorite hymn are not the control, and nobody people, pator, or muician ha ole authority in chooing hymn. It mean pator can t abue their people or their muician, the people can t abue their pator or one another, and muician can t abue anybody by miuing muic for their peronal agenda of manipulative control. The word abue here may eem harh, but the current ocietal temptation it could be called a norm i to et u againt one another o that we each can win and beat the neighbor at all cot. The common good ha dropped out of our concioune. The reult i abuive behavior from our elected official to other leader and group, including the church. We face ytemic injutice. The criptural norming norm of the church call for another way to relate to one another. The hymn of the day, becaue it bring with it uch a collaborative effort related to thi norming norm, i a chief exhibit. Congregational and choral ong are intrinically linked to one another and to the word of God. Some ource in addition to thoe in the note Apel, Willi. The Sequence. In Gregorian Chant, Bloomington: Indiana Univ. Pre, 1958, Blume, Friederich. Protetant Church Muic: A Hitory. New York: Norton, Crocker, Richard L., and John Caldwell. Sequence. In The New Grove Dictionary of Muic and Muician, ed. Stanley Sadie, vol. 17, London: Macmillan, Gerlach, Bryan. De Tempore Hymn/Hymn of the Day. In Key Word in Church Muic, rev. and enl., ed. Carl Schalk, St. Loui: Concordia, Hiley, David. Sequence. In Wetern Plainchant: A Handbook, Oxford: Clarendon, Warren, F. E., and Jame Mearn. Sequence. In A Dictionary of Hymnology, ed. John Julian, 2nd rev. ed., vol. 2, London: Murray, 1907; reprinted New York: Dover, Wetermeyer, Paul. Appendix: A Tune of the Day Propoal. In Let the People Sing: Hymn Tune in Perpective, Chicago: GIA, All the muical component of God gift of muic in the creation are to be crafted a well a poible and employed in and for the new creation. The mot acceible folk ong of the people who do not reheare i tied to the widet array of muical poibilitie for cantor, choir, organit, and other intrumentalit who do reheare; and the whole i tied to the word. A network of communal cro-fertilization throughout the church catholic i fotered, the one to which the church and it muician continually gravitate in pite of etablihment that block them. COUNTERPOINT Summer 2015 CroAccent 15

16 COUNTERPOINT The Crucible of the Lectionary and the Hymn of the Day: Chatening and Cleaning The word i proclaimed week after week, fetival after fetival, for a world in need. John Eliot Gardiner expree thi when he refer to J. S. Bach a one who embodied bet the muical implication of the church perpective via it Lutheran undertanding: one of Bach monumental achievement wa to how that muic and language together can do thing which neither can do eparately. But he alo prove that muic ometime urpae language, whether written or poken, in it capacity to penetrate to the innermot recee of concioune and to chip away at people prejudice and our ometime toxic pattern of thinking. We can till turn to hi cantata and motet for enlightenment (with a mall e) about in, redemption, evil or repentance, with no more difficulty than we can to, ay, a widely-read writer like Doetoevky omeone who found in the Chritian religion the only olution to the riddle of exitence and who uncovered a volcanic crater in every human being. Bach in fact make it a great deal eaier for u to focu on the injunction to love one neighbor than on all the filth and horror of the world. We emerge from performing or litening to a Bach motet chatened, maybe, but more often elated, uch i the cleaning power of the muic. There i not a whit here of the foul fume of religiou fervor that Richard Eyre ee today preading anctimonioune and intolerance throughout the globe, while thoe far-from-excluively Chritian virtue love, mercy, pity, peace are choked. 31 Bach learned hi craft in the crucible of the lectionary and the hymn of the day where hi cantata were fahioned, the center of hi life work. We will not likely fahion anything that rival what Bach ha given u, but we can learn from the mind of the church 32 a he did, and we can learn from him. Even thoe of u with the fewet talent and with the implet hymn of the day can be melted in the fire of the ame furnace that Bach had, and in all our churche we can emerge chatened and cleaned. That happen in the ubverive oae of the church more often than we in our etablihment would like to admit. Paul Wetermeyer i profeor emeritu of church muic at Luther Seminary in St. Paul, MN, where he erved a cantor and directed the Mater of Sacred Muic degree with St. Olaf College. Hi mot recent book are Hymnal Companion to Evangelical Lutheran Worhip (Minneapoli: Augburg Fortre, 2010) and, with David W. Muic, Church Muic in the United State: (Fenton, MO: MorningStar, 2014). Note 1. Benon tudied law at the Univerity of Pennylvania and wa admitted to the bar in 1877; from 1884 to 1886 he tudied at Princeton Seminary and wa ordained; and from 1886 to 1892 he erved a the pator at the (Prebyterian) Church of the Redeemer in Germantown, PA, and became an editor at the Prebyterian Board of Publication in Philadelphia. He edited the Prebyterian hymnal of 1895, it reviion in 1911, and other hymnal; lectured on hymnody at Auburn and Princeton eminarie; co-edited the Prebyterian Book of Common Worhip (1906); and wrote book on hymnody, including The Englih Hymn (1915). For the Bread Which You Have [originally Thou Hat ] Broken may be the betknown of the hymn he wrote. 2. Loui F. Benon, Lecture Two, in The Hymnody of the Chritian Church (Philadelphia: Wetminter, 1927). 3. Chritopher Page, The Chritian Wet and It Singer: The Firt Thouand Year (New Haven: Yale Univ. Pre, 2010), 90, tranlate the canon (number 59) like thi: There hould be no delivery of noncanonical or home-made palm [idiotikou palmou legethai] in Church, but only of canonical book. Jame McKinnon, Muic in Early Chritian Literature (Cambridge: Cambridge Univ. Pre, 1987), 119, give it a, One mut not recite privately-compoed palm [idiotikou palmou], nor non-canonical book in the church, but only the canonical book of the Old and New Tetament. 4. Thi i Canon 15. Page, 90, give it like thi: Only regularly appointed [or orthodox?] inger, kanonikon palton, capable of reading from parchment, hould be allowed to acend the pulpit from now 16 Summer 2015 CroAccent

17 on and ing in churche. McKinnon, 118, tranlate it, No other are to ing (pallein) in church, beide the canonical cantor (kanonikon palter), who acend the ambo and ing from a parchment (dithphera). 5. See J. Stevenon, ed., A New Euebiu: Document Illutrative of the Hitory of the Church to A. D. 337 (London: SPCK, 1957), 13 15; David W. Muic, Hymnology: A Collection of Source Reading (Lanham, MD: Scarecrow, 1996), 3 5; and Page, Calvin R. Stapert, A New Song for an Old World: Muical Thought in the Early Church (Grand Rapid, MI: Eerdman, 2007). 7. Joeph A. Jungmann, The Ma of the Roman Rite: It Origin and Development, vol. 1 (New York: Benziger, 1955; reprinted Wetminter, MD: Chritian Claic, 1992), 422ff. 8. See Allan Mahnke, Sequence, in Key Word in Church Muic, rev. and enl., ed. Carl Schalk (St. Loui: Concordia, 2004), Luther D. Reed, The Lutheran Liturgy (Philadelphia: Muhlenberg, 1947), David Hiley, Sequence, in The Canterbury Dictionary of Hymnology, equence. 11. Michael Edgar Krentz, The Ue of Sequence in German Lutheran Churche during the Sixteenth Century (DMu reearch project, Northwetern Univerity, 1981). 12. Martin Luther, Luther Work, American edition, vol. 53, Liturgy and Hymn, ed. Ulrich S. Leupold (Philadelphia: Fortre, 1965), Michael Krentz, to author, January 18, See Chritoph Wolff, Johann Sebatian Bach: The Learned Muician (New York: Norton, 2000), See Günther Stiller, Johann Sebatian Bach and Liturgical Life in Leipzig (St. Loui: Concordia, 1984); and Andrea Loewe, Johann Sebatian Bach St. John Paion (BWV 245): A Theological Commentary (Leiden: Brill, 2014), and Carl Schalk, God Song in a New Land: Lutheran Hymnal in America (St. Loui: Concordia, 1995), A Collection of Hymn, and a Liturgy: For the Ue of Evangelical Lutheran Churche (Philadelphia: 1814). 18. See Paul Wetermeyer, What Shall We Sing in a Foreign Land? Theology and Cultic Song in the German Reformed and Lutheran Churche of Pennylvania, (PhD diertation, Univerity of Chicago, 1978), John G. Morri, Fifty Year in the Lutheran Minitry (Baltimore: 1878), 349, decribe Lutheran worhip prior to See alo Wetermeyer, 12ff.; Carl Schalk, The Hymn of the Day and It Ue in Lutheran Worhip (St. Loui: Concordia, 1983), 8 9; and Reed, See Reed, 305; and Schalk, The Hymn of the Day, See Schalk, The Hymn of the Day, p Indexe to Evangelical Lutheran Worhip (Minneapoli: Augburg Fortre, 2007). 23. Schalk, The Hymn of the Day, Michael Krentz, to author, January 18, See Luther, 78; and Liturgie of the Wetern Church, ed. Bard Thompon (Cleveland: World, 1961), The congregational and choral component partly explain why thi tudy i o complicated. The oral and written ource of the congregational and choral mix are notoriouly hard to document or decribe even if you are preent in it. 27. Michael Krentz, to author, January 19, I am grateful to Michael Krentz for thi point; to author, January 18, See Loewe, 29: for Lutheran preaching and inging went hand in hand. 30. Joeph Sittler, Ave Maria, Gratia Plena, in The Care of the Earth, and Other Univerity Sermon (Philadelphia: Fortre, 1964), John Eliot Gardiner, Bach: Muic in the Catle of Heaven (New York: Knopf, 2013), Reed, 1. COUNTERPOINT John Joeph Santoro Summer 2015 CroAccent 17

18 COUNTERPOINT Peel Here : Label and Language in Worhip Planning John Joeph Santoro by Chad Fothergill Introduction Like the majority of ALCM member, 1 I erve a a part-time church muician. When not planning or practicing I have the opportunity to teach a variety of muic coure for very talented and creative tudent. Epecially impreive i their ever-expanding digital acce to the raw material of muic core, recording, article, blog, video performance, and even facimile of long-lot manucript not to mention their dexterity with a contellation of coure-related app and virtually all other form of technology. Le impreive, though, i the tifling of critical engagement that ha accompanied tudent eae of intant acce, a riing inability to ift the thoughtful, trahy, inightful, or unique from the vat digital univere. The vibrancy and expreivity of language, too, ha dulled to a meager watch of beige neutral. Vague placeholder uch a emotion and feel are left to tand a ubtitute for the adventure of peering inide the nuanced craftmanhip of Brahm chamber muic or of untangling web of allegory and metaphor in Renaiance vocal muic. In a parallel obervation, thoughtfulne, clarity, and expreivene are alo evaporating from the language we ue to dicu our work 2015 Biennial Conference, Sunday Evening Prayer, Redeemer Lutheran Church

19 a church muician, both the nut and bolt of muical deciion and larger converation about minitry a a whole. Quetion of how hould we label it? or how can we publicize it? often garner more attention than whom doe it praie? or what i the theological content? Similarly we tend to convere firt about what hymn and muic have been choen before explaining how or why thee text and melodie were elected for a particular time, place, and people. We have become accutomed to the precriptive and prohibitive intead of the decriptive and imaginative. Thee are not new obervation, nor hould they be urpriing: after all, it far eaier to convere about what than why, and our technological platform naturally encourage rapid haring of reaction before repone, of elfexpreion before elf-reflection. We are able to chooe our enory input through like, follow, pin, and hare while inulating our enitivitie from contrating perpective, enjoying the convenience of conuming finihed favorite painting, poetry, muic rather than giving our ene over to new experience or reveling in the joy and frutration of the creative proce. In the realm of recorded muic it ha been oberved that today we can eaily be a litener, fan, and ditributor of muic, a triad of poibilitie that allow for a ort of evangelical zeal that many feel for their muic. 2 A a reult artit and intitution are compelled to jutify their cultural or artitic value in term of market force, a trend decribed in thi way by conductor Leon Bottein: Cultural intitution, from orchetra to art mueum, were aked to how ucce by demontrating more earned income from ticket ale, entrance fee, and even the ale of collateral product. Mueum opened tore, and cultural intitution crambled to find way to ell object to audience who were increaingly regarded a cutomer. 3 For the church, a primary indicator of perceived ucce ha come to ret on memberhip and attendance tatitic, data that i all too often aumed to reflect cutomer atifaction (or diatifaction) with worhip tyle. Conequently, change to or expanion of the Sunday tylitic [There i] a latent bia in thi hazy, boutique-like approach where a guru help direct worhip toward the elf intead of toward God. menu i routinely the firt precription ought for treating ymptom of a congregation ailing health. I recently received a ummer coure decription from a Lutheran eminary in which the intructor (or practitioner) promied to explore the depth of pirituality, excellence of practice in enory-rich communication and intentional preparation needed by leader of the twenty-firt century church for worhip that revitalize congregation. While well intentioned, the underlying premie that an expertly deigned worhip product will naturally timulate congregational health or even that intentional preparation i a new need reveal a latent bia in thi hazy, boutique-like approach where a guru help direct worhip toward the elf intead COUNTERPOINT 2015 Biennial Conference, Wedneday Morning Prayer, Marriott Marqui John Joeph Santoro Summer 2015 CroAccent 19

20 COUNTERPOINT Everything we peak, ing, and pray in worhip engage with the contemporary world Biennial Conference, Monday Eucharit, The Cathedral of Saint Philip of toward God. Commenting on the heer abundance of worhip material, ome have even oberved that the dicipline of worhip planning ha become analogou to a hopping trip at the mall, a pilgrimage ite where fabric change with eaon; where one can find iconography for emulation; where the combination of rhythm, ritual, and pace inform meaning; where one can find anything to create that perfectly tailored individual expreion. 4 The preence of God in Chrit through the power of the Holy Spirit i, in eence, negligible. In contrat to thee conumerit tendencie, we do well to reflect on the aumption and behavior that hape our varied approache to worhip planning, how we journey through the rich treaury of Spirit-inpired art and muic in a manner faithful to the gopel of Chrit rather than the gopel of culture. Thi require exceptional elf-awarene, willingne to exchange comfort of the tatu quo for dicomfort of an honet appraial, and courage to operate from a place of healthy tenion where we have to be wie, dicerning, and faithful; to be creative and at the ame time authentic; to know what happening around u, and what it i our own faith call u to do and be. 5 What follow John Joeph Santoro are three brief intermezzi about label, language, and method aociated with worhip planning, mall point of entry into the larger wave of book and eay that already offer plentiful guidance in thi quickly changing cultural paradigm. 6 The paragraph below contain no magic algorithm or rubric nor are they applicable in every context. Rather, they are bet undertood a prompt for elf reflection or taff converation, idea to be broken down and reaembled into new quetion, timulating new converation that can begin to peel away any accretion that have lowly formed around the viva vox evangelii, the living voice of the gopel that continue to hape the ongoing reformation of the church. I. Label Owing to widepread digital maximalim 7 and data aturation, 21t-century ociety ha developed a natural propenity for labeling and, conequently, invet ignificant energy in pitting oppoite label againt one another all while hunning nuance and overlooking the pectrum of poibilitie in between. In turn, thee culturally contructed dichotomie uch a good bad, conervative liberal, acred ecular, and traditional contemporary provide a foothold for navigating mountain of information and, when needed, a defenive bulwark when one ene of identity i challenged. A one political pundit recently oberved, dichotomie have made it eaier to marhal outrage a an agent of change at the expene of dialogue. Writing about the perceived liturgical evangelical dichotomy in the church, Melanie C. Ro oberve, too, that it i much eaier to mobilize people by dividing the world in two and preenting one own group a tanding againt an eaily identified enemy. 8 (And 20 Summer 2015 CroAccent

