A Post-Reformation Model of Worship: Adventist Worship

Early Adventist worship was simple, informal, and vigorously nonliturgical. When the first church Manual was adopted, reluctantly, in 1883, it made no mention how regular worship services should be conducted. It did, however, lay down some guidelines for the “ordinances of the Lord’s house,” meaning the Lord’s Supper and the accompanying foot-washing service. Indeed, the earliest mention of an order of service for Adventist churches appears to be in a book published in 1906 by a prominent Colorado pastor, H. M. J. Richards.

Introduction

This order of service is presented below. Scattered hints in earlier sources mention such elements as “prayers, singing, exhortation, and preaching” (see D. M. Canright, “A Few Thoughts About Meetings,” Review and Herald, vol. 28 [Oct. 30, 1866], 173).

Text:

Silent Prayer
Opening Hymn
Public Prayer
Hymn
Sermon
Hymn
Benediction

Commentary: The minister enters the pulpit and kneels for a few moments in silent prayer to God. All the people bow their heads and unite with their minister in silent prayer, imploring the Divine blessing upon the services of the hour. Then the minister announces the opening hymn, then all stand and join in singing. After this the minister and all the people kneel in prayer, while he leads them in a public extemporaneous prayer of moderate length and appropriate to the needs of the people and subject of the sermon. Usually a second hymn is then sung, and the sermon follows this. The service is concluded by another hymn sung by the entire congregation, after which the benediction is pronounced by the minister. (H. M. J. Richards, Church Order [Denver: Colorado Tract Society, 1906], 64).

Even this order of service was not ironclad. Richards allowed for some variations, such as “special music,” including sacred solos, duets, quartets, or anthems; and also occasionally “a short Scripture reading at some time before the sermon; and at times a short prayer is introduced after the sermon, when the Spirit so directs.” Richards’ only concession to liturgical propriety was his insistence that no announcements intrude on the worship service and that the benediction be pronounced by an ordained minister. Ten years earlier the same reservation had been expressed, describing a benediction as “a blessing pronounced upon the congregation. In doing this the minister usually raises his hands and blesses the congregation in the name of the Lord, pronouncing grace, mercy, and peace upon them. This function … ought to be confined to ministers of the gospel.” (G. C. Tenney, “To Correspondents, #68” Review and Herald 73 [March 31, 1896], 202).

Adventist Worship in the Post-Reformation Period

Adventist worship from the beginning followed a simple format, marked in its earlier stages by enthusiastic outbursts and an emphasis on singing. Worship was not a distinctive emphasis of the Adventist tradition, and its worship patterns were adapted from other movements, with one major exception: most Adventists meet for worship on the seventh rather than the first day of the week.

Adventists are those conservative Protestants outside the dispensationalist camp whose religion focuses on the second advent of Christ. They also have some genetic relationship to the advent awakening of the 1830s and early 1840s, led in America by William Miller. Today, the largest of these groups is the Seventh-day Adventist Church, on which this discussion is centered. Several smaller denominations, including the Advent Christian Church and the Church of God (Seventh-day), also acknowledge William Miller in their heritage.

The Millerite movement cut across denominational lines, attracting Methodists, Baptists, Presbyterians, and Congregationalists, probably in that order as far as a number of adherents are concerned. When Christ failed to return to earth literally in 1844 as Miller had predicted, the movement broke up, and one faction eventually (in 1863) organized itself formally as the Seventh-day Adventist Church. Many Millerites were or had been active in the reform movements of the day, notably abolitionism, and thus tended to be found primarily where abolitionism thrived: in small towns and rural areas of the northeastern United States.

The worship practices of the Millerites who became Seventh-day Adventists were probably influenced most by Methodists, Baptists, and the Christian Church of New England, or Christian Connection as it was sometimes called. The latter was staunchly anti-creedal, anti-Trinitarian, and anti-liturgical. Two of the founders of the Seventh-day Adventists, James White and Joseph Bates, had previously belonged to the Christian Connection; the third founder, Ellen G. White, had Methodist roots. Adventists were also influenced by the “Christian anarchy” of the abolitionist movement, a view which regarded all earthly institutions, even governments, and churches, as fallen and evil. Hence it was nearly twenty years after the Millerite movement ended before Seventh-day Adventists finally decided that formal church organization was both necessary and divinely sanctioned.

