Introducing Glory to God

to Your Congregation

Mary Margaret Flannagan

We have a new hymnal! "Hooray! . . . (silence) . . . Now what do we do?" Regardless of how excited one person is about a new hymnal, many others remain unconvinced and hold it with disdain. "Why are we getting that?!" "Hymnals are just historical documents." "Hymnals are for 'traditional' (i.e., boring or old) churches." "Hymnals are only for organs. I hate organ music." "I can't read music. Hymnals have nothing to say to me." "Our old hymnal works just fine—we don't need a new book." These sentiments seem to suggest two things:

A hymnal is innocuous without anything new to say and can thus be avoided,

OR a hymnal is influential, affecting our heart, mind, and being and must thus be avoided.

A few enthusiastic choristers and an impassioned staff member do not assuage others' concerns simply by cheerleading. Every congregation should think carefully about how they will integrate a new congregational resource. Let us then consider these two claims and explore possible approaches to a long-term, loving relationship with a new hymnal.

Re-Formed

Contemporary hymnals are collections of congregational song spanning millennia. They contain ancient chants from early Christians, sturdy chorales from the Protestant Reformation, and present-day praise songs played by popular bands on the radio. "A Mighty Fortress Is Our God" may be page neighbors with an African American spiritual or a song written after Vatican II. No longer confined by a single culture's preferences or a lone theologian's influence, today's hymnals are limitless in musical style and wide in their theological scope. Rare is the congregation who sings only harmonic chorales or southern gospel. Most churches incorporate diverse hymnody into their worship and faith life, using organ, piano, guitar, and other instruments to lead their singing.

The diversity and the continual creation of congregational song is a wonderful celebration of the Reformed motto: Ecclesia reformata, semper reformanda. "The church reformed, always being reformed." Presbyterians, as theologically Reformed Christians, believe that God continues to work within us, re-forming us and re-creating us— perhaps even inspiring new understandings and new interpretations of God's unchanging presence. What was right or good for a previous generation may not be sufficient for a later generation in whom God brings new life. Miriam stood at the edge of the Red Sea (Exod. 15:21) and sang a song of praise to God. Hannah (1 Sam. 2:1-10) and Mary (Luke 1:46-55) praised God generations later, but they did not sing Miriam's song simply because her song was older and therefore better. Miriam's song was insufficient and inappropriate for their circumstances. God, whom they all praised, had not changed. Instead, Hannah and Mary had been changed by God. They had been re-formed and re-created. God gave them new songs to sing in response to their particular circumstances.

We trust that God continues to re-form us. We trust that God continues to change us and create new songs within us. We even trust that some new hymns and songs are not just for individuals, but for the whole community. We trust that God invites the larger church to sing of our troubles, our dreams,
and God's presence with fresh notes and images. A new hymnal would be unnecessary if God was not re-forming creation. There would be no need for new hymns and songs if God were inactive or silent in the world. A new hymn or song is an affirmation that God is still re-creating and re-forming the world. Thanks be to God! With almost 25 percent of the contents of Glory to God created since 1990, it seems that God has something new to say to the church in this collection.

Kryptonite?

The second claim of a hymnal's possible influence is filled with respect, though poorly expressed. People who worry about a hymnal's effect on the community do so acknowledging the power of common words and notes. Congregational songbooks often become the people's working theological textbooks. The songs we sing give us the words and images that shape our faith. When struggling with loneliness and despair, we remember "What a Friend We Have in Jesus" (GTG 465). When wondering about the relationship between good and evil, we sing, "And though this world, with devils filled, should threaten to undo us" (GTG 275, stanza 3). When considering an invitation to teach Sunday school or serve on the session, we hum, "I will go, Lord, if you lead me" (GTG 69). These words and theologies sink into our hearts, minds, and souls with each singing and worship service. They are our teachers, friends, and companions along our faith journey. They comfort, challenge, and influence. Hymnals are rightly treated with care and respect.

A leader's primary task, then, is to educate congregation members on hymnody, history, and theology. For a hymnal to become a worshipful resource, it is essential to overcome fear and distrust while building curiosity and respect. Questions and concerns are helpful for the entire worshiping body to consider. Beginning by examining the current, familiar hymnal:

What shaped its formation? What was happening in the decade preceding its publishing—politically, socially, religiously? What were the primary intentions of its editor or committee?
How have we (individuals or the congregation) changed since it was published? Since we adopted it?
What are the things that define us today? What theological, political, and social issues are important to us? How are they addressed (or not) in the current hymnal?
Within the hymnal, what are the things the community most enjoys? Most savors? Is most challenged by? Is most dependent upon?

