We believe as we sing

Although they have broken from the Episcopal Church, many AMiA and ACNA churches continue to be guided by the liturgical “reforms” of the Episcopal Church, including the theology that led up the 1979 prayer book.

In his article on the theology of worship in the standard textbook on Anglicanism, Prof. Louis Weil of the Church Divinity School of the Pacific states

Anglicanism gives force to the ancient adage, Lex orandi legem statuat credendi, ‘the law of prayer establishes the law of faith. (Weil, 1998: 61).

From this, he emphasizes the ongoing need to update the liturgy to keep it relevant (emphasis added):

[T]he Prayer Book plays a dynamic role in shaping a new liturgical mentality in which the odd [sic] truths are seen afresh. Such a transition never takes place easily, because there seems to be a natural conservatism in worshippers in regards to the rituals through which faith has been articulated. … [C]hange must come so that we may be faithful to the gospel as it speaks to the real world in which we live.  [66]

Singing is Liturgy

In their modest revision to Rite II of that prayer book, the ACNA rejected the most glaring doctrinal errors of the words of that prayer book. But as lex orandi makes clear, the experience of liturgy is not just words.

It seems as though (outside the REC and Continuing churches), there are many 21st century Anglican clergy who consider themselves theologically orthodox, and yet choose (or allow their music minister to choose) the most contemporary form of worship music, up to and including songs off the top 40 list of the Contemporary Christian Music radio station.

By any definition, congregational singing during the service is part of the liturgy and the liturgical experience. (At many evangelical churches, it is the only part that in which the congregation participates). And thus the nature of how we worship is not just the words we sing — the explicit hymn doctrine — but how we sing them.

Of course, today we instruments that didn’t exist in 1st century. The invention or improvement of instruments didn’t stop with the perfection of the pipe organ in the baroque period or even the invention of the fortepiano in the 18th century.

But the idea that we must constantly update how we sing and other aspects of worship means — by the principles of lex orandi — that we must constantly update what we as Anglican believe. The latter means that we are thus rejecting the idea of Anglicanism as being a Protestant manifestation of the historic, undivided church, in continuity with Christian beliefs throughout the millennia.

I am hoping that most readers of this blog would find the latter a step too far. I can’t claim that this principle means banishing all CCM from the nave, but at least it should cause the clerical and lay leadership of an orthodox parish to think about what it says to the culture — and the congregation — to choose such music for the weekly worship.

References

Weil, Louis, “The Gospel in Liturgy”, in Booty, John E., Stephen Sykes, and Jonathan Knight, eds., The Study of Anglicanism. Rev. Ed. Minneapolis: Fortress Press, 1998, pp. 55-83.

Hymns for Trinity 9

As part of my Sacred Music class at Cranmer the class was required to select hymns (and explain the selection) for a Sunday communion service, weekday morning and evening prayer, and for a special service (in my case, ordination of a priest).

My assigned Sunday was Trinity 9 (next Sunday). Since it seems germane to the theme of this blog, below is my assignment and what I submitted. Ground rules for the assignment:

1. All hymns should be taken from Hymnal 1940;
2. For this hymn only one “obscure or unfamiliar” hymn was allowed. Since the seminary is headquartered at the Church of the Holy Communion in Dallas, the hymns regularly used at CHC were used by the class to define “familiar” hymns.

9th Sunday after Trinity (Holy Communion)

Readings:

• 1 Corinthians 10:1-13, which emphasizes the unity of believers while calling out human sins of the Old Testament that displeased God
• Luke 15:11-32, The Prodigal Son

There are not obvious hymns about the Prodigal Son in Hymnal 1940, and so all the hymns chosen for this week are tied to the Epistle.

These hymns touch on three aspects of the first lesson: Conformity to God’s Will, Church Unity and Brotherhood. Each of these is a topic listed in the Topical Index of The Hymnal of the Protestant Episcopal Church in the United States of America 1940 (hereafter Hymnal 1940). The first topic relates to our union with God — sometimes called vertical communion — while the latter two both relate to our union with other Christians, otherwise known as horizontal communion. All of the hymns selected for this Sunday fit one of these two themes.

Processional: 535, “Rise up, O men of God” [1]

In the Hymnal 1940 Topical Index, the topic “Brotherhood” (page 800) lists 17 hymns. One of these is “Rise up, O men of God”, written in 1911 by William Person Merrill, an American Presbyterian minister, for the Presbyterian brotherhood movement.[2]

This brief hymn — four verses of Short Metre (6.6.8.6) — touches on both types of communion and unity. On the one hand, a part of each verse emphasizes unity with fellow Christians, as with verse 2 (“Bring in the day of brotherhood”) and verse 4 (“As brothers of the Son of man, Rise up, O men of God.”) At the same time, the brief hymn emphasizes obedience to God, as in verse 1 (“Give heart, and soul, and mind, and strength to serve the King of kings”), in contrast to the disobedience and sin that Paul laments in 1 Cor. 10:6-10.

