A diverse collection of hymns and increasing interest in instruments, graded-choir programs, and new architectural designs mark these Church of God congregations. The visual arts and drama are also more frequently being used in worship. The use of the arts is often determined by the size, location, and leadership of individual congregations.
Diversity is a popular label used to describe trends and practices within many church groups today. The Church of God is no exception to this phenomenon as evidenced by an assessment of the general trends of music and the arts in local congregations.
Music
Since the birth of the Church of God in the late 1800s, there has been a gradual move from an exclusive diet of “native” hymnody to a very ecumenical body of hymnody, though a significant number of hymns unique to the Church of God continue to be sung regularly and widely. Church of God hymnody today is significantly influenced by the hallmark of evangelical churches, the gospel song, with its experiential-testimonial emphasis. Traditional hymns are also widely used, especially in metropolitan settings where many denominational backgrounds may be represented in a single church setting. The voluminous increase of praise or Scripture chorus material has also made its mark, especially in newly planted churches and in congregations with a strong outreach ministry to the unchurched.
Any of these categories of hymns may predominate in a given congregation. Numerous factors heavily influence the nature of a congregation’s hymnody, including the size, geographical location, and nature of the church’s leadership. There does seem to be a commitment, though, in many Church of God settings, to preserving and using the best of all types of hymns.
The Church of God, though characterized as “a singing people,” has not historically had many full or part-time persons providing professional leadership to music and arts development. Nor are there national or regional leaders charged with providing full-time direction to this aspect of the church’s life. As a result, resources and general publications to support these ministries have been minimal.
However, a strong commitment both to maintain a sizable body of the treasured heritage of hymnody and also to nurture a relevant and unique voice in evangelical Christianity prompted the publication of a new hymnal in 1989 entitled Worship the Lord—Hymnal of the Church of God. It has been widely accepted as a worthy successor to its 1971 predecessor. It is a comprehensive volume with the generous representation of classic hymns, gospel songs, Church of God heritage hymns, and praise/Scripture choruses. It, too, is a reflection of diversity. A hymnal companion has subsequently been released. Its content focuses on basic reference material and practical instructions for persons involved in worship planning and leadership, whether they be ordained clergy, full or part-time staff, or committed volunteers.
There is an increasing interest in the use of instruments in worship. This is seen as an additional dimension to congregational singing and an avenue for meaningful inclusion of budding or gifted instrumentalists. Orchestral instrumentalists, guitarists, and drummers are represented in solo or duet settings, small ensembles, and occasional (or regular in a few churches) full orchestras. Handbells are frequently used as well.
An increasing number of churches are establishing graded choir programs. Adult choirs are present in most congregations, though in many they may not sing on a weekly basis. The small membership of many Church of God congregations combined with, in most cases, the volunteer nature of leadership often causes the age-groupings for children’s choirs to be larger than what might be considered ideal. Their participation is also more likely to be limited to a predetermined program or a selected musical rather than ongoing involvement in worship leadership and music education. However, the focus on children and youth in this regard certainly has merit.
Environmental Art
Numerous churches have engaged in construction programs in recent years, often resulting in new settings for corporate worship. It is not uncommon to see new worship centers designed with the flexibility to accommodate the varied set-up needs of diverse programming. Flexible seating (i.e., chairs instead of pews) is frequently included in part, if not all, of the worship center.
The fan-shaped worship center (as opposed to the more traditional long and narrow sanctuary design) is predominant. An increasing trend is a move away from the use of the pulpit. It is not uncommon for a preacher to stand in front of the congregation without a pulpit. These trends, along with other developments, are efforts to foster participation and a sense of “family” among clergy and laity alike.
There is a gradual move to elevate the service of the Table in the worshiping life. This is evidenced by the centrality of the Table itself as well as by a trend toward more frequent observance of Communion. Altar rails continue to be a central part of architectural design and function in many churches, though they are not always visibly prominent in new churches whose target ministry is to the unchurched.
Other worthwhile traditions that for years have been labeled “high church” are being revisited and considered as local congregations try to find an appropriate balance between both being part of the historic church and also being a unique, contemporary voice in today’s world. The use of banners, liturgical colors, and other art expressions (such as stained glass) are readily found in many churches. It is not uncommon for vestments to be used in some settings, though there is some polarization on this issue. New churches with stated goals of reaching the unchurched tend to shy away from the use of vestments, while established urban congregations and particularly some black churches are very open to their use.
Drama and Dance
Drama in small and large scale form is being increasingly used in worship. Drama presentations are typically short, contemporary, and focused on a single thought, perhaps underscoring a central biblical or preaching theme. In a few isolated places, liturgical or interpretive dance is being included in the worship context. It is seldom used in and of itself but is typically used in concert with a choral or other musical selection.
A growing interest in worship resources and a renewed commitment by the church’s publication arms indicate that an increasing number of related publications may be on the horizon. All of these relevant resources will better enable a diverse church to meet a needy world with the eternal and changeless Christ.