21 if you re thinking that enemy i too trong a characterization for a Chritian iter or brother, know that a Facebook comment about worhip Nazi wa caually toed off a recently a May 2015.) In addition to liturgical and evangelical, another dichotomy that ha outgrown it uefulne in the church i the attempt to ditinguih the contemporary from traditional, not only becaue the definition of thee word are fluid and fickle but for the imple fact that everything we peak, ing, and pray in worhip engage with the contemporary world. Jut a preaching take place in the context of culture, the text of a 9th-century plainchant, 19th-century piritual, or 20th-century praie choru are voiced in worhip againt the backdrop of the preent: the muic itelf (tyle) i only a clothing for the text (content). For example, although Georg Neumark ( ) wrote the chorale If You But Trut in God to Guide You 9 in repone to event of the Thirty Year War, we ing of trying day, of anxiou weeping, and of anger and ditre not a a recollection of political and religiou upheaval in 17th-century Europe but in the midt of our troubled preent of murder in the midt of Bible tudy, of racially motivated church aron, of natural diater, of diagnoe of cancer, of trouble at work. Moreover, circumcribing oneelf within a traditional or contemporary phere alone i elf-limiting and doe little to nurture the gathered aembly, let alone one own muicianhip. Outright rejection of the preent i tantamount to having a hitorical fetih, 10 while total dimial Circumcribing oneelf within a traditional or contemporary phere alone i elf-limiting and doe little to nurture the gathered aembly, let alone one own muicianhip. of the pat i elf-centered and arrogant, perhap overlooking the formative power of form themelve. 11 I doubt that few of u would find nourihment in a ermon that take hape a an archaeological fantaia about Jeu travel between Nazareth and neighboring Sepphori, or, converely, a patchwork of pop-culture reference that reduce the gopel to a fortune-cookie-tyle axiom. The danger of tylitic entrenchment are perhap bet ummarized by Rodney Clapp, whoe word remind u of our innate feeblene: the unwavering witne of the biblical tradition i that people left to their own deign or natural endowment remain lot, blind, adrift, and ultimately, alway bewildered. 12 The tory of alvation we proclaim in worhip i neither traditional nor contemporary, authentic nor blended, but contant. Thi we affirm at the Lord table: Chrit ha died. Chrit i rien. Chrit will come again. Thi i not to ay that all label and dichotomie are irrelevant or troubleome. After all, God voiced the world into being in binary fahion: firt heaven earth, darkne light, evening morning, and earth ea; then the diverity of plant, animal, and creature of the deep; and then a human from the dut, adamah, and hi companion. 13 Some label may, in fact, warrant further converation, a low and careful unpacking of their meaning, hading, and gradation for the life of the church. How can we better elucidate the ditinction between welcoming and pandering or concientioune and hyperenitivity? In place where the label clergy and muician preent a dichotomy intead of mutual partnerhip, how can more clarity be given to the role of each a ervant and leader, a adminitrator and nurturer? And in etting where the daily office may be tied to the rhythm of congregational life for intance, ervice of matin, veper, or compline modifier uch a contemplative may be neceary for helping member and viitor undertand how thee pattern differ from that of the central Sunday aembly. 14 What matter mot here are not the label themelve but our mindfulne of the aumption and implication they carry. What COUNTERPOINT Summer 2015 CroAccent 21

22 COUNTERPOINT 2015 Biennial Conference, Tueday Evening Prayer, Ebenezer Baptit Church poibilitie are opened if we peel back the label we have come to take for granted in order to glimpe both and intead of either or? In an eay about urban and uburban planning, the American ocial critic Jame Howard Kuntler ha made an obervation that can be readily applied to the church: if you want to make your communitie better, begin at once by throwing out your zoning law. 15 A traditional zone and contemporary zone in the ame church building do little to trengthen the whole body of Chrit in unity of miion. Intead it i the convergence of all thing tyle, tructure, content, people that empower the worhip of the gathered aembly, a ingular tradition that confound zone, label, categorie, and claification: Out of the clah of oppoite (for example: Jeu Chrit a both truly human and truly divine) ha come to u the trong heart of Chritian witne and worhip. It can wear many different kind of muic and color and rhythm, but it need the aembly to aemble it. 16 What matter mot here are not the label themelve but our mindfulne of the aumption and implication they carry. II. Language When peaking about worhip planning, we tend to intinctively ue the verb chooe or one of it common equivalent uch a elect, pick, or decide. There i nothing inherently wrong with thi clear and concie yntax, but to what extent might thee verb tacitly ugget that plan for worhip are no different from myriad other election made on a daily bai? If what we do i a holy calling et apart from the ordinary holy thing for holy people on holy ground 17 then perhap our language for the working out of thi calling hould be equally et apart. Thi i not John Joeph Santoro 22 Summer 2015 CroAccent

23 to ay that we need peak of teleologie, epitemologie, or ancient Hebrew etymology with polyyllabic volubility (one muicology blog colorfully refer to thi a academic wankery ). Neither are we going to repond to a muical inquiry by Sunday firt-time viitor with a ermonette about echatological meaning of the arabande in the North German Baroque. On the other hand, chooing a hymn imply becaue it nice or becaue it an old favorite here fail to witne to the formative and expreive power held together in text and tune, of the integral role that memory play in faith formation. Intead of nicetie or favorite, in what way might choice be dicued or decribed in relationhip to the day Scripture reading, the hape of the worhip pattern, preaching theme, or ignificant event in the life of the congregation? Intead of auming that the what will tand on it own without explanation, conider explaining why or how a hymn, ong, or anthem text affirm, break into, embodie, enable, gather, unpack, or confront. What power do text hold to teach or tranform? How do they bear or dance u from one place to another? What active verb are uggeted by a prominent noun in the gopel leon? For example, when Jeu offer the parable of the mutard eed, 18 what text in your aembly bone can reach in toward the text with uch cloely related action verb a grow, leep, or prout? What other aociation with eed or growth could be made with text that ummon uch related image a water, un, earth, oil? Should the hymn text ued from gathering toward ending progreively unpack the metaphor from eed to growth to faith to ervice? Or hould they be placed a cloe to the gopel and ermon a poible? Have the day worhip plan precribed an interpretation for the aembly, or have they invited contemplation and imagination? And what of linguitic perpective: who are the protagonit in a given day menu of hymn? The Triune God or individual peron of the Trinity? I, my, me, or mine? We and our? Who i doing what for whom, and why? Thi i a complex aemblage of quetion, yet there i hardly ever an eaily graped olution (even for eaoned planner who know their aemblie and context exceptionally well). Like the converging trand of oppoite that empower the aembly worhip, the mix of tug and pull from thee quetion help form a taut and turdy center, one capable of upporting the combined gravita of all we can pour into it. From the enory overload experienced by Iaiah in the temple 19 to Mark ene of urgency and John revelatory viion, the language of the Bible i not about creating a comfortable aethetic pace eaily packaged in conumable ound bite, in nicetie or favorite. Rather, the language i viceral and embodied, a wellpring for the word ued in worhip. Thi i the point advanced by Kimberly Bracken Long in The Worhiping Body: Thi i not to argue for grim, tight-lipped preiding, or to advocate formality over informality. It i, however, to init that the language ued in worhip ought to be biblical, creative, eloquent, imaginative, and expanive language that ay that omething i happening here that happen nowhere ele, COUNTERPOINT 2015 Biennial Conference, Wedneday Evening Worhip, Peachtree Road United Methodit Church John Joeph Santoro Summer 2015 CroAccent 23

24 COUNTERPOINT language that invite u into an event, a way of being, and the expectation that we will encounter the holy. Worhip i more than all thi, and our language mut be trong enough, and beautiful enough, to bear it. 20 Like the language of worhip, the language of planning hould be equally vital, tretched out of the colloquial into the holy. We houldn t expect our aemblie to top thinking like conumer if we continue to model conumerit language in poken or written communication. In what way can taff, committee, and rehearal converation about muic, hymn, and anthem take on deeper verb-baed language? How might weekly bulletin note or monthly newletter article help the aembly look beyond the nicetie and favorite, or undertand that the hymn of the day didn t jut coincidentally relate to the gopel and ermon? In what way can the intentionality of worhip planning be hown? Such a holitic approach require both effort and regular regimen in order to be effective but ha potential to enrich the planning proce acro a variety of local context. III. Method In a February 2015 pot on the Covenant blog Jonathan Mitchican mued publicly to preacher that if you are too buy to prepare, then you are alo too buy to preach. 21 Applied to muician, the maxim carrie equal weight: if you are too buy to practice, then you are alo too buy to play. Or put yet another way: if you are too buy to plan, then you are too buy to lead. Though difficult to draw concluion from a erie of noncientific obervance, my intinct tell me that there a ytemic lack of preparation throughout the church, a deire to move quickly to the finih line ermon, prayer, muic election, educational offering rather than dwell in the tough and dirty work of ifting through option, conflicting recommendation, or the maze of muical etting that trail the long lit of hymn option. Although Web-baed worhip planning tool are ueful for navigating the abundance of available reource, to what extent have they become ubtitute for critical thinking and dicernment? Doe the preence of too many hymn uggetion in a planning guide or index imply a plug-and-play approach? Have we come to rely too much on Thurday crowdourcing a the Friday printing deadline loom? A with writing a ermon or electing a potlude, many idea from the thinking and crafting proce will invariably end up on the cutting floor, having to be gathered and tored for later ue. In an analogy that work well for any creative endeavor writing, compoing, and ye, liturgical planning the writer Anne Lamott relate how the firt draft or et of plan i naturally mey, [a] child draft, where you let it all pour out and then let it romp all over the place, knowing that no one i going to ee it and that you can hape it later. 22 We do well to remember, too, that Web-baed reource are inanimate and do not know the changing need of every congregation: when there i caue to rejoice, when there i need to lament. But leader do. Leader are alo reponible for knowing the yntax of the aembly central core of hymn and ong, for knowing the expreive part that are not alway indicated by a quick can of the firt-line index or a imple keyword earch. Thi come not only through experience but alo through focued practice, tudy, and reflection: could part of your planning time be devoted to reading new text or memorizing familiar one? In what way might the planning proce be part of one daily prayer, not a litle tak but a piritual practice? It may alo be worthwhile to give thought to where and how planning take place: in a buy office with competition from phone call, alert, or viitor? In front of a creen that how too few or too many idea at once? With a multitude of hymnal pread out over a dek? With the lectionary text diplayed on creen or in an open Bible? Doe planning happen all at once or do you aborb all the option and retreat to the anctuary to enviion how the aembly can ing? What room i left in your planning to adapt to udden or urpriing local or national new? Finally, it may alo be helpful to tep back and reflect upon the broader approache to planning and leaderhip exhibited both individually and collectively a a taff. A ueful frame for thi type of reflection ha been offered by John Witvliet, a five-part typology ummarized by 24 Summer 2015 CroAccent

25 Norma dewaal Malefyt and Howard Vanderwell in their book Deigning Worhip Together: Model and Strategie for Worhip Planning: Patoral Planner. Thee planner love people, undertand their deire and need, and aim graciouly to lead them into the preence of God for an encounter that will enrich them and bring honor to God. Craftpeople. Thee planner craft word into meaningful meage and reading, make muic, and prepare viual. Director and Coordinator. Thee planner recruit people, aign their tak, coach them, conduct rehearal, and finalize all arrangement. Performer. Thee planner preach ermon, play the organ, ing, and participate in a drama or dance for the benefit of other. Spiritual Engineer. Thee planner omehow ee themelve a reponible for inpiring people, creating moment that are packed with piritual power, and managing the encounter with God. 23 Thi i not to ay that all planner conitently operate within the confine of a ingle label or category: the nature of planning and leaderhip i uch that we migrate freely between all of them over the duration of a eaon, a week, and even within the coure of a ingle ervice. But dwelling too long in a performance, engineering, or guru mindet i ultimately detrimental to the patoral and teaching role of the church muician holy calling, of nurturing the aembly prayer, praie, and proclamation of God amazing grace. Codetta Worhip planning i a complex proce in which theological, muical, literary, and even ethnomuicological layer are intertwined. While tempting to think that thi important work mut alway reult in a flawle combination of hymn and ervice muic, the reality i that we are inful, imperfect, and flawed creature. We worhip God becaue God loved u and redeemed u, for a Jeu explained to the Samaritan woman at the well, true worhiper will worhip the Father in pirit and truth, for the Father eek uch a thee to worhip him. 24 Worhip that i both pirited and truthful require thoughtful planning and leaderhip, bringing the bet we have to give in thought, peech, and action. The idea about label, language, and method preented here are, again, bet undertood a tarting place for better converation local or global about worhip planning, converation that move beyond our culturally conditioned want toward a better theology of worhip and a more profound alleluia. Thi, indeed, i the worthy pledge of our inheritance toward redemption a God own people, 25 to the praie of God glory. Chad Fothergill erve a cantor at Univerity Lutheran Church of the Incarnation, Philadelphia, PA, and hold a univerity fellowhip in the Boyer College of Muic and Dance at Temple Univerity, where he i completing a PhD in muicology. Hi reearch center on the Lutheran Kantor tradition in both it Reformation-era and preent-day context. Note 1. For a ynopi of the 2014 ALCM member urvey, ee ALCM-Survey-2014-Synopi.pdf. 2. Arild Bergh and Tia DeNora, From Wind-Up to ipod: Techno-Culture of Litening, in The Cambridge Companion to Recorded Muic, ed. Nichola Cook et al. (Cambridge: Cambridge Univ. Pre, 2009), 115. COUNTERPOINT 2015 Biennial Conference, Wedneday Evening Worhip, Peachtree Road United Methodit Church John Joeph Santoro Summer 2015 CroAccent 25

26 COUNTERPOINT 3. Leon Bottein, Muic in Time of Economic Ditre, The Muical Quarterly 90, no. 2 (Summer 2007), See Jame K. A. Smith, Deiring the Kingdom: Worhip, Worldview, and Cultural Formation (Grand Rapid, MI: Baker Academic, 2009); and Bryan D. Spink, The Worhip Mall: Contemporary Repone to Contemporary Culture (New York: Church Publihing, 2011). 5. John M. Buchanan and John W. W. Sherer, A Converation on the Contemporary Church and Traditional Worhip, Colloquium 1 (September 2004), In chronological order of publication, ome example of note include Todd E. Johnon, ed., The Conviction of Thing Not Seen: Worhip and Minitry in the 21t Century (Grand Rapid, MI: Brazo Pre, 2002); John D. Witvliet, Worhip Seeking Undertanding: Window into Chritian Practice (Grand Rapid, MI: Baker Academic, 2003); Norma dewaal Malefyt and Howard Vanderwell, Deigning Worhip Together: Model and Strategie for Worhip Planning (Herndon, VA: Alban Intitute, 2004); Leanne Van Dyk, ed., A More Profound Alleluia: Theology and Worhip in Harmony (Grand Rapid, MI: Eerdman, 2005); Kimberly Bracken Long, The Worhiping Body: The Art of Leading Worhip (Louiville: Wetminter John Knox, 2009); Contance M. Cherry, The Worhip Architect: A Blueprint for Deigning Culturally Relevant and Biblically Faithful Service (Grand Rapid, MI: Baker Academic, 2010); Barbara Day Miller, Encounter with the Holy: A Converational Model for Worhip Planning (Herndon, VA: Alban Intitute, 2010); and John G. Steven and Michael Wachevki, Rhythm of Worhip: The Planning and Purpoe of Liturgy (Louiville: Wetminter John Knox, 2014). 7. William Power, Hamlet BlackBerry: A Practical Philoophy for Building a Good Life in the Digital Age (New York: Harper, 2010), Melanie C. Ro, Evangelical veru Liturgical? Defying a Dichotomy (Grand Rapid, MI: Eerdman, 2014), Evangelical Lutheran Worhip 769; Lutheran Service Book 750; Chritian Worhip Jame K. A. Smith, Imagining the Kingdom: How Worhip Work (Grand Rapid, MI: Baker Academic, 2013), Rodney Clapp, On the Making of King and Chritian, in Johnon, Genei 1: Some may alo utilize the repective tranlation provided in both Evangelical Lutheran Worhip and Lutheran Service Book for morning prayer, evening prayer, and prayer at the cloe of day. 15. Jame Howard Kuntler, Home from Nowhere: Remaking Our Everyday World for the Twenty-Firt Century (New York: Simon & Schuter, 1996), Melinda Quivik, Re-Aembly: Participation a Faith Contruction, in Centripetal Worhip: The Evangelical Heart of Lutheran Worhip, ed. Timothy J. Wengert (Minneapoli: Augburg Fortre, 2007), See Gordon W. Lathrop, Holy Thing: A Liturgical Theology (Minneapoli: Fortre, 1993), Holy People: A Liturgical Eccleiology (Minneapoli: Fortre, 1999), and Holy Ground: A Liturgical Comology (Minneapoli: Fortre, 2003). 18. Matthew 13:31-32, Mark 4:30-32, and Luke 13: Iaiah 6: Long, Jonathan Mitchican, How to Preach Sermon that Don t Suck, (19 February 2015). 22. Anne Lamott, Bird by Bird: Some Intruction on Writing and Life (New York: Anchor, 1995), Malefyt and Vanderwell, 25, adapted from Witvliet, John 4:23 (nrv). 25. Epheian 1: The hitory of the early muic movement i famou for thi, and there are many recorded example in which purported hitorical fidelity ha won out over a baic ene of muicianhip. 26 Summer 2015 CroAccent