These influences ensured that early Adventist worship would be simple, informal, and vigorously non-liturgical. When the first Church Manual was adopted, reluctantly, in 1883, it made no mention how regular worship services should be conducted, although it did lay down some guidelines for the “ordinances of the Lord’s house,” by which Adventists meant the Lord’s Supper and the accompanying foot washing service. The first description of an order of worship for Adventist churches appears to be a 1906 book by a prominent Colorado pastor, H. M. J. Richards:

The minister enters the pulpit and kneels for a few moments in silent prayer to God. All the people bow their heads and unite with their minister in silent prayer, imploring the Divine blessing upon the services of the hour. Then the minister announces the opening hymn, then all stand and join in singing. After this, the minister and all the people kneel in prayer, while he leads them in a public extemporaneous prayer of moderate length and appropriate to the needs of the people and the subject of the sermon. Usually a second hymn is then sung, and the sermon follows this. The service is concluded by another hymn sung by the entire congregation, after which the benediction is pronounced by the minister. (H. M. J. Richards, Church Order [Denver: Colorado Tract Society, 1906], 64).

Even this order of service was not ironclad. Richards allowed for some variations such as “special music,” including sacred solos, duets, quartets, or anthems; and also occasionally “a short Scripture reading at some time before the sermon, and at times a short prayer is introduced after the sermon when the Spirit so directs.” Richards’ only concessions to liturgical propriety were his insistence that no announcements would intrude on the worship service and that the “benediction” be pronounced by an ordained minister. Ten years earlier the same reservation had been expressed, describing a benediction as “a blessing pronounced upon the congregation. In doing this the minister usually raises his hands and blesses the congregation in the name of the Lord, pronouncing grace, mercy, and peace upon them. This function … ought to be confined to ministers of the gospel” (G. C. Tenney, “To Correspondents, #68,” Review and Herald 73 [March 31, 1896], 202).

Scattered hints in earlier sources mention such elements as “prayers, singing, exhortation, and preaching,”(D. M. Canright, “A Few Thoughts About Meetings,” Review and Herald, 28 [Oct. 30, 1866], 173) but recommend no specific order and seem to be far more concerned with the spiritual preparation of the worshiper, promptness, and reverence, than with the content or order of the service.

Whatever the exact order of service might have been, Adventists during the early years of their movement, like the “shouting Methodists,” often enjoyed an enthusiastic worship service. Fervent cries of “Glory!” “Hallelujah!” “Praise God,” and “Blessed Jesus!” punctuated worship services. A believer from Vermont reported that “free and full ‘Hallelujahs’ ascended to God and He was glorified with praise, love, and adoration” (Hiram Edson, “Brother Hiram Edson writes …,” Review and Herald 1 [Feb. 1851], 48). Another tells of a meeting where “the house rang from the full shouts of praise” (James White, “Eastern Tour,” Review and Herald 15 [Dec. 1, 1859], 13.). Ellen White, co-founder and spiritual leader of the Seventh-day Adventists, also experienced ecstatic public visions during the early days of the movement. Occasionally a worshiper was prostrated or “slain by the Spirit” during a service, and in three or four instances, believers spoke in tongues, although the practice was never encouraged and never became widespread.

These practices died down fairly quickly after the Civil War. In part this development followed the trend of the times; Methodists were also becoming more sedate. It was also a response to fanatical abuses of “exercises.” By the end of the century Ellen White, who had encouraged shouting in 1850, instructed her fellow believers that the praise of God did not lead to “wild demonstrations.” No, she said, “Softly and silently the power of the divine Spirit does [his] work.” (Ellen G. White, “Sermon at Ashfield, Australia,” November 3, 1894 [Manuscript 49, 1894]; “My Dear Brethren,” c. April 1889 [Letter 85, 1889]).

Singing was a prominent part of the Adventist worship experience both early and late. During their Millerite days, Adventists imbibed the folk hymns and white spirituals of the Second Great Awakening. Their early hymnody drew on this source but included a respectable number of hymns of Isaac Watts and Charles Wesley as well. Four hymnals and five supplements were published by Seventh-day Adventists even before the formal organization of the church. As late as 1870 it was reported that during worship services “singing makes up one half of the meeting” (D. T. Bourdeau, “Punctuality in Attending and Taking Part in Religious Meetings,” Review and Herald, vol. 35 [March 8, 1870], 95).

An Adventist worshiper in the latter quarter of the nineteenth century still experienced a simple, non-liturgical service. When emotion did appear, it was expressed in weeping. Worshipers were said to have had a “melting time,” as hearts melted and tears of repentance, gratitude, or joy-filled their eyes.

