PerusalCopyPreviewOnly

Resisting the temptation to try to offer the newest materials on all ends of the spectrum can also be helpful. The pendulum continually sways back and forth between different types of congregational song. Attempting to catch the pendulum somewhere in midswing is a wise effort.1 While our attempt may be to stay somewhere in the middle, this does not imply dullness and lifelessness. Being in the middle can mean never taking risks and always playing it safe, or it can mean venturing to both sides from time to time while maintaining a healthy center. The latter is a worthy attempt.

1 Robert Douglas, "Music in Worship," sermon given at Southwestern Baptist Theological Seminary Chapel, Fort Worth, Texas, January 7, 1965, quoted in Mark D. Edwards, "Congregational Singing: An Expression to God," Church Musician Today, vol. 3, no. 1 (September 1999), 11.

Paul Westermeyer's perspective is particularly useful. In his article "The Future of Congregational Song," he discusses the potential for (1) turning congregational song into a museum where the tradition is guarded whatever the cost, or (2) becoming the culture which allows the culture to call all the shots. After thoroughly discussing each option, he offers an alternative where churches and their leaders "refuse to be taken captive by caricatures and power-plays and where they resolve to figure things out together on behalf of the world they are called to serve."2 He goes on to say, "They may disagree, but the disagreement is located under a broader umbrella of God's grace in community and its corollary of service in the world. These churches are freed to confront their differences and to work things out in tandem."3 These churches realize that this process will be long-term; they are not searching for immediacy. Westermeyer states, "They are interested in exploring their resources and the world's needs for the sake of the whole church and the world."4 These churches acknowledge culture and make bold attempts to address it; however, they do not let culture dictate their actions. Westermeyer concludes, "They treat their tradition with critical respect and use it, and they expand it. They are not afraid of the past, the present, or the future. They listen, they learn, they make mistakes, and they try again."5

An understanding of community is foundational to Westermeyer's suggested alternative, for congregational song implies community and must be approached accordingly. If the congregation genuinely personifies Christ's community and all are to sing in community, then each voice should be heard not only in the music but in the process as well. This is not to imply that all individual desires can be accommodated, that all voices are equal, or that everyone will care. However, it is to emphasize the importance of focusing on congregational song as a communal act.

Design a Plan

Without some knowledge of where we're going, any road will take us there. A plan for developing congregational song should have broad input from the community as seen above. Perhaps this can be attained through congregational meetings, a task force, an ongoing committee, or through other existing groups. However, participation in the process is important because the plan will only be embraced when those who participate on a weekly basis feel a sense of ownership.

2 Paul Westermeyer, "The Future of Congregational Song," The Hymn, vol. 46 (1995), 8.

3 Ibid., 8.

4 Ibid., 8.

5 Ibid., 8.

A congregational song plan can have different goals. It may include the following: (1) to broaden the repertoire of the congregation by introducing new songs from a new hymnal, from contemporary sources, or from other new resources, and/or (2) to increase participation by particular groups, more harmony, or other possibilities. Whatever the goals, the plan should be seen as long-range. It is important to see the plan as "development" or "expansion," not "replacement." If a congregation learns one new song each month for 5 years, they will have increased their congregational repertoire by 60 songs — the total of what some congregations regularly use in their hymnals.

This plan includes limitless possibilities for specific actions. It might include hymn sings or festivals, music schools, training for leaders and accompanists, better acoustics, sound reinforcement updates, new hymnals, projection systems, teaching and training for the congregation, observation and interviewing of other congregations, use of additional instruments, alternative accompaniments, and more.

Choosing New Songs to Introduce

New songs should be chosen carefully, for you can only introduce a limited number of new songs to a congregation. It is important to note that not all congregational music should be chosen by the same textual or musical criteria. Just as we do not expect the text of a folk hymn to have the same theological depth as a Wesley hymn, we should not expect a praise and worship chorus or a Taize song to have the same poetic quality and theological reflection as a hymn by Brian Wren or Thomas Troeger.