27 COUNTERPOINT 123RF/paiphae Interection between Muic Therapy and Worhip by Jennifer Phelp Ollikainen Introduction Why don t we ever ing In the Garden anymore? And what about The Old Rugged Cro? The Palm i my favorite ong! In a matter of minute after inviting women to reflect on the preence of muic in their faith journey, they bombarded me with thee quetion filled with lo and diappointment. I wa facilitating a women retreat titled Muic, the Brain, and Worhip. A a muician, pator, and muic therapit I guided the participant through an exploration of the preence of muic in our live, how muic i proceed in the brain, and how muic hape our live of faith, particularly in worhip. The group quickly hifted away from my leaderhip a the organit bounded to the keyboard and began to play In the Garden. With enthuiam and ome tear, the women ang the firt tanza by heart (complete with vocal woop and waying arm movement.) Indeed, it wa a moment full of emotion and memory. A we unpacked thi experience of pontaneou, communal ong, the women told torie of thi ong being ung by beloved grandparent and of their memorie of loved one funeral. They poke of the comfort of the word and the witfulne of the melody. I would normally be quick to argue againt the entimental peronalization of Jeu Chrit found in thi 1912 hymn by Charle Autin Mile. However, I could not argue againt their experience and their memorie. Thi hymn had become a kind of oundtrack to faith-formative moment infued with the overtone of deep family relationhip and emotion. Thi moment at the retreat, when the women pontaneouly ang one tanza of thi hymn followed by a rouing tanza of the rambling melody of The Palm by Theodore Barker, wa named a a high point of the retreat on everal pot-retreat evaluation. Memorie, braided together with muic and faith, were carried throughout the brain on pathway engaging deeply with the ene and emotion. Summer 2015 CroAccent 27

28 COUNTERPOINT A a muic therapit I knew that thee memorie, braided together with muic and faith, were carried throughout the brain on pathway engaging deeply with the ene and emotion. I knew that any rational explanation about the difficultie of wooping melodie with broad vocal range (popular around the turn of the 20th century) or the entimental me-and-jeu individualitic focu of the lyric would land on deaf ear. In the moment, thee women didn t care that they wouldn t find thee hymn in any current Lutheran worhip reource. Nor would they hear the rational explanation that when hymn fall out of the repertoire of the Chritian community they imply become le faithformative in the Chritian community. Arguing in that moment againt thee hymn that haped thee women faith might have felt like a judgment againt their experience and emotion forged in the worhip of year gone by. Without ome modicum of affirmation of their memory and emotional experience, thee faith-formative experience of meaning would be emptied of joy. Undertanding the baic of brain functioning with regard to memory and emotion reveal why rational argument about theology or muicology are imply unperuaive to one reponding from emotion and memory. Rational thought and emotion are proceed differently in the brain. It i no wonder that converation about the muic of worhip become emotional, confrontational, and full of tear. On the one hand, many if not all member of the worhipping aembly have powerful faith-formative experience centered in the muic of worhip. For ome the tronget connection between muic and faith may be an emotional moment that occurred at a life paage. For other the connection may be the comforting repetition of a certain liturgical etting. And for other the connection may be a mountain-top moment of heart-racing tempo and the bright tone of bra and pipe. A a community we hold thee varied experience together while we continue to ing on. No one peron emotional experience dictate the community ong. And yet every peron faith-formative experience with muic i till part of the ong. Rational thought and emotion are proceed differently in the brain. The church muician tak of planning the muic of proclamation and praie in worhip i complex. Mot plan the aembly muic with keen attention to theological oundne, proclamation of gopel, connection to the biblical reading of the day, known repertoire of the community, church eaon, tempo and tenor, balancing familiar and new tune, and more. Much of thi work i done through careful tudy and rational deciion-making. We may intuitively take into conideration how muic i proceed in our brain engaging with emotion, memory, and our enory proceing ytem. We can take a tep further, adding to our planning an undertanding of how we proce muic in our brain, how we make meaning around muic deepened by emotional repone, and how to utilize muic with community goal in mind. How might we balance our well-reaoned planning with conideration of faith formation infued with ong, memory, and emotion? We turn to the profeion of muic therapy for clue about reponding to thi quetion. After a brief exploration of the way the brain procee muic and how muic therapy utilize thi information to hape therapeutic experience, we will look at how thi therapeutic dicipline offer inight into the church muician tak of planning and haping the muic of worhip. The intent i not to make church muician into muic therapit but to hare inight acro profeional dicipline and examine the place of interection. Church muician will thu have a new window through which to explore the patoral dimenion of their call beyond the intellectual dicipline of theology and muicology and the practical dimenion of muicianhip. Muic Therapy and the Brain While mot church muician are not profeionally certified a muic therapit (ome of u are!), our tak of haping the muic within 28 Summer 2015 CroAccent

29 the liturgical experience can be informed by the knowledge on which muic therapit bae their therapeutic dicipline. Muic therapit work in a variety of etting, including hopital, rehabilitation center, chool, private practice, and nuring home. The therapy of the dicipline i pecialized in uch area a pain abatement in medical etting, teaching ocial kill to people on the autim pectrum, recovering phyical function after traumatic brain injury, pychotherapeutic proceing of emotion, and more. What follow i a brief decription of the profeion, the neurocience behind it, and ome exploration around how a muic therapy len might interact with the haping of muic in worhip. The recovery of Congrewoman Gabby Gifford ability to peak after he uffered a gunhot wound to the left ide of her brain in 2011 illutrate the therapeutic ue of muic therapy. Becaue the injury damaged the area of the brain aociated with peech, Gifford uffered from aphaia, the inability to communicate verbally. However, Gifford wa an avid muic lover who enjoyed inging, a tak that ue more area of the brain than peech doe, including the right hemiphere, auditory cortex, viual cortex, and deep area of the brain aociated with memory and emotion. Her expoure to muic throughout her life, in particular ong by The Beatle, formed the variou neural pathway that became the foundation for rebuilding her peech. Working with a muic therapit who haped exercie for Gifford around Beatle ong, Gifford began to hum, then ing, then talk again a her brain relearned and rewired for peech uing the neural pathway developed by ong. 1 The muic therapit utilized Gifford peronal experience with muic to combat the aphaia caued by the injury, achieving the therapeutic goal of expreive communication in peech. For thouand of year human culture have intuitively known about the power of muic and have utilized muic for healing and ritual. However, it wa the return of wounded oldier from World War II that parked the development of muic therapy a a dicipline and profeion. 2 The American Muic Therapy Aociation COUNTERPOINT Take a tep further, adding to our planning an undertanding of how we proce muic in our brain, how we make meaning around muic deepened by emotional repone, and how to utilize muic with community goal in mind. ( the profeional aociation of the dicipline, define muic therapy a the clinical and evidence-baed ue of muic intervention to accomplih individualized goal within a therapeutic relationhip by a credentialed profeional who ha completed an approved muic therapy program. 3 Muic therapit ue muic a a therapeutic tool to addre communication, phyical, emotional, cognitive, and ocial need in intentionally applied technique. A muic therapit take into conideration a peron cultural and peronal ue of and expoure to muic, how the brain procee muic, and therapeutic goal when planning therapy. Therapeutic intervention toward thee goal include a number of intentional muical 2015 Biennial Conference, Wedneday Evening Worhip, Peachtree Road United Methodit Church John Joeph Santoro Summer 2015 CroAccent 29

30 COUNTERPOINT application, including playing or learning muical intrument, moving to muic, ong writing, relaxation training with muic, pontaneou muical enemble, vocal training, and more. Oliver Sack, profeor of neurology at Columbia Univerity, note that there i no one ingle muical center in our brain; rather, muic i proceed in cattered network throughout our brain. 4 We integrate the enory timuli of tone, pitch, rhythm, timbre, melody, harmony, dionance, and more uing a variety of pathway throughout our brain. Added, then, to thi unconciou proceing of muical timuli i an often-profound emotional repone. 5 While thi proce till mytifie cientit to a degree, neurocientit have been able to tudy brain function more cientifically ince the 1980 uing the latet technology of brain can and chemical analyi of neurotranmitter. Muic therapy a a therapeutic dicipline i affirmed by neurocientit who continue to reearch and dicover new way to build upon the way that muic activate the brain to achieve therapeutic goal. Simply litening to muic (mot baically decribed a ound that i repetitive, organized, and varying in pitch) engage vat amount of the cerebrum: the enory cortex procee tactile vibration; the auditory cortex provide the firt tage of proceing and analyzing ound; the pre-frontal cortex anticipate tone baed on learned expectation and the atifaction of thoe expectation; the viual cortex provide input about a performer movement; the motor cortex may be engaged via toe tapping, clapping, or dancing. Litening to muic alo activate the cerebellum, which regulate uch coordinated mucle movement a balance and gait, and i engaged in motor repone to muic. 6 Generally, emotional repone and memory activate deeper part of the brain like the thalamu, hypothalamu, and amygdala (located jut below the hypothalamu in the brain). While mot brain engage muical timuli in predictable way, the emotional connection to muic vary baed on culture, memory, and experience. Singing or playing a muical intrument activate all thee aforementioned area of the brain on deeper level becaue of the complex phyical requirement of controlling breath, reading muic, and executing accurate mucle movement according to the intrument being played. Anyone who ha learned to play a muical intrument will recall how much thought and intentionality wa required at the beginning tage of learning or even in learning a new piece of muic once there wa matery of an intrument. Over time, with repetition and practice, the thought and intentionality needed to execute accuracy decreae while artitic and emotional expreion increae. However, thi i not becaue le of the brain i being ued. It i becaue the neural pathway have been created and need le tending, thu freeing the brain to proce the activity in the deeper area of the brain aociated with emotion. Ak omeone about how muic ha haped their faith and you will hear widely varied experience and memorie with muic at their center. The memorie will include information about the muic itelf, often paired with viual recollection, phyical gooe-bump repone, and any type of hitorical, developmental, family, and emotional memorie. Sack note the neurological phenomenon wherein our brain can play muic in our mind outide of the actual muical timuli with great accuracy. 7 Not only do we proce muic in varying part of our brain a we hear or make it but recalling muic we ve once proceed activate the brain a if we re litening to or playing the muic again. At the women retreat mentioned above in the introduction, the women were not only inging a memorable ong from their pat experience, they were reliving the emotion and memorie forged by that muic. Neural pathway are engaged when recalling information. Although there i ome 30 Summer 2015 CroAccent

31 Litening to claical muic i hown to increae dopamine level aociated with poitive mood and affect. diagreement between reearcher about the efficacy of melody and rhythm on the recall of information, cholar have generally agreed that etting information to familiar melodie particularly with rhythmic component make the experience of learning more engaging and improve recall. 8 Certainly hymn writer in the time before there wa widepread literacy hoped that etting biblical language, theological poetry, and faith torie to ong would help the community learn, be haped by, and remember the torie of faith. Neurocientit now can ee how muic elicit chemical change in the brain. Litening to claical muic i hown to increae dopamine level aociated with poitive mood and affect. 9 In 1985 Mark S. Rider, Joe W. Floyd, and Jay Kirkpatrick found that muic therapy uing progreive mucle relaxation and guided imagery (eentially, guided relaxation technique grounded by muic) with nure decreaed level of tre hormone (corticoteroid) and aited in regulating circadian rhythm. The tudy traced the decreae in corticoteroid to improved immune ytem function. 10 While it i a familiar experience to hear of the phyical relaxation and good feeling ariing from litening to or playing muic, cientific reearch now find evidence in brain chemitry for thi repone. No wonder worhip infued with muic often elicit feeling of well-being. It i alo worth noting that the brain ha difficulty proceing muic and phyical pain at the ame time, a phenomenon Jane Fonda capitalized upon with the emergence of aerobic phyical exercie et to muic followed by Jazzercie, Zumba, Tae Bo, and many other uch exercie regime et to differing muical tyle. My own reearch in the 1990 captured the tatitical ignificance of the power of aertive muic istock/solstock (in thi cae John Phillip Soua marche and quick-tempo orchetral dance) to lower blood preure and heart rate during dental cleaning, an experience that baeline data ha hown to produce increaed heart rate and blood preure in the abence of muic. 11 Much muic therapy reearch over the pat 15 year ha recorded the efficacy of muic therapy technique that ditract from pain, increae deep breathing and relaxation, and improve mood, thereby decreaing the perception of pain in hopital etting. 12 The implication for the life of faith and worhip are facinating. While it ha not yet been reearched in worhip or muic therapy circle, one might hypotheize that the pervaive ue of muic in funeral ervice and the attraction to muic-filled worhip by people who are uffering in ome way i no accident. Even the biblical witne oberve how muic ha the power to make a peron feel better. In 1 Samuel 16:23 David oothed King Saul with muic: And whenever the evil pirit from God came upon Saul, David took the lyre and played it with hi hand, and Saul would be relieved and feel better, and the evil pirit would depart from him (nrv). The Brain within the Body of Chrit The proceing of muic within the phyical brain i uniquely individual within a peron body. But worhip infued with muic i a communal experience of the body of Chrit. With an emphai on the participation of the whole aembly in the central thing of worhip, Gordon COUNTERPOINT Summer 2015 CroAccent 31

32 COUNTERPOINT The biblical witne oberve how muic ha the power to make a peron feel better. Lathrop note of the muic, And the worhip hall be the whole body in ong. 13 The body of Chrit in ong knit together a community of many brain, many memorie, and many experience. We hold the individual and the community in tenion with one another, both ide of the tenion eential to the experience of muic in worhip. Muic often function a a unifying and collaborative force in group of people. A we live together in community we eek input from our ocial urrounding to make meaning. Our ocial group make connection and create meaning through hared experience of muic, ometime in oppoition to other group. In North American culture one oberve how a generation of teenager bond via a new muical tyle in contrat to the muic of the parent generation. In thee formative year of development of identity and independence, the muical tate of our ocial group often become cemented by a complex wiring of our brain. Gabby Gifford brain wa imprinted with The Beatle. My brain wa imprinted by 1980 yntheizer-infued pop ong and a a Chritian who regularly attended Lutheran worhip by the inging of Pa It On (by Kurt Kaier) accompanied by autoharp in the outdoor chapel of the mall congregation in which I worhipped a a teenager in uptate New York. The women on the retreat reonated with their generation beloved hymn, In the Garden and The Palm. Generationally we gather around the muic of our formative year. Thi highlight the tenion of generational group within the whole body of Chrit a we welcome no fewer than ix generation in the community of the church. 14 Craig Satterlee oberve, A urely a God ue muic and inging to create communal identity, God alo ue congregational inging to form and trengthen communal memory. 15 Given the way muic ricochet around the brain in proceing, it i no wonder that worhip North Park Lutheran Church, Milwaukee, WI memorie involving ight, ound, and inging ground our formation of faith individually and a a community. Many of u react emotionally to a hared memory of the inging of Silent Night on Chritma Eve, with dimmed light, the cent of wax candle burning (and dripping on our finger), rich harmonie, and the hared breath of the community in ong. Although ome of u may dilike ong uch a In the Garden, we mut take eriouly the faith-formative worhip memorie of ome in our midt, epecially thoe whoe memorie are forged with emotional complexity. Kathryn Hillert Brewer 32 Summer 2015 CroAccent