[A group of Adventists near Washington, New Hampshire, began to observe the seventh day as a Sabbath in 1844. In 1846 Joseph Bates issued a pamphlet on seventh-day observance that publicized the question and created wide interest. Before long a number of Adventist leaders, including James White and Ellen Harmon (later to become Ellen White), began to advocate the seventh-day Sabbath in various publications, along with other distinctive Adventist teachings. Seventh-day Adventist doctrine stresses the Ten Commandments as a reflection of the character of God, revealed in Jesus Christ, and as a universal standard of righteousness; observance of the seventh day is based on the fourth commandment.

The Arts in Adventist Churches

Gospel song is prominent in the music of Adventist churches. However, the range of music used spans the centuries from traditional masterpieces to contemporary choruses. Churches rely on a variety of instruments, from large pipe organs to electronic synthesizers. The other arts are not generally used in worship, but among a few leading churches banners, hangings, and drama have been introduced.

Music

From its very beginnings, the Seventh-day Adventist Church has witnessed a fascinating polarity in music preferences and practices. The church was forming during the period of revival and camp-meeting enthusiasm in the mid-nineteenth century. A considerable portion of music in the emerging church consisted of the white spirituals and gospel songs that one would expect from that background. Wesleyan hymns were significant, and people coming to the Adventist church from other denominations brought their hymns with them. Early Adventist leaders published hymnals and worked diligently to teach the people how to understand and use music from the great traditions of hymnody. This work continues. It would be difficult to define a Seventh-day Adventist music tradition because of the eclectic use of music in worship, although gospel song is the most prevalent genre.

Given this background, it is perhaps surprising that the use of the guitar in worship has been resisted in many places. However, a number of Adventist churches intent on renewing worship use not only guitars, but synthesizers, electric basses, drums, and various other instruments. Use of such instruments was almost negligible prior to the mid-1980s. Since the late 1970s many churches have added handbells to their worship programming. During this same period, though beginning earlier, Adventist college campus churches, as well as various other large Adventist churches have increasingly used brass ensembles and chamber groups in worship.

During the 1970s and 1980s several Adventist churches, mostly on college campuses, installed large mechanical action organs. The Rieger organ at Pacific Union College Church (Angwin, California, north of San Francisco) is the largest such organ on the West Coast, and the Brombaugh organ at the Collegedale Church (Southern College, near Chattanooga, Tennessee) is one of the largest in the United States. A number of Adventist churches also have large Casavant organs. Most Adventist churches, however, use a small electronic organ and often a piano for the accompaniment of worship.

One finds considerable musical variety within Seventh-day Adventist churches. Most typical is the standard fare of hymns and gospel songs which may be used for both congregational singing and service music. In the churches emphasizing renewal, particularly those with a celebrative type of worship, most of the music consists of Scripture songs and praise choruses. The great masterpieces of music are also heard regularly in the largest Adventist churches. Christian rock music, however, is rare.

Visual and Performing Arts

A growing, though still very small, number of Seventh-day Adventist churches are using banners to enhance worship. For example, beginning in 1987 in Waynesboro, Virginia, and in 1990 in Lakeside, California, the author introduced banners, an artistic medium that had never before been used. Although the congregation first questioned their use, they soon recognized their great benefit. In Lakeside we have produced banners for Advent, Christmas, the Easter Season (Triumphal Entry, Crucifixion, Resurrection), Pentecost, Adventist Heritage Sabbath, and Thanksgiving.

Beginning at the Sligo Church (near Washington, D.C.), and then in Waynesboro and the author’s church in Lakeside, the author has introduced table displays to illustrate, complement, or expand the morning worship theme. A few Adventist churches, including the Sligo church, have commissioned artistic wall hangings. A limited number of Adventist churches have flexible seating, and only a few of those have varied the seating from time to time to enrich worship.

Chancel drama is a recent addition to Seventh-day Adventist worship and is used in only a very small number of churches. However, its use increased notably during the 1980s, to the point where several of the renewing churches are using drama almost every week.

In 1985 the Seventh-day Adventist Hymnal (Hagerstown, Md.: Review and Herald Publishing Association, 1985) was published. It is the first Seventh-day Adventist hymnal or liturgical book of any kind to include extensive worship aids. Prior to that, the most recent hymnal had been published in 1941. A Companion to the Seventh-day Adventist Hymnal by Wayne Hooper and Edward E. White was published in 1988 (Hagerstown, Md.: Review and Herald Publishing Association, 1988).