It is relatively singable: except for the first phrase, the melody has simple voice leading, and the first four notes are in unison. It also has simple meter, with 20 of the 26 syllables on a quarter note (the remainder split between paired eighth notes and dotted half notes). According to Hymnary.org, it appears in more than 200 hymnals — known to multiple denominations, but not among the most popular. It did appear in all three Episcopalian hymnals of the 20th century: Hymnal 1916, Hymnal 1940 and (in inclusive language form) Hymnal 1982, and is familiar at the Church of the Holy Communion (hereafter CHC) in Dallas.

Gradual: 465, “Nearer, my God to thee”

In the Topical Index, nine hymns are listed under “Conformity to God.” The most familiar would appear to be “Nearer, my God to thee” (#465). According to Hymnary.org, the hymn has been published in more than 2,000 hymnals. The hymn was originally written in 1840, based on the Old Testament dream of Jacob, in which God renews his covenant with the children of Abraham and Jacob vows to tithe all that he has to God.

All five verses emphasize how Jacob will get nearer to God through obedience and worship to God. In other words, Jacob is the model of Old Testament obedience to the Law sought by Paul, rather than the disobedience that he specifically chastises.

Sermon: 536, “Turn back O man”

In the rare week when the focus of the sermon is known before the bulletin is printed, I would choose a hymn that ties directly to that focus. Otherwise, my preference for something that is reflective, to help each parishioner think about his or her role as a Christian and prepare his/her heart to hear the message being preached.

Among the 17 hymns listed in the “Brotherhood” Topical Index in the Hymnal 1940, the most familiar to me is “Turn back O man” (#536). The hymn begins on a reflective note, opening with a call for us to think about and repudiate our “foolish ways”. It builds up to a call for church unity with its final verse:

Earth shall be fair, and all her people one:
Nor till that hour shall God’s whole will be done.
Now, even now, once more from earth to sky
Peals forth in joy man’s old, undaunted cry.
Earth shall be fair, and all her people one.

The voice leading of the melody is simple. It is a relatively recent text, written in 1916 for a tune and arrangement by Gustav Holst (based on an earlier tune from the 16th century Genevan Psalter). It appears in two Church of England hymnals edited by Ralph Vaughan Williams — Songs of Praise (1925) and Songs of Praise Enlarged Edition (1931). However, according to Hymnary.org, it appears in only 56 hymnals — a relatively small number — and so I would have to assume that it would be unfamiliar to Americans not raised on Hymnal 1940.

Recessional: 396, “The Church’s one foundation”

A key theme of the first lesson is Paul exhorting the faithful in Corinth to be united in their love of and obedience to Christ. In the Topical Index on page 801, Hymnal 1940 lists six hymns for “Church Unity.” Hymn 396, “The Church’s one foundation”, discusses both the horizontal communion between the members of the Church, and the vertical communion of the Bride of Christ (i.e. the Church) to Christ. This latter role of the Church is emphasized throughout the hymn through the use of the female pronoun to refer to the Church, as in the second verse:

Elect from every nation, Yet one o’er all the earth,
Her charter of salvation, One Lord, one faith, one birth;
One holy Name she blesses, Partakes one holy food,
And to one hope she presses, With every grace endued.

The third phase of this verse recalls 1 Cor. 10:3 in the first lesson: “all ate the same spiritual food” (ESV, New KJV) or “did all eat the same spiritual meat” (KJV).

The hymn is both familiar and has a singable tune with simple voice leading and straightforward harmony. It should also be known to most English-speaking Protestants and Catholics, appearing on a list of 150 ecumenical hymns compiled by the Consultation on Ecumenical Hymnody.[3] According to Hymnary.org, it appears in more than 700 hymnals, and it is a familiar hymn at the CHC.

Footnotes

1. Normally I would consider this as a recessional hymn, but that could be risky in some parishes where the Hymnal 1940 text would be considered sexist and have people leave church with an un-Christian attitude. If I had a newer text, e.g. “Rise up ye saints of God” (#551) in Hymnal 1982, then I would probably use it at the end. Otherwise, I am counting on people to forget any imagined slight over the next hour of the service.
2. Except as noted, all historical and biographical details about hymns and hymnwriters is taken from The Hymnal 1940 Companion, 3rd rev. ed., New York: The Church Pension Fund, 1956.
3. This list of 150 ecumenical hymns is reported by Gary D. Penkala, “Core Hymnody,” CanticaNOVA Publications, URL: http://www.canticanova.com/articles/hymns/art241.htm