By starting with the familiar (and perhaps beloved), people can practice critical and theological thought before approaching new (and perhaps daunting) material. Older hymnals were not formed in perfect circumstances, nor were their days of service unchallenged.

Yours, Mine, and Ours

It can be helpful to remind people that no two individuals have the same favorite hymn (or word or name for God), nor do they have the exact same exposure to and experiences of worship. Even when members are raised in the same congregation, they come from different families who took them to different congregations for funerals, weddings, revivals, and Bible schools. These outside experiences are why numerous Presbyterians say how much they love "In the Garden." Although it has never been printed in a Presbyterian hymnal, it is still meaningful to many people. This further illustrates that hymns and songs have lives beyond any particular congregation's worship services. The challenge is to meld members' diverse experiences with the plethora of song possibilities into a common resource; a hymnal is no one person or congregation's collection of favorite hymns.

Because people have worshiped in various congregations at various times, one person's memory of the "right" words of a hymn will be quite different from another person's. Presbyterians who joined or were born into a congregation after its adoption of the blue 1990 hymnal may only know three stanzas of "Be Thou My Vision" (GTG 450); yet people who never sang from that book may expect four stanzas. When one Presbyterian sings "Be Thou my Wisdom," another will sing "Riches I heed not,"1 with both pointing at the other saying, "WRONG!" (and being right!). Hymnal editors have the right and privilege to edit a text and tune, pending the copyright holder's permission. Countless variations are thus available for some of the oldest and most popular hymns and songs. Instead of labeling "right" or "wrong," it may be more interesting to consider the circumstances of the variation.2

In addition to words changing between hymnals, the contents also shift. Some older hymns fall out to make room for new songs. Most congregations "know" or regularly sing about one hundred hymns. With more than six hundred hymns in the average hymnal, the majority of the book remains unsung. That fact is disheartening, but it is especially frustrating to realize that each congregation's canon is distinctive from its neighbor's. There are only a handful of hymns that anyone can assume everyone knows.3 A wide collection is needed to encompass some of every congregation's canon. Let this be an encouragement to sing the entire hymnal—from cover to cover, known and unknown, long and short. People are likely to find hidden treasures tucked among old favorites.

Along with questions of right and wrong, favorites and changed words, are questions about the political and theological agenda of a new hymnal. The context of a new hymnal's development is different from that of an older book; thus, the presence of new or different ideas should be expected.

context of a new hymnal's development is different from that of an older book; thus, the presence of new or different ideas should be expected. The earliest Protestant hymnals in the sixteenth and seventeenth centuries do not contain "Amazing Grace" (GTG 649) or "Jesus Loves Me" (GTG 188). Eighteenth- and nineteenth-century hymnals do not contain global hymnody or references to female leadership, racism, or stewardship of the earth. The inclusion or lack of material in one book does not elevate a hymnal's status over another, but simply illustrates its particular context. Rich conversations can be had about the defining things of previous generations compared to contemporary prayer and faith concerns. Discussions of hymn texts and circumstances may alleviate concerns about questionable material and move to a better understanding of relevance.

Consider the hymn "Mothering God, You Gave Me Birth" (GTG 7). Its very title pushes some people away from its extraordinary heritage. Though many assume it is a radical, modern feminist's view of God, the text is actually based on Julian of Norwich's writings. Julian was a fourteenth-century English nun who had mystical experiences of God's love. Within this hymn text, she never calls God "Mother," but instead sees mothering qualities in each of the three persons of the Trinity: the God who mothers by giving birth to creation; the Christ who mothers by feeding us with his own body; the Spirit who mothers by nurturing and growing us. Centuries old, this hymn still has much to say to Christians—men and women alike.

All these things suggest that hymnals are not innocuous. They are not intended to be. Their contained words, notes, and histories are assembled to affect and influence people's lives and faith, sometimes even stirring debate and controversy. Perhaps a "Proceed with Caution" sign should be pasted on the cover? Engage the new hymnal with determination and perseverance. It is a privilege to savor these first notes of a song that will echo into our future.