33 The community in which we worhip both celebrate and dicipline our muical faithformative moment. The aembly worhip hold the tenion between the individual and the community, contemporary experience and the ong of time gone by. Lathrop expand on thi tenion in koinonia by noting, The locally powerful muic i turned to Chritian purpoe, often by being juxtapoed to at leat one other tyle of muic of wider provenance and alway by bringing it power to erve (a mut happen with any power in Chritian ue) an aembly gathered around the central thing. 16 What i faith formative and infued with memory and emotion for one of the body of Chrit i not necearily o for other. How doe a worhip leader or planner balance thi complex tenion between the individual and the community? What i one to do with the ong of cherihed memory that are problematic for ome within the community? How doe the worhip leader or planner take into conideration the phyical reality of muic proceing in the brain without becoming manipulative? Muic Therapy Theory Shaping Muic Minitry Practice A church muician haping the proclamation and praie of the triune God in worhip through muic reonate with the profeional dicipline of a muic therapit who hape a therapeutic application of muic baed on a client muical experience to achieve a tated outcome. How doe the theory of muic therapy hape muic minitry practice? That i, how can church muician draw upon the theorie of muic therapy in order to hepherd and deepen the faith-formative experience of the preence of God in worhip through muic moving beyond intellectual and theological dicipline and muicianhip? A number of way come to mind. Muic often function a a unifying and collaborative force in group of people. COUNTERPOINT Kim Garber Studio Summer 2015 CroAccent 33

34 COUNTERPOINT Generationally we gather around the muic of our formative year. We welcome no fewer than ix generation in the community of the church. Goal The church muician or pator planning worhip often ha goal in mind for the community of Chrit. Certainly the firt goal are the proclamation and praie of the triune God. What are the econdary goal? Perhap the community need to feel more unified after a diviive event or perhap the community i crying out for healing after trauma. The aembly may need to be challenged to experience a broader world outide their door through global ong or they may need to be energized out of complacency. They may recognize the preence of God in new way by experiencing the breadth of the muical tyle and culture repreented within the aembly. Conider the direction in which God i calling the aembly to grow through muic in worhip. Plan toward thoe goal. Intentional Tempo Conider carefully the tructure of tempo and rhythm throughout the worhip ervice. Given that muic can caue phyical repone in the community, think through how that repone may be contructed o a not to overwhelm or underwhelm the aembly. Many muician do thi intuitively. For example, when we know that the aembly ha been itting for ome time, we will ue more phyically rouing muic with up-tempo and trong rhythm. For another example, at a recent worhip ervice planned by a team I led, the quiet prayer of interceion led into the collection of the offering accompanied by a Gopel quartet improviation, which wa rather meditative and contemplative in tone. The muician ubequently egued into a rouing and rhythmic Thi Little Light of Mine, bringing the aembly to their feet, clapping and inging whole-bodily to welcome the liturgy of the meal. The muical hift moved people from a place of more individual contemplation to a place of community celebration without a word of intruction neceary. Furthermore, the choice of a ong that the aembly of lifelong worhipper knew by heart and could ing without intruction or viual upport (bulletin or projection) perhap recalling childhood memorie helped the aembly re-form a the body of Chrit through a hared recollection of ong that gathered them around the celebration of the acramental meal. Keep Tab on Comfort and Anxiety Level Conider when to ue muical experience in worhip that will be overwhelmingly poitive for mot member of the community. We often chooe familiar, well-known hymn and ong at the beginning or end of worhip knowing that uch time are not the time for increaed anxiety and uncertainty about new muical tyle or newly learned melodie. In o doing we are intuitively recognizing that new muic ha not yet been proceed outide the cerebral cortex, and that the aembly i reading new language, till learning the up and down of the melody and timing of new rhythm, and generally till individualized in thi cerebral experience. Thi individual experience of learning precede emotional and communal connection. When our brain are till focued on getting the muic correct, we have not yet contructed the deeper neural pathway that come with repetition, memory, and communal experience. New ong, epecially ong that are more difficult to ing, mut be repeated in order to give them a chance to ettle into the deeper part of the brain and forge new neural pathway. Singing a ong once will not build a faith-formative experience for the individual or community. New Word to Old Tune It i no accident that the church often layer new word on top of well-known melodie; uch melodie are already imprinted throughout our brain to carry the new language. On the one hand, thi help u ing new word more 34 Summer 2015 CroAccent

35 istock/peopleimage eaily uing the exiting neural pathway. Congrewoman Gifford recovery relied on thi technique. On the other hand, the new word create ome dionance with the longer-known word aociated with the memory. Thi dionance i eay to move through for mot, but for ome there will be reitance. Muic and Well-Being Carefully conider how muic in worhip can upport the phyical relaxation and deep breathing capable of decreaing pain and reducing the phyical tre repone of the community. Whether in a regular Sunday aembly or a pecial healing ervice, conider repetitive ong like Taizé chant, with imple intruction for deep breathing and taking tock of the tenion within mucle. Gentle intruction to breathe deeply and to relax mucle upport the dopamine repone that lead to a ene of well-being and relaxation. Invite Active Litening Anthem are a way to hape the aembly kill for active litening. In a well-poken announcement or invitation printed in the bulletin, the aembly may be invited into the muical hape of the muic beyond the lyric. In particular, the aembly may be invited to pay attention to the muical moment of anticipation and atiation within the ong. Thi pave the pathway in the brain from the enory cortex to the frontal cortex where we regulate anticipation and reolution, thereby intentionally inviting the litener to proce the muical timuli more deeply. Dicu Faith Formation through Muic In community, upport converation about the worhip muic that ha been faith-formative over time. Be prepared for tearful torie about a wide array of muical tyle. Becaue people will hare their own experience remembered via neural pathway running through memory and through the emotional center of their phyical brain, liten and meet the torie without criticim or judgment. The act of telling the tory out loud help the memory and emotion get proceed through the more rational part of the brain. In o doing, in an atmophere where that memory i affirmed, the peron may begin to have a more-critical converation about the muic, the entimentality, or the widom of uing or not uing the ame muic today in worhip. When we do not tell and liten to the torie about the muic that hape u and our faith we remain in a place of emotional reaction and defenivene. Tell torie and memorie firt, even ing the ong (they may come out pontaneouly, anyway!), and thoe emotional reaction that caue conflict and entrenchment on one ide of a dicuion may give way to a more thoughtful converation about ound theology and deciion Summer 2015 CroAccent 35

36 COUNTERPOINT istock/solstock about worhip muic for the whole community. You may find that having a converation about the muic in a way that affirm the formative experience without judgment releae the energy that ha been focued on recovering thee ometime problematic ong in worhip. Muic in Patoral Care During hopital or home viit to thoe who are uffering in a vulnerable time, conider how the muic of the faith community can bring joy and comfort. The pator or viitor can bring a muician to the bedide or even a recording of worhip muic eaily done in thee day of martphone. Epecially in the cae of people uffering from dementia, muic i often recalled more eaily than word. I once encountered a retired church organit in a nuring home who could not peak a coherent word but could ing all the tanza (more than I knew!) of popular hymn. She ang with a look of pure joy on her face. Forward Together Preented here are but a few interection between muic therapy theory and the minitry practice of the church muician. It i my hope that thi i the tart of a converation between the two profeional dicipline. Muic therapit are expected to be able to ae and provide muic therapy experience to addre a client pirituality. 17 Yet there ha been little written or reearched on the interection between muic therapy and pirituality or Chritian worhip. In a 2014 eay muic therapit Noah Potvin and Jillian Argue invited the profeional community to conider Spirit and pirituality in the muic therapy practice. They recognized a lack of theory in muic therapy around pirituality and oberved that the complexitie of both muic and pirituality, when combined, become greater than the um of their part. 18 Church muician intuitively know thi Spirit-filled expanion of faith fueled by ong. The interection of dicipline i ure to expand and deepen our experience of muic and faith. Yet we approach thi interection with curioity, caution, and dicernment. While curiou about the cience, the church i rightfully cautiou of and concerned about the therapeutic ue of a medium in developing faith practice and haping worhip we fear manipulation. While recognizing the importance of pirituality, muic therapit will be rightfully concerned with obervable outcome of therapeutic intervention acro all faith tradition. I believe we can learn from one another. Chritian congregation may be a place of obervational reearch to gain inight into how Chritian view and ue muic in worhip and in relationhip to faith. Muic therapit may give church muician more information about how muic ha an impact on the human body and mind in order to better navigate the tenion between individual and the whole community. Thi brief overview tand a an invitation for further exploration and converation about how muic function in the body and function a a powerful faith-formative experience hared within the community, the body of Chrit. The complexitie of both muic and pirituality, when combined, become greater than the um of their part. 36 Summer 2015 CroAccent

37 Jennifer Phelp Ollikainen i a pator in the Evangelical Lutheran Church in America and a board-certified muic therapit. She hold a bachelor of muic therapy from Baldwin-Wallace College (Berea, OH) a well a a mater of divinity, acred theology mater in New Tetament, and doctor of minitry in worhip from Lutheran Theological Seminary at Philadelphia. She erve a the executive director of Lutheran Congregational Service (PA), a Lutheran ocial minitry organization, and a the editor of thi journal. Note 1. Katie Moie et al., Gabby Gifford: Finding Word Through Song, Nightline (Nov. 14, 2011); gabby-gifford-finding-voice-muic-therapy/ tory?id= For a hitorical perpective on muic therapy, ee William B. Davi, Kate E. Gfeller, and Michael H. Thaut, ed.. An Introduction to Muic Therapy: Theory and Practice, 3rd ed., ch. 2, Muic Therapy: Hitorical Perpective (Silver Spring, MD: American Muic Therapy Aociation, 2008), Oliver Sack, Muicophilia: Tale of Muic and the Brain (New York: Random Houe, 2008), Kindle edition, preface. 5. Ibid. 6. Daniel J. Levitin, Thi I Your Brain on Muic: The Science of a Human Obeion (New York: Dutton, 2006), Sack, preface. 8. For a thorough review of reearch ee Michael J. Silverman, The Effect of Pitch, Rhythm, and Familiarity on Working Memory and Anxiety a Meaured by Digit Recall Performance, Journal of Muic Therapy 47, no. 1 (March 2010): 70 83; Silverman3/publication/ In thi tudy Silverman found that pairing information with rhythm i particularly ucceful for recall in thoe who have tudied muic. 9. Levitin, Mark S. Rider, Joe W. Floyd, and Jay Kirkpatrick, The Effect of Muic, Imagery, and Relaxation on Adrenal Corticoteroid and the Re-entrainment of Circadian Rhythm Journal of Muic Therapy 22, no. 1 (Spring 1985): Jennifer Phelp, The Effect of Sedative veru Stimulative Muic on Heart Rate and Blood Preure during Dental Prophy and Exam (enior project, Baldwin-Wallace College, 1994). 12. See an overview of reearch and muic therapy intervention for pain at the American Muic Therapy Aociation ummary reource at muictherapy.org/aet/1/7/mt_pain_2010.pdf. 13. Gordon W. Lathrop, Holy People: A Liturgical Eccleiology (Minneapoli: Fortre, 1999), See Carroll Anne Sheppard and Nancy Burton Dilliplane, Congregational Connection: Uniting Six Generation in the Church (Bloomington, IN: Xlibri, 2011). 15. Craig Satterlee, When God Speak through Worhip: Storie Congregation Live By (Herndon, VA: Alban Intitute, 2009), Lathrop, See Board Certification Domain from the 2014 Muic Therapy Practice Analyi Study, Effective April 1, 2015, II.A.2.aw; thi document may be acceed at eligibility-requirement/; click on View CBMT Board Certification Domain. 18. Noah Potvin and Jillian Argue, Theoretical Conideration of Spirit and Spirituality in Muic Therapy, Muic Therapy Perpective 32, no. 2 (2014): 120. COUNTERPOINT Summer 2015 CroAccent 37

38 CHORu Emily Barrett, Concordia Univerity Chicago The Hymnal and Our Great Body of Song by Nancy Raabe Approaching the happy tak of worhip planning, mot of u begin with our hymnal. We take it from the helf. We re ready to get tarted. But what if we were then to ak: what i thi book to u? The hymnal i not an object that we grab thoughtlely from the helf when we happen to need it. Rather it i a living entity that welcome u at every turn into new experience of the triune God in the rien Chrit. It ha ancetor and pawn offpring. It ha a predictable lifepan not the eventy year, or perhap eighty of Palm 90 (v. 10a; nrv), but more like 25 year, or perhap 30. It i a dynamic force haped by the prevailing political, theological, and ocial iue of it time and alo a force that hape our live a Chritian. It determine our vocabulary of word, phrae, and image that become part of our collective memory a the church. It tell u what to think about God, in, death, our place in God creation, and each other. Like the word of God, the hymnal i living and active, harper than any two-edged word, piercing until it divide oul from pirit, joint from marrow (Hebrew 4:12a). In the hitory of Lutheranim in America the hymnal ha been a powerful agent of unity in bringing denomination together. But we know from the colorful tale of Lutheran Book of Worhip (LBW ) that the hymnal can alo be an agent of fraction. LBW wa conceived in the hope of bringing the major Lutheran bodie together; intead, through no fault of it own, it erved to wedge thoe bodie farther apart than ever. Perhap for thi poignant reaon the old green book eem never to be far from the mind of thoe whoe congregation ued and loved it. Talk about peronality: not only doe LBW poe a pioneering pirit, having laid the foundation for our worhip life in almot more way that we can count, but it alo port a winome character. Even with the cranberry or dark burgundy hymnal (Evangelical Lutheran Worhip and Lutheran Service Book) well etablihed in our pew rack, LBW keep popping up in 38 Summer 2015 CroAccent

39 urpriing way. It our highly accomplihed but quirky great uncle who no longer attend family gathering but whoe memory perit, often cauing u to mile witfully. LBW once again urpried me while I wa reading Gracia Grindal lively eay Treaured Hymn Unearthed or Buried, 1 a reflection on her ervice from 1973 to 1978 on the Hymn Text Committee of the Inter-Lutheran Commiion on Worhip (the multifaceted body that prepared liturgy, text, and muic for LBW ). Leland Sateren [of the Hymn Muic Committee] and I talked about the LBW once, he recall, and for different reaon, I upect, we agreed that it could be thought of a an archive with an attitude. He wanted more contemporary, difficult muic. I wanted it to have been more open to thing that people actually liked and treaured. When the committee wa aked to increae the number of hymn, one member pointed out, We don t hurt people by what we put in, but by what we leave out. Grindal continue, In my work with thoe who have made hymnal over the pat 30 year, I have alway been truck by their miionary zeal to give people new thing they hould like, rather than old favorite they love. LBW ended up aiming more in the former direction than the latter, and our newer hymnal have tried to correct that to ome degree. But where doe each of u come in on thi matter? Do we vigorouly promote the ue of new hymn in our miion to expand the congregation repertoire? Or do we tend to tand taunchly by thoe hymn that are familiar and already well loved? There are many fine reource for worhip planning, including an extenive erie of guide poted on the ELCA webite, many under the heading Muic ( Work/Congregation-and-Synod/Worhip/ FAQ#muic). Thee are well worth your time. In repone to the quetion at hand, however, there are three baic yardtick you can keep in mind a you get to work on your weekly hymn election. Firt: i a hymn ingable according to the average ability of thoe in your congregation? Singability implie not only a well-crafted melody but alo one that i tuneful, with at leat one urprie a muical etting that tand a chance of taking root fairly quickly in people muical memorie. Second: i the text theologically ound in a way that deepen faith by mean of engaging form of proclamation? Every hymn hould tell ome part of the tory of alvation, ye, but a really good hymn ue combination of word and image that invite u to experience the gopel in a new way. And third: doe the marriage of muic with text bring out the bet in both? Do they unfold in tandem? I the pacing appropriate? Do the high point reonate with each other? I it impoible to imagine thi text without thi particular tune and vice vera? With thee conideration in hand, you may jut find you don t have to face the iue of new or old at all. Simply elect hymn appropriate to the day or eaon baed on thee intrinic qualitie. Then, over time, the new and the old will be joined together naturally into in one great body of ong. Note Nancy Raabe i Aociate in Minitry at Luther Memorial Church, Madion, WI. 1. Gracia Grindal, Treaured Hymn Unearthed or Buried, in the article Two Memoir of Making the Lutheran Book of Worhip (with a memoir by Philip H. Pfatteicher), Lutheran Forum 49, no. 2 (Summer 2015), 27. CHORu Summer 2015 CroAccent 39

