As a result of both the autonomy of their local churches and the ethnic diversity among member congregations, diversity is the dominant adjective used to describe the use of music and the arts in American Baptist churches. The size, theological orientation, and geographical location of individual congregations are all factors that influence the music and arts used in individual congregations. National conferences are important in providing vision and leadership for music and the arts.
The traditional practices, theological history, and ethnic orientation of individual congregations are the dominant factors shaping the worship experiences of each American Baptist church in the last decade. Music, though regarded as an essential part of worship in many Euro-American churches, is also often viewed as being preliminary and subsidiary to preaching, whereas it would usually have a much more dynamic place within Latino and African-American congregations. The latter have traditionally included more music in worship, both congregational and choral, and have long used instruments in addition to organ and piano.
To some extent the factor of size is significant in the type of music used in ABC/USA churches. Prominent, large churches have more classical, formal musical styles in contrast to the less classical forms found in smaller churches. This is related in some measure to the presence of trained musicians on staff. Such paid musical leadership is usually limited to the organist and choir director, with a strong emphasis on volunteer lay musicians in all other aspects of a church’s music ministry. A limited number of churches also employ section leaders for their choirs. Some large churches have, for many years, used brass and tympani for the festivals of Christmas and Easter, or organized string orchestras for special musical presentations within the context of worship. In recent years smaller churches are more likely to have introduced recorded accompaniments for choir presentations as a means of instrumental variety.
Another major factor in music within each church is the hymnbook in use. The last hymnal published by the denomination, the Hymnbook for Christian Worship, which was issued in 1970, includes mostly classical and traditional hymns, reflecting very little of the gospel song tradition significant in many ABC/USA congregations. Therefore, in congregations with an evangelical theological tradition or in African-American congregations, the hymnals of other publishers, such as other Baptist groups or independent houses, have had long currency. Some churches supplement a traditional hymnbook with a contemporary collection (in some cases, not only to add newer songs, but also to provide ethnic variety), or, by means of cooperative copyright access, print supplementary music for the weekly worship order.
Openness to new expressions is dependent upon pastoral leadership and, to some extent, upon geographical location. Churches on the West Coast have adopted the use of synthesizers and electric guitars much more commonly and have incorporated new musical styles to a greater extent than those east of the Rockies. Openness to new musical styles often does not mean openness to the full range of the church’s musical heritage. Contemporary praise choruses, hymns, and gospel songs may be introduced, but historic chants, psalm singing, or antiphons would not necessarily—or likely—be embraced in the same context.
As an example of a church committed to renewal in worship, First Baptist Church of Bakersfield, California, known as the Christian Life Center, regularly uses a convergence of musical styles and worship traditions from the whole range of the church, both past and present. Philip Dodson, the Pastor of Worship and Music and a classically trained organist, oversees the worship plan for each service, seeking creativity and balance in a blend of styles that gives every service its unique design. Congregational singing is led by a worship team of musicians and singers, using a combination of guitar, bass, drums, and piano, along with organ. Music is a dominant part of the service from beginning to end. Banners, processions (especially for Advent and Christmas, Easter and Pentecost), and antiphonal speaking are all used with the intention of using the entire space of the sanctuary. Dance and drama are also incorporated on occasion into the worship plan.
Many other churches in the denomination are highly attentive to worship planning and will use a variety of elements both from music and the other creative arts, primarily for special occasions. Banners are frequently found; dance and drama are less common, but are used. Many churches have exquisite stained glass windows and architecture that is aesthetically significant in the worship environment. Good examples of this include First Baptist Church of Washington, D.C. and First Baptist Church of Columbus, Indiana.
Since 1962 the Fellowship of American Baptist Musicians (FABM) has provided leadership in the networking and education of musicians of the denomination. Its mission has been to improve the quality of music ministry, emphasizing good music as a means of enriching the worship experience. The philosophy guiding the annual national conferences at the American Baptist Assembly in Green Lake, Wisconsin, has been to use and enhance the musical talents and gifts of each congregation by exposing American Baptist musicians to excellence in a variety of styles, while encouraging each congregation to do what is appropriate for its local context. The programs of these annual conferences are organized according to the following areas: adult, youth, children, organ, handbells, and worship. From this structure it is evident that many church music programs have graded choirs, that organ and handbells are predominant instruments, and that church musicians have a significant interest in the subject of worship. In fact, the worship seminars are the most popularly attended, attesting to a felt need and concern for growth in that area. Jay Martin, Executive Secretary of FABM, has also observed that there is a growing interest among American Baptist musicians in the use of orchestral instruments in conjunction with church music, noting that a seventy-member orchestra was part of the 1992 conference.
As a means of observing trends and forecasting possible future developments, one can also reflect upon worship services planned for national gatherings of the denomination. At a national convocation on evangelism, held in May 1992 at First Baptist Church of Washington, D.C., daily worship was designed to be the integrating focus of the week. Alleluya: Songs of Renewal (ed. Corean Bakke and Tony Payne) was produced as a conference hymnal. It was multicultural and multilingual with songs in Karen (Burmese), Russian, Kiowa (Native American), Spanish, Japanese, Chinese, and English. All the proceedings were signed for the hearing impaired. As a visual expression of the spoken word, this became a kind of dance for at least some of those with hearing. Processionals with flags and banners, banners hung in the sanctuary, and hangings on the lectern and the pulpit contributed to visual impact, along with the cathedral setting of First Baptist Church and, for one service, the National Cathedral. Dramatic monologues were presented in many services. A booklet for private devotional use directed attention to the windows of First Baptist as a point of reference. As a counterpoint to the banquet that had opened the conference, the closing communion service focused on the heavenly banquet of the Lamb with a beautifully appointed banquet table as a centerpiece between the pulpit and the lectern. Thus, creative use of music and the fine arts provided a major impact at this significant national conference.
Current plans for the 1993 biennial meeting of the denomination called for similar worship services that are multicultural and multilingual, that balance a variety of musical styles and instruments, and that will seek to use visual and other arts as part of the worship experience. As such meetings provide opportunities for the exposure of church leaders to creative possibilities in the use of music and the arts, the impact of such events may extend throughout the denomination in the worship experiences of local churches.