Practical Points

The value of education about the hymnal's contents and formation cannot be overstated. Open dialogue reduces anxiety about the transition and normalizes the new book so new hymns and songs are not immediately rejected, but faithfully considered. Details about the specifics of the process can be found on the hymnal's website (presbyterianhymnal. org). Glory to God was formed by the same polity practices that guide every session, presbytery, and General Assembly. Membership was by nomination. Quorums were counted, subcommittees were formed, and thousands of votes were tabulated. It was a model of Presbyterians acting "decently and in order." Repeating the committee process in the local church is an interesting way to learn the tricks and turns of hymnal formation. Put people to work with one of the following exercises as you introduce the hymnal: An Exercise—Invite the class to divide into small groups and role play for 10-15 minutes. Form a "text group" and a "tune group." Take a familiar hymn like "Be Thou My Vision," giving textual variations to the text group4, and melodic/harmonic variations to the "tune group." Ask each group to consider

1. Would they include this in the hymnal? Why or why not?

2. If they include this in the hymnal, how should it appear? What is the original text or tune? Should a

variation be used instead, and if so, which one and why? Should we use what was printed in the

previous hymnal, or should we sing what our neighbors are singing?

3. Ask specific questions of the text and tune groups.

Text group: What letters should be capitalized? What Scripture does this fit? What theological ideas

are expressed? Is this representative of what Presbyterians believe?

Tune group: Is this singable? Should the key be moved higher or lower? Are all of the parts (soprano,

alto, tenor, bass) singable? Is there an introduction or separate accompaniment?

4. Call the subcommittees back together. Ask both to report their conversation, then revisit the hymn as a

whole. What remains to be discussed?

5. Vote. Require two-thirds of the group to support the hymn. Even if it is one person shy of the two-thirds

majority, the hymn will fail and then be excluded from the hymnal. Did people feel pressured to vote a

particular way? What influenced their vote?

Reenacting the committee process is an engaging way to introduce the hymnal, but it is just the beginning. A hymnal is bigger than any editor or committee. Hymnals are, in fact, like the Book of Confessions. The individual pieces of content are not intended for an exclusive denomination or theological corner, but for all Christians. Most of the contributors to Presbyterian hymnals (past and current) are not Presbyterian. No theologically Reformed statement of faith was required for inclusion. Presbyterian leaders gathered the various pieces together to form a collage of who we understand God to be, and how we are called to respond to God at this particular time and place. Similar to the painting technique of pointillism, each hymn author and composer contributed a unique color and texture that would be insufficient on its own, but formed an intricate picture when combined with the other hymns and songs. The Presbyterian Committee on Congregational Song (PCOCS) thus began their work by writing a Theological Statement5 to guide their process and discussions.

An Exercise—Quickly explore this by choosing any single hymn and consider its images, scriptural references, and larger message. What does it say about God? What does it not say about God? If this were the only hymn, what essential ideas would people not hear? What hymn would be a good pair or balance to this?

The formation of a hymnal is a daunting task. With thousands of years of congregational song possibilities, every worthwhile contribution cannot be included. Where should selection begin and end? Scripture contains the first pieces. Miriam's song (as referenced earlier), the psalms, Isaiah's songs, the angels' songs, and the first Christians' songs are recorded in Scripture.

An Exercise—Highlight a few canticles and biblical songs to exemplify how and why the people of God sing.6 Then follow the development of congregational song after Scripture. Consider the influences of Augustine, Pope Gregory the Great, Luther, the Wesley brothers, and Catherine Winkworth.7 Every era and tradition had norms and expectations of what and how the people of God would sing. Some of the common rules debated were sola scriptura versus freely composed hymns, a cappella versus accompanied song, vernacular versus common language, and professional versus lay-led. The globalization of Christianity has added further possibilities of what and how people sing prayers and praise to God. Without consensus about today's rules, communities tend to adhere to their own customs.

An Exercise—What are the rules for congregational song in your community? What is widely practiced? What is considered unacceptable? Do your congregation's rules match your closest neighbor's rules?

Conversations about alternative worship services, organ abandonment, and band leadership highlight the variety of understandings and expectations for congregational song. The discussion goes far beyond organ versus band; congregations of various ethnicities bring their own cultural instruments and practices. The PC(USA) has approximately fifteen hundred multicultural congregations speaking and singing in many languages, including Swahili, Arabic, Korean, French, and Portuguese.8 The current Book of Order reminds members that

the Church seeks to include all people and is never content to enjoy the benefits of Christian community

for itself alone. . . . Because in Christ the Church is one, it strives to be one. To be one with Christ is to

be joined with all those whom Christ calls into relationship with him. To be thus joined with one

another is to become priests for one another, praying for the world and for one another and sharing the

various gifts God has given to each Christian for the benefit of the whole community.9 Christians (and

specifically Presbyterians) cannot ignore their neighbors, or their neighbors' needs or traditions. The

hymnal must resource the whole community of faith. Although Glory to God is not a bilingual hymnal

(with the same two languages on every page), it contains more than a dozen different languages.