40 BOOKREVIEW S. T. Kimbrough, Jr. The Lyrical Theology of Charle Weley: A Reader, expanded ed. Eugene, OR: Cacade Book, xx, 383 pp. ISBN: $36.00, paperback. Steven Kimbrough ha added another book in hi erie on the writing of Charle Weley. He ha done much to recue Charle from the ubtantial hadow of hi older brother John, demontrating that Charle myriad hymn text are a ubtantial a ource of theological dicoure a they are the familiar fare of Sunday worhip. Kimbrough identifie Charle a a lyrical theologian, a term he coined in 1984 to demontrate the ubtantive role that poetry and hymnody pecifically play in theological dicoure. The author i well qualified to ae the theological, hymnological, and biblical dimenion of Weley writing, holding advanced degree in biblical tudie and having coniderable experience in muical performance and theater. The book reinforce Luther own initence that muic i the valued handmaid of theology, the apt ervant and interpreter of divine thing quite often beyond our ability to codify, ytematize, and fully articulate. The firt half of The Lyrical Theology of Charle Weley i a tudy of lyrical theology. In what way do poetic imagery and tructure erve the theological enterprie? What i the relationhip between theology ability to ytematize and provide critical commentary on belief and poetry ability to evoke the numinou, the mytical, the blinding light toward which faith move u? Thi i St. Paul quandary, hi deire to pray with the mind a well a pirit (1 Cor. 14:13 19). It i alo the tuff of William Blake poetic ummation: To ee a World in a Grain of Sand (from Augurie of Innocence ). Theological inquiry ha become the domain of univerity and eminary profeor addreing their peer a well a ponoring eccleiatical bodie. Not uually formed a poet, and rarely known a equally gifted muician, theologian undertandably preent their inight a logical, textual contruct, honed to be precie and reaoned even when addreing the trancendent. In contrat, Weley i rightly preented a one who combined ignificant poetic kill with olid biblical knowledge and theological undertanding, producing a lyrical tetament to what the church hold to be true. Kimbrough book i omewhat puzzling. The opening page eek to define lyrical theology for the reader but move abruptly to an extended tudy of the poetic tructure of palm. The author then return to characteritic of lyrical theology, uing illutrative paage from the palm. Finally, Weley and hi hymn appear on page 29 in a dicuion of piritual etho behind hymn, actually more of a piritual biography. One wonder if the book i a dicuion of poetic/palmic tructure, poetry ability to expre and reflect on piritual life and practice, a commentary on the topic addreed in Weley vat work, or a biography. The move into chapter three, Charle Weley Lyrical Theology, eem a continuation of the previou chapter. The reader i much in ympathy with the ection heading about halfway through the text: Who, then, i Charle Weley? The anwer to that and to a number of other iue remain omewhat unclear, depite the preence of all the pertinent material. The econd half of Kimbrough book i a election of Charle Weley hymn that he ordered in a manner new to hymn collection beginning in the 18th century. Earlier hymnal reflected the liturgical pattern of the church. Weley, on the other hand, wa guided by the concern of the revival movement he and hi brother John hepherded at Oxford Univerity and beyond. Digruntled by the laxity of the tate church and the profound need and piritual ignorance of common folk, the Weley arranged the hymn not liturgically but catechetically in order to preent chief characteritic of 40 Summer 2015 CroAccent

41 the Trinity; apect of the church communal life, including the impact of the Spirit work (prevenient, jutifying, and anctifying grace hot topic for Methodit!); and pecific topic relating to the faith community common life (church year, acrament, and o on). It i exactly thi oh-o-methodical approach to minitry and patoral care for the ake of the people in the pew that gave the Weley movement it name and it in the trenche patoral brand. Thi ame approach hould have provided a model for Kimbrough preentation and analyi of all the valuable material he aemble. The author know the range and ignificance of thi theologian-poet. He know Charle life hitory and the formative influence on hi ubequent work. However, all of thi information eem jumbled and oddly ordered for a book eeking to demontrate o ignificant a theology. While lyrical theologian are rare bird, they are not unknown in the church hitory. Spiritual writer uch a Terea of Avilla, John of the Cro, Julian of Norwich, and (much later) Evelyn Underhill all qualify. They eek to evoke the power, beauty, and fearful wonder of the Godhead rather than methodically codify divine precept. Some theologian, like Aquina and Ambroe, occaionally channeled their magiterial intellect into hymn till ung today. The ignificance of Charle Weley i that he wa bleed with both poetic gift and atute, theological inight primarily for the ake of God people. He like Luther, Paul Gerhardt, Iaac Watt, John Maon Neale (tranlator), John Newton, and perhap even Fanny Croby in the 20th century wa able to muter hi gift for the ake of the whole church. Charle hymn were olid tatement of faith and belief that tipped neither into pedantry nor drivel, poetry acceible and able to peak the faith of Chrit cattered and very divere flock. Kimbrough might have preented a clearer defene of hi thei by exploring more fully the importance of the 1745 collection of Hymn on the Lord Supper. Kimbrough himelf provided the preface to the facimile edition. 1 Weleyan cholar Geoffrey Wainwright note that John and Charle publication retained the clearly biblical notion of eucharitic acrifice that mot pot-reformation churche had almot completely jettioned in reaction to Roman Catholic undertanding of acrifice. Pot-Reformation churche have been impoverihed by thi, thereby compromiing more recent ecumenical dialogue. A Methodit cholar Jame F. White inited, thee hymn provided almot the ole witne to thi important biblical notion among pot-reformation churche. Although largely ignored ince their publication, Charle eucharitic hymn remain lyrical, theologically informed ermon for the people. Kimbrough hould be encouraged to reorganize thi valuable aemblage of learning o that Charle Weley gift a a theologian of congregational ong can be undertood more clearly. That, really, i hi point. Then, thank to material in thi book and in the writing of Brian Brock, Madeleine Forell Marhall, Wilfrid Meller, 2 and other who demontrate more fully the ubtantial range of lyrical theology, we can appreciate what liturgy cholar Maey Hamilton Shepherd o aptly oberved long ago: For in all period of the Church hitory, the theology of the people ha been chiefly molded by their hymn. 3 Robert D. Hawkin Adjunct Profeor of Church Muic and Muic Theory Newberry College, Newberry, SC Note 1. John Weley and Charle Weley, Hymn on the Lord Supper (Madion, NJ: Charle Weley Society, 1995). Note alo Geoffrey Wainwright introduction, xiii xiv. 2. Brian Brock, Singing the Etho of God: On the Place of Chritian Ethic in Scripture (Grand Rapid, MI: Eerdman, 2007); Madeleine Forell Marhall, Common Hymnene (Chicago: GIA, 1995); Wilfrid Meller, Bach and the Dance of God (New York: Oxford Univerity Pre, 1980). 3. Maey Hamilton Shepherd, The Formation and Influence of the Antiochene Liturgy, Dumbarton Oak Paper 15 (1961): 37. BOOKREVIEW Summer 2015 CroAccent 41

42 BOOKREVIEW Nichola Woltertorff. The God We Worhip: An Exploration of Liturgical Theology. Grand Rapid, MI: Eerdman, xi, 180 pp. ISBN-13: $20.00, paperback. With thi book, Nichola Woltertorff a much-repected philoophical theologian who think and write from hi own Reformed tradition but who alo clearly care about the miion of the whole Chritian church ha gifted u all with hi exploration of liturgical theology. The book i a reviion of the 2013 Kantzer Lecture in Revealed Theology at Trinity Evangelical Divinity School (Deerfield, IL), a erie intended explicitly a an evangelical alternative to the Gifford Lecture in natural theology hitorically held in Scotland. Lutheran reader of the book will find in it page a graciou, clear, and intelligent preentation of a generally conervative Calvinit poition on the purpoe and nature of Chritian worhip, including the purpoe and nature of the eucharit, poition with which many Lutheran are unfamiliar. But all Chritian reader will find themelve challenged to think more deeply about the undertanding of God implicit in their own liturgical practice. That project making explicit the undertanding of God that are implicit in liturgical practice i what the author regard a liturgical theology. By liturgy, he mean the cripted performance of act of worhip. By worhip, he intend the human being alone or in community paying reverence to God for God worth, praiing, acknowledging, and adoring God unurpaable excellence and giving thank for God great deed. For Woltertorff a for the claic eucharitic Preface of the Wetern church thi praie i our duty and our joy (ELW Preface text, e.g., ELW p. 108). But it i the concrete act of communal worhip that he want to conider in thi project, and in doing o he turn epecially to traditional Chritian liturgie, quoting the American Epicopal Book of Common Prayer mot uually, but alo employing the Orthodox Liturgy of St. John Chryotom and, ometime, the Roman Catholic Mial, while alway bearing in mind the characteritic of formal, cripted Reformed worhip. After a chapter on the project of liturgical theology a Woltertorff undertand it, the book proceed by firt conidering the theological implication of liturgy a a whole ( God a Worthy of Worhip ) and then more pecifically conidering the implication of confeing and interceding ( God a One Who I Vulnerable and God a One Who Liten ), then briefly the implication of reading, preaching, and bleing ( God a One Who Speak ), and then, much more briefly and in a final chapter, the implication of the practice of eucharit. Thi final chapter i mot openly Calvinit in it intention. But the entire project the conideration of the God implied in the worhip of God overeign greatne clearly arie from Reformed preuppoition. What Woltertorff dicover can be ummed up in thi wonderful paradox: the God of 42 Summer 2015 CroAccent

43 inetimable greatne, the God worthy of awed, reverential, and grateful adoration (53), i willing to liten to u, to be vulnerable to u a thoe who can do God wrong, to be vulnerable to the evil in the world and in ourelve that reit the coming of God reign, to enter into a covenant of mutuality with u, and to peak to u through one of our own number peaking to u. In an afterword, that dicovery, that making explicit what i implicit in the very fact of worhip, together with it prayer and confeion, i et in dialogue with claic philoophical theology. The author regard that uch liturgical theology challenge the uual aertion of philoophical theology, including aertion that may have been made in earlier publication by the author himelf, about God immutability and unconditionedne. A God who liten i not finally immutable. A God who i vulnerable i not unconditioned. One wonder indeed if thi afterword wa not, from the beginning, the goal of the whole project. In thi book, a philoophical theologian think about what happen in church. For many of u, hi reult may till avor of philoophy, with it careful definition and it carefully contructed argument, with it weighing of what i literal and what i figural and what i marked by extended analogy when one talk about God a litening and peaking. But for Woltertorff, the actual practice of liturgy, taken eriouly, raie a challenge to other way theology may be done in Chritian circle, a challenge he himelf receive with coniderable humility. We hould be amazed by thi exercie and grateful for it reult. And all of u hould be imilarly challenged to think about how what i implicit in liturgical practice might be a continual call to encounter there the central paradoxe of God, finding our theological ytem thereby haken. There are everal other thing to be grateful about in thi book. Among them are thee: the tone, the clear writing, and the continual preence of the Palm and what can be learned from them, a in a chool for prayer. More: the author deciion to confine hi reflection to traditional liturgy frequently goe paired with a gently expreed concern that much Protetant worhip BOOKREVIEW PATRICK J. MURPHY & ASSOCIATES, INC. O R G A N B U I L D E R S Quality New Intrument Concientiou Electro-Pneumatic and Mechanical Retoration Portfolio of Low Profile Conole Option Conultation Prompt, Peronal Service 300 Old Reading Pike, Suite 1D, Stowe, PA P: pjmorgan.com pjm@pjmorgan.com Pictured: Zion Lutheran Church in the City of Baltimore. Opu 60-3 manual, 43 rank - electric lider windchet. Summer 2015 CroAccent 43

44 BOOKREVIEW ha reduced itelf imply to the ermon or that alternative liturgie have tripped out of their practice uch matter a the confeion of in and the interceion, the very matter Woltertorff i conidering when he write o movingly of the litening and vulnerable God. Indeed, the lat chapter certainly implie a call for more frequent practice of the eucharit in Protetant communitie, a call that Woltertorff ha made explicit elewhere (ee hi Reformed Worhip: What Ha It Been and Should It Continue So? Worhip 89, no. 3 [May 2015], epecially ). A they read thi gentle critique, muician will be grateful to find it include a little dig at praie band a too often taking ong away from the people. Woltertorff doe not write to reform, but hi deep interet in overflowing praie, eriou interceion, profound engagement with Scripture, and the recovery of the eucharit certainly ha reforming import in the current North American cene. But there are everal problem with the book a well. For one, I am orry that Woltertorff never make ue of current Lutheran liturgical text nor with the exception of one footnote (132, note 4) of the thought of Luther. He would have found in the latter ome conideration already about liturgy a mutual exchange between God and humanity. And he would have found in the former both that reference to our duty and our joy of the Preface text (a reference he think miing in current liturgical tranlation) and ome urging toward a greater awarene of the triune God a implicit in liturgical practice. Furthermore, it i unfortunate that the Roman Catholic text that the book ue all are taken from the older tranlation, the one recently and o arbitrarily upplanted by the new, more Latinit rendering. Woltertorff, ala, know nothing of thi agony. I alo think that hi definition of liturgy and worhip are tendentiou, leaning already toward upporting a Reformed idea of liturgical practice. That i fine. We all can learn from thi idea of the praie of the overeign God. But the idea i not univeral. Furthermore, liturgy i bet undertood not imply a cripted behavior, but a the public cripted ocial act of the Chritian community. Thi liturgy certainly include act of worhip, but in many churche it i not entirely made up of act of worhip. Even more important are two other matter. Woltertorff aert that participation in worhip without meaning to give honor and praie to God, without faith, i deviant participation. It eem to me that mot of our participation i thu deviant and that we come to the Chritian aembly, at leat in part, to be brought by the Spirit of God to the poibility of faith and trut again. Furthermore, Woltertorff himelf note that what he ay explicitly about the God implicit in act of Chritian worhip lack anything about the Trinity and only begin to ay omething Chritological when conidering the eucharit. On the contrary, it trike me that God-a-triune i the mot important implicit undertanding of God preent in the action of Chritian liturgy, an undertanding that repeatedly ubvert our tandard undertanding of God, and again and again form u deviant worhipper into believer. Still, the baic paradox thi remarkable philoophical theologian dicover when he think about hi going to church and the way he let that paradox quetion everything thee move are breathtaking. We need to hear them. Refrehed with uch paradoxe, we may ee thi theology helping again with the ongoing reform of the aembly. A Alexander Schmemann, one of the two other liturgical theologian Woltertorff quote, ay: liturgical theology eek to make the liturgical experience of the Church again one of the life-giving ource of the knowledge of God (Introduction to Liturgical Theology, 2nd ed. [New York: St. Vladimir Seminary Pre, 1975], 19). Taken eriouly, thi book can help bring u again to the liturgy a exactly uch a life-giving ource. Gordon W. Lathrop Arlington, VA 44 Summer 2015 CroAccent

45 BOOKREVIEW David W. Muic and Paul Wetermeyer. Church Muic in the United State: Fenton, MO: MorningStar, xv, 311 pp. ISBN-13: $24.95, paperback. T wo highly repected author offer thi collection of eay reulting from circumtance pelled out later in thi review. The arrangement of the volume conit of two ditinct ection: the firt i by Muic, who write about the year from the Revolutionary War up to the Civil War approximately; the other i by Wetermeyer, who urvey the year after 1861 up to the turn of the century. Writing a one-volume hitory of American church muic, even within thee carefully circumcribed period, i a monumental tak, for it require the right choice of detail to hape a convincing chronicle. The tak, of coure, ha been tried before, and thee author acknowledge their predeceor, citing the mot recent attempt by John Ogaapian (Church Muic in America [Macon, GA: Mercer Univerity Pre, 2007]) a an important reource to which they hope to add detail (xiv). So they bravely march on with the modet goal of offering brief glimpe into ome muic (xiv). There are altogether 12 eay in the body of the work, ometime internally referred to a chapter. Each i amply footnoted, a ditinct boon to the inquiitive reader ince the propoed cope of the book curtailed in-depth invetigation of ubject matter in mot cae. Mention of otherwie unknown diertation in thee note i worthy of pecial notice becaue it ignal the growing body of information available to cholar. While both author diplay imilaritie in their writing heavily leaning toward data related to hymn, for intance, or haring like view on what they think church muic hould be about the two ection lack conitency, a characteritic they openly acknowledge. By and large, Muic ection, in pite of eay heading, i arranged geographically, taking the reader to variou detination where there i ome record of muical or hitorical ignificance. Thi method invariably leave the reader wondering what wa going on between the dot on the map. Wetermeyer, on the other hand, arrange hi material according to ubject, uch a Anglican Influence and the Man and Boy Choir Movement. Thi method provide ome narrative but run the danger of overimplifying. Unfortunately, the genei of the book alo yield overlap, with key people (uch a Thoma Hating and Lowell Maon) covered in both ection. Much of the material offered in thi volume the reader can find elewhere and often more amply. But there are place where the author fulfill their promie to provide detail for illutration and embellihment of other reource. For intance, both author devote coniderable pace to reform movement that even on the frontier kept church muic practice from etting it own uncritiqued coure. Hating and Maon receive due repect in thi regard, preparing the reader for the le-known but facinating convocation on church muic and their proceeding that took place among New York and Pennylvania Lutheran around the turn of the century. It i refrehing alo to read of John Singenberger and hi work among Midwet Roman Catholic in Summer 2015 CroAccent 45

46 BOOKREVIEW the latter part of the 19th century, a ubject often bypaed or minimized in imilar hitorie. Finally, in eay 11, Out of the Maintream, Wetermeyer lump together everal group, ubject, and one individual (Charle Ive). Ive might or might not have been thrilled to know he wa out of the maintream ; thi Lutheran reviewer i not o ure about being relegated to that category, but a far a detail i concerned, coverage of the Mormon i appreciated, epecially ince elewhere they often have a hard time getting noticed. The firt ection of the book include muical example, wherea Wetermeyer i fond of lit, mot of them full of information, but probably not neceary for the journey the book propoe to take. Hi hort biographie of Eat Coat compoer give one a feel for the training and tendencie of uch people but eem to occupy too much pace. Eay 12, the lat, conit of a lit of repreentative compoition by ome of the compoer whoe muic wa welcomed during thoe year and a time line that provide the reader with a way to connect detail provided in the book. Not all of it i accurate, however; there i a deviou atifaction that come upon a reviewer when a bit of miinformation i dicovered, uch a the note that in 1886 the firt American performance of the J. S. Bach B-minor Ma occurred in Cincinnati. Actually the firt full performance of the work happened four year later in Bethlehem, PA, the Ohio preentation offering only ome movement of the work. The extenive footnote mentioned earlier have their counterpart in a thorough bibliography. It cope demontrate the year of helpful cholarly work thee two author have provided and tand a a challenge and agenda for anyone wihing to carry uch a torch forward into the next decade. A large, ueful index conclude the volume. With a project like thi there i much any reviewer can quibble about. Here quibble give way to larger concern, however. Thi volume of circumcribed ubject matter et in acute relief the need either for a companion volume on the 20th century or for another one-volume work on the entire hitory of American church muic. In the mind of thi reviewer, the piece under review here ha lowed the progre to either of thoe option. And that unfortunate becaue today practitioner are anchorle without a ene of their immediate heritage in the 20th century. Further, while one can undertand the need to make choice in order to keep the book within it planned limit, it i incomplete in many way. The choice to bypa Canada i puzzling, if not ad. Latino muic i nearly ignored, with no jutification offered for it excluion. Native American acred muic and the interchange or hybridization of culture uffer a imilar fate. How did the rie of the piano indutry affect church muic in public or at home, or doe church muic in the home not count? For that matter, what i church muic? Thee are item, to mention a few, that largely go unnoticed in thi volume and thereby diminih it uefulne a a tool for comprehending the pat and navigating the future. Along imilar line, thi reader yearned throughout the book for ome thread (or thread) that would carry me through the year and ubject covered o a to poe a tool for interpreting the multiplicity of detail. For example, what i American about church muic in the United State? There are many poible anwer to that quetion. Something like unity in diverity, a threadbare a that i, would at leat provide a way to ee familiar territory in a new light. Where would one notice uch unity? Argument could be made for finding unity in the American pioneering pirit, in the engine of capitalim (the amount of publihing done in thi country i atounding), in the notion of frontier boundarie, even in the proce of tranplanting European practice into new oil. How much freher thi volume could have been had the author taken u through their material by tracing the ever-preent quet for individual and corporate identity among the population that comprie the United State. There i, I believe, a deep hunger for new recipe that ait u in tating the exiting ingredient of thi hitory in new way. With that we come now to the book preface. There the author relate how the book 46 Summer 2015 CroAccent

47 originated with two chapter written for a larger volume about American church muic. That book never materialized and it editor gave permiion to ue the chapter however their author would like. Extenuating circumtance caued further delay until the book finally appeared in thi format. However, one piece of it origin give caue for puzzlement. Victor Gebauer receive rightful credit in the introduction both for writing a foundational article titled The Overdue American Church Muic Hitory (CroAccent 10, no. 3 [Fall 2002]) and for enviioning and then facilitating the American Church Muic Hitory Conultation in 2006 and Full dicloure: the author were at thoe meeting, a wa thi reviewer. Participant exerted coniderable energy around the perceived need to write church muic hitory from new perpective. Within that cenario the preent volume eem to be tile antico (in the old tyle ), a muicologit refer to the old motet tyle that continued well into the Baroque period. Many at the conultation campaigned for a new hitory of church muic (and we ll worry later what that mean) that ha le to do with the repertoire, for intance, and more to do with how that muic functioned in rite, at home, and in the individual. Secondary quetion cry for attention. How, for example, did women figure in the development of church muic? What place the parochial chool? What place for alleviating homeickne among the many immigrant? Current hitorie of American muic are beginning to attend to thee matter and many more like them; why not church muic hitory? There i then a kind of adne about the mied opportunity thi volume repreent even though it doe offer brief glimpe into ome muic (xiv). Mark Bangert Profeor Emeritu of Worhip and Church Muic Lutheran School of Theology at Chicago Chicago, IL BOOKREVIEW

48 SOUNDFEST INSTRUMENTAL ORGAN Franklin D. Ahdown. Advent Awakening: Organ Setting for the Seaon. Augburg Fortre ( ), $ Thi i a newly releaed et of organ prelude that include a wide variety of tyle and tune. The compoer ue good compoitional tyle in hi arrangement, reflecting the text well. The familiar People Look Eat i included in a rhythmic etting, a i a fanfare-tyle arrangement of Joy to the World. A oft, more meditative arrangement of O Come, O Come, Emmanuel provide tylitic contrat. The tune included in thi volume are Antioch; Beançon; Burleigh; Gabriel Meage; Haf trone lampa färdig; Puer nobi; Veni, Emmanuel; and Wachet auf. Thi would be a welcome addition to your collection of muic for the Advent eaon. MS i of medium difficulty and i quite reflective in nature. It incorporate two familiar tune aociated with evening hymn, Talli Canon and Ar hyd y no. Callahan begin with a quiet opening ection, gradually building into the firt appearance of a hymn tune in meaure 30. The performer will need to be creative with regitration change and feature numerou olo top to add variety. The pedal part i alo of medium difficulty. Thi i an excellent arrangement for ue in a veper ervice anytime during the church year. MS Kenneth L. DeJong. Star of Promie: Ten Prelude on Advent Hymn. Augburg Fortre ( ), $ A the ue of Advent tune increae, organit looking for new material may find jut what they need in thi collection. The tune are Acenion; Beançon; Carol of Hope; Chrit, Be Our Light; Lot in the Night; Lucent; Merle Tune; Ooō; Tif in veldele; and Veni, Emmanuel. JG Charle Callahan. Evenong. MorningStar (MSM ), $8.00. Thi organ olo i newly arranged from Callahan organ duet of the ame title. The election Robert Buckley Farlee. Treaure Old and New: Hymn Prelude for Organ. Augburg Fortre ( ), $ Farlee collection of hymn prelude for organ 48 Summer 2015 CroAccent

49 include compoition baed on ix traditional hymn a well a three new hymn written by Farlee, one new hymn by Zebulon Highben, and one traditional hymn with an alternate tune. All four new hymn are introduced by a harmonization with text. Two of thee four new hymn text were written by Suan Briehl, one by Suan Palo Cherwien, and one by John of Damacu. Overall, the hymn prelude etting of Farlee are beautifully crafted, with cloe attention to text imagery, flowing melodic line, rich harmonie, and muically atifying formal tructure. Lift Up Your Head (Wet Leetad) begin with low, meditative chord to et the atmopheric mood, followed by flowing melodic line that reflect both the mixed meter of the hymn tune itelf and it text ( living water flow ). Rhythmic variety i aured by a lengthy ection in which flowing eighth note in accompanying voice upport the cantu firmu moving in quarter note with the ba line in motly half note. In hi etting of To Chrit Belong, in Chrit Behold (Wonder), Farlee introduce a ritornello theme which killfully hint at the coming cantu firmu melody without actually tating it; later the cantu firmu ection are characterized by conitent trio texture, flowing accompaniment line in eighth note, and upportive harmonic ba line. For additional interet, the cantu firmu migrate back and forth between oprano and tenor voice. You Servant of God (Lyon) preent a contrating compoitional tyle. Thi turdy hymn tune i introduced by a fanfare motive of riing fourth tranpoed to a variety of pitch level. When the cantu firmu finally arrive, it i harmonized by pungent nondiatonic chord that aert their independence from the tune. Upon cloer examination, one dicover that the entire cantu firmu i being preented in a canon at the ninth between oprano (in G major) and pedal (in F major)! Thi highly creative compoition i rhythmically vigorou a befit the hymn tune, while at the ame time challenging our uual tonal aumption. JB Raymond H. Haan. Three Lyric Solo for Organ. MorningStar (MSM ), $ Organit of all level will find thee election ueful. None are baed on hymn tune, but they could certainly be ued for worhip. Lyric Proceional, written for a wedding, include an optional part for B-flat or C trumpet. Organ Hymn ue the full reource of the intrument; it i quite impreive, but not overly difficult. Chaconne i in the form of eight brief movement baed on an original theme. Thi muic could alo be appropriate for teaching, a it only require moderate technical demand. JG Robert J. Powell. Three Potlude on Gopel Hymn. MorningStar (MSM ), $9.00. Thi collection of three gopel hymn will appeal to a range of denominational interet, Lutheran included. Powell utilize baic, traightforward rhythm for tately introduction and hymn tatement. Mild dionance accompany reharmonization. Alo employed are appealing countermelodie and brief paage of imitation. Regitration utilize baic foundation and olo top. The ight-readable hymn etting will be effective on a two-manual intrument. The three tune Powell ha et are Chrit Aroe, Meage, and To God Be the Glory. CP SOUNDFEST Summer 2015 CroAccent 49

50 SOUNDFEST David Schelat. Morning Song: Five Acceible Hymn Prelude for Organ. MorningStar (MSM ), $ David Schelat piece are ueful, although the Morning Song collection may not be the tuff of immortality. In etting tune that have not been overued, hi writing i clean and uccinct. Harmonie are freh, rhythm intereting, and technical requirement minimal. Mot organit can learn thee piece in one good itting. The contrat between jaunty rhythm and tortured, chromatic harmonie in Aberytwyth i facinating, while Jeu Love Me might be ueful for an education Sunday. Monkland avoid being cute with it provocative harmonie. Other tune include the title piece, Morning Song, and E flog ein klein Waldvögelein. Morning Song i a good, practical addition to a muic library. KO Rudy Shackelford. Trumpet Voluntary. Paraclete (PPMO1508), $7.50. yncopated rhythm in the manual leading to jagged interjection in the pedal. The March i reminicent of Elgar muic, with it tately olo melody in the right hand et againt notalgic harmonie. The firt March ection alo incorporate the theme from Beethoven onata opu 110 in the ba line. When the March ection return at the concluion of the work, the tately olo melody i now in the pedal before it i tranferred back to the right hand, where it i again accompanied by the Beethoven quotation in the pedal. The central Canon ection feature a melody imitated at the octave between oprano and tenor voice. Overall, thi i an excellent work filled with variety, engaging harmonic color, and rhythmic vitality. JB Gwyneth Walker. Beide the Still Water. E. C. Schirmer (8148), $7.90. Baed on a folk prayer, Beide the Still Water which wa in turn inpired by Palm 23 ha a peaceful, quiet character. Set in ABA form, the opening and cloing ection feature an original melody on olo top, with accompanying flowing triplet and a few intance of two againt three. The brief central ection i more chordal and fater, with ome fanfare-like rhythm and everal key change. The piece i moderately eay and i eight page in length. LW Rudy Shackelford created thi attractive work on commiion from the Bethany United Methodit Church in Glouceter Point, VA, to celebrate their 110th anniverary. Thi work i et in five hort, dicrete ection: Fanfare-March-Canon- Fanfare-March. The opening ection feature 50 Summer 2015 CroAccent

51 PIANO Charle Callahan. Celtic Collection: 12 Piano Meditation on Celtic Melodie. MorningStar (MSM ), $ could alo allow piano tudent to hare in worhip reponibilitie in a meaningful way. Many choice are included, all of moderate difficulty: Angel Story, Cwm Rhondda, Ebenezer, Faithfulne, Hanover, Hymn to Joy, Londonderry Air, Jerualem, St. Catherine, Star of County Down, Terra Patri, Thaxted, and The Solid Rock. JG SOUNDFEST Callahan provide lovely election, in hi own inimitable tyle, of everal beloved tune found in many hymnal. No two are alike. All tend to be in the eay-to-moderate range of difficulty; a few are ight-readable. Mot would work well to involve piano tudent in worhip etting (prelude, offering or communion muic, and the like), and a benefit i that many would recognize the tune. Included are Ar hyd y no, Columcille/ Domhnach Trionoide, Crimond, Durrow, Feile Brighde, Kelvingrove, Llanfyllin, Rhoymedre, St. Columba, Slane, and The Ah Grove. Thi i an excellent collection. JG Marianne Kim. My Soul Proclaim: Piano Meditation for Worhip. Augburg Fortre ( ), $ Thi collection of worhip muic i deigned to be played on piano or keyboard, not organ. Not limited to any particular eaon of the church year, the tune are found in countle denominational hymnal. Thee piece will be a welcome addition to repertoire needed for worhip and Anne Krentz Organ. Piano Reflection on Pentecot Tune. Augburg Fortre ( ), $ It can be difficult to find new muic for Pentecot, o thi piano collection erve a a welcome addition to the repertoire. A an extra benefit, many of the tune et here are aociated with econdary hymn text that may be ued during other eaon of the year. It begin with a lyrical etting of Veni Creator Spiritu, making intereting ue of the mixed meter inherent in the original chant. Another etting pecific to Pentecot i Vårvindar frika ( O Living Breath of God ), which retain the rhythmic and melodic feel of the hymn while creating variety through octave diplacement and melodic embellihment. Krentz Organ ha choen to et the traditional piritual Every Time I Feel the Spirit in a contemporary tyle, which may ound a bit jarring at firt; however, the melody i preerved in it familiar form. For Den ignede dag there i a lovely uite of three variation. The firt movement i a fairly traightforward rendering of the melody followed by a contrating arpeggiated movement in 12/8. The final movement return to a trong 4/4 with further melodic innovation and an appropriately grand concluion. The fifth piece in thi collection i a etting of Retoration, which i alo in three Summer 2015 CroAccent 51