Distinctive cultural images and practices bring more opportunities for rich discussions.

An Exercise—Compare "Away in a Manger" (GTG 114, 115) to "Sound a Mystic Bamboo Song" (GTG 323). The latter uses images and a melody common to Taiwan. It sings of Christ wearing "tribal cloth" instead of swaddling clothes and living in a "squatter's shed" instead of the manger, yet both tell of Christ who companions people. "Sound a Mystic Bamboo Song" is colorful and challenging in both text and tune. Some may find it difficult to sing in worship without first discussing the context. Why should Christians sing in styles or languages other than their own? How does this enrich their understanding of Christ—his person, ministry, and mission? What makes this challenging?

There are numerous things to explore in a hymnal's introduction. The above topics are among some frequently expressed concerns. As leaders guide congregation members through Glory to God, they should utilize the Theological Vision Statement and Statement on Language (Appendixes 1 and 2, pp. 926-930). These brief documents guided the PCOCS through their process. People may find them to be good conversation fodder, as well as important context for the decisions made.

Finally, for those people interested in a specific three-step introduction of the hymnal, here are some ideas. These are, of course, merely suggestions and not guarantees for success. The congregation's boldness and musicality should determine the method used.

For the Bold

Musically courageous congregations may be able to sing one or more new hymns in every worship service. Teach new material before worship begins. Learning a new tune and text is not worshipful; hitting the correct notes, singing the right words, and understanding the text take all of the focus most people can manage. Allow people to familiarize themselves with the new hymn before the prelude or during announcements so that when the time comes, they can sing praise to God with their whole heart and mind and being.

Glory to God contains many options for singing around the sacraments: more than twenty hymns and songs for baptism, and sixty hymns and songs (plus settings) for communion. Move beyond the same old hymn or song to a new setting for communion. Sing when baptismal candidates come forward, when the people profess their faith, and after the baptism is complete. Sing the Great Prayer of Thanksgiving—the Sanctus, the Great Acclamation, and the Amen. Congregations who receive weekly communion will be able to sing a different song each week of the year—with a few left over! The many styles naturally lend themselves to particular seasons and celebrations within the church. A minor setting for communion may fit well into Advent or Lenten liturgies. An upbeat setting may be the joyful feast to conclude a memorial service. Sing with thanksgiving in response to God's goodness!

For the Measured

Give the organist a break and substitute a hymn sing for the prelude. (This is also a good tactic for getting people into their seats and participating in a communal activity before worship!) For a season, for a month, or on a certain week of each month, pair a much-loved older hymn with a new hymn or song. Choose hymns and songs that are either very similar or very different theologically, like "Source and Sovereign, Rock and Cloud" (GTG 11) with "Mothering God, You Gave Me Birth" (GTG 7); "Glory Be to the Father" (GTG 581) with "Glory to God, Whose Goodness Shines on Me" (GTG 582); or "My Shepherd Will Supply My Need" (GTG 803) with "Shepherd Me, O God" (GTG 473). Although it may not be practical to dialogue across the sanctuary, one or two people can prepare short remarks and respond from a microphone.

Congregations willing to sing new music, but still tentative about singing out, should use a cantor or small ensemble to lead new music. A number of hymns and songs in Glory to God are specifically written for sharing between a cantor and the congregation, including "Shepherd Me, O God" (GTG 473), "Come, O Holy Spirit, Come" (GTG 283), and "Somos el cuerpo de Crista / We Are the Body of Christ" (GTG 768). Other pieces, however, can be taught in small doses by a cantor. "I Will Come to You" (GTG 177) has long, melodic verses that could easily be sung by a cantor or small ensemble. Invite the congregation to sing only the refrain after the first few verses, then join the cantor for the final verse and refrain.