52 SOUNDFEST part (though not eparate movement). After preenting an introduction and the melody, the middle ection hift to a free interpretation in 3/4, concluding with a return of the opening material. All of thee etting have good muical integrity without being too technically demanding; enjoy them. DR Nancy Raabe. Grace and Peace, vol. 7, Hymn Portrait for the Chritma Cycle. Augburg Fortre ( ), $ Thi collection of familiar Chritma hymn i killfully arranged and i of medium difficulty. It ue a great variety of articulation tyle and ome more-demanding key ignature. The piece reflect the lyric of the hymn and carol very well. The pianit will find many opportunitie to ue thee arrangement in worhip. Some would fit well a pre-ervice muic while other would be excellent meditative election. The tune repreented in thi collection are El deembre congelat, Gloria, Haf trone lampa färdig, I wonder, Macht hoch die Tür, My Dancing Day, Oie Betleem, Ooō, Puer nobi nacitur, Stille Nacht, The Firt Nowell, and two etting of Wie chön leuchtet. MS KEYBOARD Nöel du monde. Le Chant du Monde: piano (PN4909), 19.66; organ (OR4882), (approx. $21.96). Featuring the Chritmatide work of everal pre-eminent organ peronalitie, the piano and organ edition each have their own function. The piano edition i intended for ue by familie to play and ing by the Chritma tree, according to the publiher. A uch, a lyric heet i included. The imple, well-written etting frequently are effected with two or three voice. Hymn treatment are ight-readable with no le than 34 etting included. A few tune are duplicated, a more than one compoer offer a etting of a yuletide favorite. Compoer for the piano etting include Julien Bret, Ian Curror, Eric Lebrun, and Andrè Laprida. Contrating work by all four of thee individual appear in the organ edition, along with that of compoer Youri Kaparov. Baed on even well-known Chritma carol, thee theme-and-variation compoition are deigned for ue by profeional organit. The publiher noting that the variation begin with an original harmonization followed by everal fairly hort variation point out that the piece are erviceable in both church and concert venue. While often featuring an intereting recat of traditional rhythm, the etting alo contain a good deal of dionance and chromaticim, a compoer travere beyond the paradigm of etablihed key ignature. The work are of medium technical difficulty, a tated by the publiher. Variation are written for one or two manual and pedal. Regitration uggetion will enhance the preentation of thee etting. CP 52 Summer 2015 CroAccent

53 KEYBOARD AND INSTRUMENTS Raymond H. Haan. Five Prelude for Cello and Organ. Cello, organ. MorningStar (MSM ), $ Written to reflect elected tanza of the hymn tune, thee prelude incorporate tempo and mood change. Azmon begin with an introduction that build from mezzo forte to fortiimo, followed by two mezzo forte tanza, a quieter and lower tanza, a brief cello cadenza, and a final tanza that i loud and virtuoic. Other piece in the collection are baed on Jeu dulci memoria, Melcombe, Mile Lane, and Wye Valley. Becaue of the varying mood, thee prelude will be mot effective on an organ with a range of regitration poibilitie. The cello part, which range from eay to medium difficult, are written in ba clef and treble clef. Ue of tenor clef would have helped avoid ome awkward ledger line and clef change. A reproducible cello part i included. LW Let All Mortal Fleh Keep Silence. Arr. by Duane Funderburk. Violin, cello, piano. MorningStar (MSM ), $9.00. Funderburk piano trio etting of Picardy maintain the myteriou character of thi tune throughout it four-minute duration, incorporating ome variety in dynamic and tempo. The three intrument hare the melodic material. The piano part i moderately eay, while the tring part are lightly harder, including a few fat run and occaional paage in a high regiter. Reproducible tring part are included in the core. Thi piece would be effective for Advent or for general ue. LW Let All Thing Now Living. Arr. by Duane Funderburk. Violin, cello, piano. MorningStar (MSM ), $ Tempo marking in thi etting of The Ah Grove include Joyfully, Articulate, with energy, and Lively. Mot of the piece maintain thi energetic character before lowing to a calm concluion. The moderately difficult tring writing include double top, pizzicato, and rapid bowing. All three player mut be comfortable with yncopation and accidental, and the enemble hould be well-reheared in order to navigate everal ubtle tempo change. Reproducible tring part are included in the core. LW Walter Piton. Salute. Four B-flat trumpet, with optional percuion. ECS (8113), $ Walter Piton ( ) wa a muic profeor at Harvard Univerity. He wa aked to write a fanfare for a muic fetival at Fik Univerity, Nahville, TN (1942), in connection with the univerity 75th anniverary. Salute i the reult. The piece ha not been publihed before. Editor Lui C. Engelke and Carl B. Schmidt include facinating note on the compoer and on the Fik Univerity event. Although hort, the muic i exuberant in a modern, mid-20th-century way. It would erve a a tremendou opening fanfare for Eater or any other fetive occaion. Player of moderate ability would be able to mater the part. The fourth trumpet part could be SOUNDFEST Summer 2015 CroAccent 53

54 SOUNDFEST tranpoed and played by a French horn. Thi muic i worth the effort. If Eater next year tart with Salute, there will be no doubt that omething fantatically joyful i happening. KO HANDBELLS A Celtic Ring. Arr. by Suan E. Gechke. 3 5 octave handbell. Agape (2706), $4.50. Thi piece incorporate the hymn tune Holy Manna with original melodie. It i happy and playful, there are no note maller than an eighth note, and there are no bell change. The arranger ugget that the alternate title of Holy Manna might be more appropriate for church. Level 2. ML Georg Neumark. If Thou but Suffer God to Guide Thee. Arr. by Matthew Compton. 3 7 octave handbell. Agape (2707), $4.95. If you are looking for a challenging piece for your youth bell choir, thi arrangement will uit your need: driving rhythm pattern uing mart and mart lift, mallet, mallet roll, and hake. The middle ection (16 bar) involve mart on the off-beat in the treble clef, mallet in the ba, and a legato melody line above. It ha a lively tempo throughout and rarely get below mezzo forte in dynamic. Level 3+. ML O the Deep, Deep Love of Jeu. Arr. by Linda R. Lamb. 3 5 octave handbell. Agape (2701), $4.50. rendition for beginning ringer. Written in 3/4 time, there are only dotted half note, half note, and quarter note. There are no key change or advanced technique, and only a few of the ringer will have an accidental to reheare. Level 1+. ML Praie to the Lord, the Almighty. Arr. by Hart Morri. 3 5 octave handbell, organ, with optional handchime. Agape: handbell core (2703), $4.95; director/ organ core (2703D), $7.95. Thi i a powerful piece of muic that benefit all level of ringing choir: a familiar hymn tune, written in quarter note and eighth note, with few bell change and everal technique to add parkle. All voice part have the melody at ome point, ometime in a round. A meter change, a key change, and tempo marking will be an added challenge. Ringer will enjoy adding mart lift a well a mallet and chime. The organ i not optional, making thi piece a wonderful prelude opportunity. Level 3+. ML Reproducible Ring II. Arr. by Lloyd Laron. 2 3 octave handbell. Agape (2715), $49.95 (reproducible part). Thee eight hymn etting are quickly learned with minimal rehearal time and are pleaing and engaging a well. They can be conidered for general ue, Lent, Eater, and patriotic ue. The content include Ah, Holy Jeu, All Glory, Laud and Honor, America, the Beautiful, Fairet Lord Jeu, I Know that My Redeemer Live, Spirit of God, Decend upon My Heart, The Day of Reurrection, and What Wondrou Love I Thi. Level 2. ML A quodlibet with Beethoven Piano Sonata no. 14 ( Moonlight ) and the hymn tune Ebenezer make for a lovely, worhipful, and prayerful 54 Summer 2015 CroAccent

55 Natalie Sleeth. Hymn of Promie. Arr. by Janet Linker and Jane McFadden. 3 5 octave handbell + D8, keyboard, with optional 3 octave handchime. Agape: handbell core (2708), $4.50; director/ keyboard core (2708D), $7.95. Thi lovely arrangement i a repectful rendition of the favored Natalie Sleeth tune. Antiphonal and equally balanced between the keyboard and the ringer, it add an element of urprie when Amazing Grace appear in the ba on handchime. There i one key change but few accidental. Level 2+. ML VOCAL SOLO Scott Gendel. At Lat from The Space Between. High voice, cello, piano. E. C. Schirmer (8153), $ Excerpted from Gendel ong cycle The Space Between, thi verion of the final movement wa arranged for Yo-Yo Ma and Camille Zamora a part of the AIDS Quilt 20. The text by Wendell Berry begin, We come at lat to the dark and conclude and pa through into the land of the wholly loved. Marked Ethereal, hazy, the muic move lowly and ha a floating, mytical quality. Poible liturgical occaion include All Saint Sunday, Holy Week, or a funeral. The piano part i moderately eay, but the cello and voice part are moderately difficult. The voice part require independence from the piano; the cellit mut be comfortable playing in a high regiter, written primarily in tenor clef. Separate cello and vocal core are included with the piano core. LW Michael Larkin. Of the Father Love Begotten. Medium voice, piano. MorningStar (MSM ), $ Larkin collection of even ong for Advent and Chritma include two pre-exiting tune (Divinum myterium and Freu dich ehr), with five other newly compoed melodie. The text are traditional poem and hymn. Although thee ong are moderately eay for both inger and pianit, they will effectively communicate the truth of the Advent and Chritma eaon. Highlight include Of the Father Love Begotten, a imple etting that tay cloe to the familiar hymn; Prepare the Way of the Lord, a minor etting in a lilting 6/8 meter with a recurring refrain; and The Other Night I Saw a Sight, a motly trophic lullaby in E-flat major. LW CHILDREN S CHOIR Aliha Schimm. Alleluia! Jeu I Rien. Union or two-part, piano. Concordia ( ), $1.90. Thi five-tanza Eater text by Herbert F. Brokering i et to Earth and All Star, a it i in SOUNDFEST Summer 2015 CroAccent 55

56 SOUNDFEST Evangelical Lutheran Worhip and Lutheran Service Book. Stanza one and three are ung to the hymn tune, while tanza two and four utilize a newly compoed tune. Schimm combine the two tune in tanza five, giving the children the opportunity to ing in two-part harmony. Both the hymn tune and the countermelody are well uited to children voice, taying within an octave range (E b 4 to E b 5). The delicate piano accompaniment upport the melody, ometime doubling it, while never taking the focu away from the voice. LW ADULT CHOIR Don Beig and Nancy Price. Crown Him Lord Thi Eater Day! SAB, piano, with optional trumpet. Hope (C 5923), $2.05. Thi i a nice triple-meter compoition that i eaily attainable by the average church choir. The muic i joyfully written, reflecting the fetive feeling of Eater. The trumpet part, located on the back page of the octavo, i of medium difficulty. The piece begin with an original melody, then witche to the familiar Crown Him with Many Crown (Diademata) in the center of the anthem, remaining in triple meter. The anthem then return to a final tatement of the opening melody. There are three modulation in the octavo, handled quite well by the compoer. The accompaniment i of medium difficulty. A fun arrangement for a mall church choir to ue. MS Ann MacDonald Dier. Sing Ye a Joyful Song. SATB, bra, organ. Paraclete: choral edition (PPMO1502), $3.70; full core (PPM01502FS), $5.90; bra part (PPMO1502BP), $9.00. Thi large-cale work (22 page) i baed on Palm 68, 57, and 47. It wa commiioned by the Cape Cod Chapter of The American Guild of Organit for the Region 1 Convention in Fetive in nature, it require a choir with optimal dicipline, capable of independence and eager to ing above the bra quartet (which ometime double the choral part and alo ha it own wonderful challenge). The organit hould not have the reponibility of conducting, a the organ part will keep one peron buy. Although it i marked for general or Eater ue, the text would alo lend itelf well to a choral fetival or an Acenion Day ervice. While refrehing in it modernity, it ue King Jame Englih. The lat four page are nothing but gloriou Alleluia! Recommended. JG John Ferguon (muic) and John Thornburg (text). Marking of Grace. SATB, organ. Augburg Fortre ( ), $1.95. Thi turdy anthem wa commiioned to honor the renovation of the building and to celebrate the pirit of a Prebyterian church in Starting off in a grand, Englih tyle, with a brief quote from the Te Deum, the text take the inger and the litener on a piritual journey of praie and thank. The choral part alternate between two voice, then build up dramatically to four voice (very brief oprano divii), with ome grand organ fanfare and muted accompaniment. Thi muic hould find ue for a great many different occaion, particularly thoe 56 Summer 2015 CroAccent

57 when an exploion of praie i needed. If a high chool choir i available, invite the young inger to join the adult everyone will benefit. JG out the range of dynamic and tempo nuance will do thi piece jutice. CP SOUNDFEST J. William Greene. Carol of the Bird. SAB, organ. Augburg Fortre ( ), $1.80. Thi i a charming etting of a traditional French carol. The choral tanza, union and three-part, are eparated by parkling organ interlude that convey bird ong. The fairly traightforward part writing in the choir i et againt the more complex organ part, which evoke bird ound through the ue of ixteenth note, overdotted rhythm, trill, and other technique. Suitable for all choir, the SAB writing make thi carol acceible alo for choir with mall men ection. Thi would make a delightful addition to a Chritma ervice or concert. AE Carolyn Jenning. Our Miion Bold and Blet. SATB, piano or organ, treble intrument. Augburg Fortre ( ), $1.95. The text by Delore Dufner i a powerful call to erve humanity need: To be your preence i our miion here, to how compaion face and lit ning ear, to be your heart of mercy ever near. Jenning etting of the word feature a ingable melody with a broad weep and an inpiring ene of drama. Both the choral and intrumental part would be eaily learned by a church choir of average ability. Our Miion Bold and Blet i appropriate for any event treing Chritian ervice. The Alleluia ection at the end would make it epecially appropriate during Eatertide. KO Peter Hamlin. May Your Unfailing Love Be with U. SATB a cappella, with optional children choir. Augburg Fortre ( ), $1.95. Baed on Palm 33, thi imple, prayerful text wa conceived a a memorial to a clergyperon but would appropriately erve more general worhip ue a well. The optional children part double the oprano for 23 meaure. With a divii etting that contain dionance between part, thi work i bet uited for balanced, full enemble of more-advanced kill level, epecially in light of the fact that it i intended to be ung a cappella. A conductor killed at bringing Jonathan Kohr. What Hope! An Eden Propheied. SAB, congregation, piano, flute, with optional ba. Concordia ( ), $2.80. Utilizing a text by Stephen P. Starke and the tune Conolation, thi Advent anthem effectively communicate the longing and anticipation of the eaon. An extended introduction lead into Summer 2015 CroAccent 57