For the Meek

Receiving a new hymnal does not necessitate singing all new hymns for the next year (or two or three). Most congregations plan regular engagements with new material while continuing to sing familiar hymns and songs. It is helpful to identify the hymns and songs that the congregation knows, regardless of its presence in the previous hymnal. Some hymns like "Shall We Gather at the River" (GTG 375), "Softly and Tenderly Jesus Is Calling" (GTG 418), and "What a Fellowship, What a Joy Divine" (GTG 837) have never been published in a Presbyterian hymnal, though most congregations mysteriously know them word for word. Other hymns like "I Love to Tell the Story" (GTG 462), "Rock of Ages, Cleft for Me" (GTG 438), and "Be Still, My Soul (GTG 819)" have been in some Presbyterian hymnals, but omitted from others. Many congregations participate in Taize-styled worship services or use their music; more than twenty pieces from the Taize community are included in Glory to God. Drawing from these lists will increase trust of the new book. Then, when new music is included in worship, do so after conversations, classes, and previous exposure. Choose a new song that fits the congregation's preferred music style. Avoid using more than one new piece in any worship service. As time passes and anxiety decreases, requests for new music will increase so that the balance can shift.

Some congregations have success with a "hymn of the month." Choose one new hymn or song and sing that same piece each week through the month (or church season). It can be sung in the same place, or moved to different places in the liturgy each week. Instead of singing all stanzas every week, if the text fits a particular part of worship, sing one stanza as a response. Perhaps a penitential stanza after the confession, an "Alleluia" after the Scripture reading, or a supplication stanza in the midst of the prayers of the people. Be sure to sing the entire hymn at the beginning and end of the month.

For Everyone

Presbyterians Today has a column focused on the hymnal in 2013 and 2014. Each article examines one hymn in successive categories of Glory to God. Together, the articles could easily become a Sunday school curriculum or small group study. Readers not only learn about the specific hymn's history and theology, but also gain an understanding of the hymnal's organization of contents.

Launch a newsletter or bulletin column/feature about the hymnal. Feature different hymns, parts, and topics within the book.

Look for opportunities to increase musical offerings in worship. Some congregations sing ten things in worship—hymns, service music, and responses (Gloria, Alleluia, Sanctus, etc.)—while others sing only two or three hymns. If nothing is sung during the receiving of communion, begin by including a familiar hymn or song like "Let Us Break Bread Together" (GTG 525). If the pastoral prayers are always spoken, add a sung response. "Lord, Listen to Your Children Praying" (GTG 469) is easily sung several times throughout a prayer without overextending the time. Congregational song allows the whole worshiping body to participate in worship leadership. It is a wonderful way to embody the priesthood of all believers.

Find ways to sing as a congregation beyond worship. Sing a blessing at congregational meals, sing a prayer before session meeting, sing a greeting in preschool chapel. Remind Sunday school teachers that hymns are wonderful illustrations for lessons. They are often-forgotten companions for Bible studies and devotions. Let the text author, composer, or history be the leader.

A Final Chorus

This is just the beginning of introducing Glory to God to congregations. There are many issues yet to be explored, some of which will not be known until people delve into the contents. Regardless of the tactic taken, be ready for conversation. Hymnals are members' boon companion along the rocky road of life. They accompany us through weekly worship, seasons of despair and joy, baptisms, funerals, weddings, and many other meaningful days. Leaving an old friend is not easy. Trusting a new friend takes time. With perseverance and patience, we will continue singing and giving glory to God!

Notes

The second stanza of "Be Thou My Vision" in the 1990 Presbyterian Hymnal begins with "Riches I heed not, nor vain, empty praise . . ." The second stanza as printed in the 1955 Hymnbook, however, begins with "Be Thou my Wisdom, and Thou my true Word . . ." It is #450 in Glory to God.
Hymnary.org is a free resource for this type of research. They have a "Hymn Text Comparison" page for almost every entry in their extensive database. Users can see the most common printings, the unusual variations, and just how differently a hymn can be sung.
Experiences at the Presbyterian Youth Triennium 2013 further highlighted this when a number of conference participants were unfamiliar with the first verses of "Jesus Loves Me" and "Joy to the World"— two hymns that one would expect everyone to know!
Refer to Hymnary.org. See footnote 2 for more information.
Appendixes 1 and 2 in Glory to God (pp. 926-930).
For worship planners not tied to the lectionary, this could be a fun preaching series. Pair six different songs with the six weeks of Lent. Sing at least one setting of each song on its assigned Sunday.
See David Gambrell's article "The Story of Congregational Song," in Horizons 26:6 (2013):4-6.
As reported by the Racial Ethnic & Women's Ministries Office (within the Presbyterian Mission Agency), using statistics compiled by Presbyterian Research Services in 2011-2012.
Book of Order 2011-2013, Part II of The Constitution of the Presbyterian Church (U.S.A.) (Louisville: Office of the General Assembly, 2011), F-1.0302a.