58 SOUNDFEST the firt tanza, et for union choir, congregation, a flowing piano accompaniment, and a flute decant. Stanza two ha a parer piano part. The choir ing tanza three a cappella, plitting into three part and tarting each phrae with imitative entrance. After an interlude that recall the introduction, the congregation return for tanza four, embellihed by a vocal decant and a choral coda. LW Kenneth T. Koche. Three Bohemian Chritma Carol. Two-part mixed choir, organ or piano. Concordia ( ), $4.00. All three carol are in F major and ue joyful Baroque-tyle ritornello. Koche add interet in the two-part texture with varying treatment of the carol tune. The men and women ing in dialogue, in harmony, with imple countermelodie, and in union. Range are generally conervative except for one brief acent to F5 in the women part. Thee piece could be learned eaily and ued by a duet, a mall group, or a full choir in the time after Chritma, but they could alo fit into a Chritma Eve worhip ervice. Included carol are Let Our Gladne Banih Sadne (Ča Radoti), Come, All You Shepherd (Kommet ihr Hirten), and Let Our Gladne Have No End (Narodil e Kritu Pán). LW Let All Mortal Fleh Keep Silence. Arr. by Carlton R. Young. SAB, 3 handbell, finger cymbal or triangle. Augburg Fortre ( ), $1.95. Picardy, the anthem ole accompaniment i an open D-minor chord played by handbell. The 1 3 ringer required hould be killed in effecting dynamic and interpretation of baic rhythm. The vocal part contain an otinato baed on the opening phrae of the hymn: firt in the ba, then in the treble, then in canon at the fifth between the oprano and alto part. Good diction, breath upport, energy, and rhythm reading will bring out the bet in thi piece, which alo may be performed a a proceional. CP David W. Muic. A Lamb I Born Among the Sheep. SATB, piano. Northwetern ( E), $1.80 (PDF download). A Lamb i born among the heep, ing, ing noel. The hepherd Shepherd lie aleep, ing, ing noel.... Eternity break into time, ing, ing noel. The foregoing text by compoer David W. Muic i appropriately et in a minor key, but the anthem i nonethele tuneful and upbeat. Muic acumen for dynamic enitivity hine through. Straightforward quarter- and eighthnote rhythm dominate. Solid four-part writing make thi anthem an attractive choice for balanced choir of varied kill level. Feaibly, it could be ued a a pick-up anthem for more killed enemble during the buy Chritma eaon. Accompaniment i upportive, and the piece feature brief paage of imitation and a cappella inging. CP Baed on the 17th-century French folk tune 58 Summer 2015 CroAccent

59 Nancy Raabe. The Everlating Light. Two-part mixed, keyboard. Augburg Fortre ( ), $1.95. Thi nice original etting ue the traditional lyric of O Little Town of Bethlehem and a new melody. The arrangement i excellently done, creating a new, more reflective look at the lyric we all know o well. The harmonie between the part are eaily handled. The election would make an excellent mall enemble piece or even a duet for one of the many Chritma ervice. The third tanza bring out trongly our earnet plea for the Chrit Child to come, accomplihed by increaed volume and a more-active accompaniment part. The tenion reolve at the end with a imple coda-like tatement uing the word the Everlating Light. It i two-part throughout until the final two meaure, where the treble part divide. MS David Sim. O Laughing Light. SAB, organ. Augburg Fortre ( ), $1.80. The text for thi vibrant new anthem by Sim i baed on the Pho hilaron, a traditional text for veper. The colorful melody, which make ue of ditinctive acending fourth, modulate from the tonic, D, to F, before returning. The firt tanza preent the melody in union; for the econd tanza, the harmonized melody i in the women part, while the men ing a lower countermelody in quarter and half note beneath. The third tanza i et for SAB. The opening text, O laughing Light, i reflected in the moving organ part, with it abundant ue of taccato note. The careful ue of dynamic and organ articulation further add to the piece liveline. Thi would be a good anthem for general ue, Epiphany, or a veper ervice. AE Jonathan Strommen Campbell. All for Chrit. SAB, piano. Concordia ( ), $1.90. Thi anthem pair the Southern Harmony tune Retoration with Stephen P. Starke tranlation of a 20th-century Chinee text. It focue on a commitment to take up the cro and follow Chrit, even in difficult time. Stanza one and three feature a plodding otinato with primarily two-part choir, while tanza two divide into three-part a cappella choir and ue ome imitation. Rapid piano arpeggio, two-againt-three rhythm, and the choir acending crecendo lead into the climax of tanza four, et for union choir with oprano decant. Although the piece i moderately eay, the range may be high for ome alto and baritone (E b 4) a well a ome oprano (A b 5). LW David von Kampen. For the Fruit of Hi Creation. SA, piano. Concordia ( ), $1.90. SOUNDFEST Summer 2015 CroAccent 59

60 SOUNDFEST Von Kampen et the firt two tanza of thi Fred Pratt Green text with two different newly compoed tune, each ung in union. Stanza three combine the two melodie, ending with a brief (five-meaure) coda including optional divii on the final chord. A flowing piano accompaniment upport but rarely double the voice. Thi piece would be eay to learn; the mot difficult apect might be a few voice croing in tanza three. It i epecially appropriate for time of tewardhip or reflection on creation, harvet, or thankgiving. LW David von Kampen. I Want Jeu to Walk with Me. SA, oprano olo, piano. Concordia ( ), $1.90. Thi piece i adapted from von Kampen earlier SATB anthem ( ). Arpeggiated accompaniment pattern, gentle dionance, and ubtle melodic variation produce a freh arrangement that maintain the pirit of the original African American piritual. The oloit ing the firt tanza alone and take over the melody at the end of the econd tanza, with the choir inging tanza two and three. While the choir part are relatively eay, combining them with the accompaniment will take ome practice. LW David Ahley White. O Sing unto the Lord a New Song. SAB, violin (or flute or oboe), bell. Paraclete (PPMO1531). $1.70. White give u a new etting of vere from Palm 98, uing bell and olo violin to add to the piece vibrancy. Conceived a an introit and ORGAN AND CHURCH MUSIC AT VALPARAISO UNIVERSITY CHURCH MUSIC STUDIES Bachelor of Muic in Church Muic Bachelor of Muic in Performance (Organ or Voice) Bachelor of Art 103 Rank Schlicker/Dobon Organ in the Chapel of the Reurrection 6 practice pipe organ CURRICULUM INCLUDES Church Muic, Theology, Liturgical Organ Playing, Conducting, Hitory, Theory, Performance Studie ENSEMBLE OPPORTUNITIES Chorale, Kantorei, handbell, conducting and leaderhip opportunitie FACULTY Joeph Bognar, DMA, Chair, Department of Muic; Aociate Univerity Organit Lorraine S. Brugh, PhD, Univerity Organit/Frederick J. Krue Organ Fellow; Director, Intitute of Liturgical Studie Chritopher M. Cock, DMA, Director of Choral and Vocal Activitie; Director, Bach Intitute at Valparaio Univerity Competitive cholarhip available For more information, pleae contact the Department of Muic or muic@valpo.edu valpo.edu/muic Department of Muic 60 Summer 2015 CroAccent

61 proceion, thi piece would alo be uitable a an anthem or concert piece. There i a chantlike feel to the vocal line, with the violin often in converation with the vocal line. The dynamic marking erve to further emphaize the text. The piece conclude with all voice inging Alleluia in canon, ending with the violin and the bell fading away. While the piece call for handbell, the compoer note that other bell pitched or unpitched may be ued. Good for choir of all ize and epecially ueful for choir with limited number of men. For general ue or for Chritma. Medium-eay. AE John Ylviaker. Borning Cry. Arr. by Sherri Hanen. SAB, piano. Augburg Fortre ( ), $1.80. SOUNDFEST Glenn Wonacott. Of the Birth of Chrit. SATB, oprano or alto olo, piano, with optional guitar. Augburg Fortre ( ), $1.95. Thi anthem i a meditation for Chritmatide. With word by the 17th-century reformer and Bible tranlator Mile Coverdale, each tanza peak to the birth and meaning of the life of Chrit and end with the text Kyrie eleion (pelled Kirieleyon here). A olo voice begin the piece, which open up to the full four-part choir in tanza two. The middle of the work feature a two-part canon between the upper and lower voice that lead to a three-part canon between the olo voice, upper voice, and lower voice. The piece i in F minor, 12/8 meter, with a harmonic play between E-flat and E-natural each time Kyrie eleion i ung. The flowing accompaniment i equally ucceful when played by piano or guitar. Medium-eay. AE Hanen give u a etting of the contemporary hymn Borning Cry to it traditional tune Waterlife. The flowing piano part i almot lullaby-like in part, and the ue of different texture to et each tanza help add interet. For example, the oprano-alto voice open the work, followed by the men in union. Later, in the final tanza ( In the middle age of your life ), the men firt have the melody while the women provide a counterpoint that erve to undercore the text. The oprano then get the melody, with alto providing harmony and the men providing counterpoint. To cloe the anthem, Hanen repeat the firt half of the firt tanza ( I wa there to hear your borning cry ). The SAB texture and enitive part writing make thi arrangement acceible for maller choir. For general ue. Eay. AE congregation project an annual ummer eminar to renew worhip, muic, and the art for the life of the world june 2016 imcongregation.yale.edu Summer 2015 CroAccent 61

62 SOUNDFEST Reviewer: John Bernthal (JB) Aociate Profeor Emeritu of Muic Valparaio Univerity, Valparaio, IN ound INSPIRATION Riedel enhance the worhip experience by inpiring the dynamic expreion of peech and ound. By blending art, cience and kill, we help enrich the fullne, preence and clarity of peech and muic, a well a ilence unwanted noie. SCOTT R. RIEDEL & ASSOCIATES, LTD. 819 NORTH CASS STREET MILWAUKEE, WI (414) conult@riedelaociate.com hear the difference. Acoutical Deign & Teting Organ Conultation & Inpection Organ Maintenance & Tuning Sound & Video Sytem Deign, Evaluation & Training Ann Edahl (AE) Choir Director Our Saviour Lutheran Church, Freno, CA Jame Gladtone (JG) Retired Cantor, Saginaw, MI Muic Aitant, Ev. Lutheran Church of St. Lorenz, Frankenmuth, MI Marilyn Lake (ML) Handbell Director Southminter Prebyterian Church, Prairie Village, KS Muic Educator, Shawnee Miion School Ditrict, KS Karl A. Oterland (KO) Muic Director Hitoric Trinity Lutheran Church, Detroit, MI Carla Pot (CP) Organit St. Mark Epicopal Pro-Cathedral, Hating, NE St. Paul Lutheran Church, Blue Hill, NE Editor/developer, Deborah Rei (DR) Miniter of Muic Village Lutheran Church, Bronxville, NY Mark A. Schultz (MS) Miniter of Muic Trinity Lutheran Church and School, Wauau, WI Lara Wet (LW ) CroAccent Muic Review Editor Muic Director Good Shepherd Lutheran Church, Lawrence, KS Lecturer, Benedictine College, Atchion, KS 62 Summer 2015 CroAccent

63 Give a gift that continue giving throughout the year Memberhip in the Aociation of Lutheran Church Muician Memberhip benefit include ubcription to the journal CroAccent, publihed 3 time per year; In Tempo, a practical reource for the church muician publihed twice yearly; monthly e-newletter; unlimited ue of Member Area free downloadable reource; opportunitie for timulating biennial and regional conference; and network to connect member with other church muician and related event in their region. GOALS OF ALCM Preerve, trengthen, and renew our Lutheran liturgical heritage Define the role of the muician in the life of the church Provide opportunitie for growth for Lutheran muician and worhip leader Foter partnerhip and upport within the pan-lutheran muical community Ait parihe with guideline for compenation and hiring Serve both full-time and part-time church muician and facilitate placement Advocate for college and eminary coure promoting the practice of worhip and liturgical muic Strengthen communication between clergy and muician Create liaion between ALCM and the worldwide Lutheran church Foter cooperation between ALCM and other aociation of denominational muician and liturgical artit Encourage creation and publication of quality material For more information, viit u on the Web at or call u at Memberhip Application Gift Memberhip Pleae provide information about the peron giving the gift, o that we can notify recipient: Giver Name Method Check Credit Card (Via/MC/AmEx/Dicover) of payment Addre Credit Card # Exp. Date Category (check one): Voting Member $90.00 Second Member in Houehold $50.00 Clergy/Muician Team $ Student (full time) $40.00 Voting Member over Age 65 $45.00 Intitutional/Congregation $ Send completed application to: ASSOCIATION OF LUTHERAN CHURCH MUSICIANS 810 Freeman St. Valparaio, IN Recipient contact information: Name Addre Telephone addre Name of Church or Intitution Church Body ECLA LC-MS WELS ELCIC Poition / Title

64 potlude Kevin Barger Secretary/Treaurer, ALCM A Chinee proverb tell u, When planning for a year, plant corn. When planning for a decade, plant tree. When planning for life, train and educate people. Of coure, the proverb doen t mention what we are uppoed to do when planning for worhip. Planning i hard work. It mean we have to think ahead. We need to reearch. We need to make choice. It can be overwhelming. And inevitably our choice in planning will peak to worhipper in different way depending on where they may be in their journey of life and faith. For each and every worhip ervice that we plan a church muician, there i a lot of weight on our houlder. The impact of our worhip planning i tremendou, for in o doing we proclaim the gopel tory in way that ink deeply into the heart and mind of the community. We are educating and training the aembly in the torie we proclaim in ong. The tory never grow old and, though we may grow tired and weary, the fruit of our labor are ever-preent and growing. Although you may not hear word of praie or appreciation each week, your work i appreciated. It may take time for the aembly to come to peak word of appreciation for your careful and intentional work. In the cae of our vocation a church muician it may eem that the hard work never ceae. Hard work alway ha it reward. However, a Mary Smith aid (although ome ay it wa Vince Lombardi or any number of other), The only place ucce come before work i in the dictionary. Succeful worhip may mean different thing to different people. Ultimately it i that which lead the aembly to praie God. Worhip planning i the work to get u to that end. By the time you read thi iue of CroAccent our biennial time of gathering and learning in Atlanta will be but a memory but I hope a memory of joy and rejuvenation a we explored our hared vocation. Our exploration i dependent on thi kind of haring of reource, widom, and collegial converation. A we dwell with one another we help each other plan. We houlder our work together a the body of Chrit. We all want to proclaim God grace clearly in our vocation. I give thank to the writer in thi iue and to the many preenter and leader from the conference who offered u further inight and additional tool to help u in our tak. We have the tool to grow and we have the colleague with whom to hone our tak. Ue the reource. Embrace each other widom. Believe that the hard work of planning worhip i important work. A we enter the econd half of ummer and look toward the new church year on the horizon we can do o with a freh look, new eye, and a renewed heart. It a pleaure to walk thi vocational journey with you. 64 Summer 2015 CroAccent

65 COUNTERPOINT Summer 2015 CroAccent 65

66 CROSSACCENT Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN ALCM Summer 2016 regional conference date Region 4 (3 location/date!) Augut 19-20, 2016 Edmonton, AB Canada Region 4 (3 location/date!) July 14-16, 2016 Sacramento, CA Region 4 (3 location/date!) June, 2016 Denver, CO Region 3 July 26-28, 2016 Chicago (Hyde Park), IL Region 1 July 6-8, 2016 Fort Wayne, IN Region 2 June 27-29, 2016 Franklin, TN Save the Date!

67 journal of the aociation of lutheran church muician VOL 23, no 2 SUMMER 2015 CROSSACCENT Shaping Worhip

68 Augburg Muic LEADING THE CHURCH S SONG Augburg Muic i the muic imprint of AugburgFortre.org Get Real Are you purchaing ound, or ample of ound?...real pipe lat for centurie. How many electronic organ will your congregation purchae before they realize that a pipe organ lat generation? NORTH AMERICA S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS Pleae watch and hare our hort video at: Call today for APOBA free 66+ page color propectu APOBA.COM PROUD SPONSOR OF THE ALCM

69 D e p a r t m e n t o f M u i c D i c o v e r Yo u r PASSION The Valparaio Univerity Chorale i the only international choir invited by the Catle Church in Wittenberg, Germany to be preent on October 31, 2017, the 500th anniverary of the Reformation. Performance cholarhip, up to full tuition, available. Viit valpo.edu/muic for detail For more information about the Valparaio Summer 2015 Univerity CroAccent Chorale, 69 viit valpo.edu/chorale