Singing has always been a central aspect of Church of the Brethren worship. A recently published hymnal promises to sustain this tradition while expanding the repertoire, musical styles, and instruments used by most congregations. In recent years, the use of the visual arts in worship have increased, and the variety of banners and symbols is now more widespread in Church of the Brethren worship than ever before.
Music
When Brethren first came to North America, they sang in German and made a gradual switch to English. Various hymnals were published in the nineteenth century for congregational worship. During the twentieth century, four hymnals have been published for congregation use, the most recent being Hymnal: A Worship Book. Published in 1992, it is the result of a cooperative project by the Church of the Brethren, the General Conference Mennonite Church, and the Mennonite Church.
Until near the end of the nineteenth century, hymns were lined, with the minister reading a line and a chorister setting the tune. The congregation would respond in unison or four-part a cappella singing. No musical instruments were allowed until the twentieth century at which time the piano and organ were slowly and reluctantly brought into the sanctuary.
Today various instruments are heard in many congregations. The piano and organ are the most familiar, although strings and brass are also occasionally used. The guitar has also become more common and in the newest hymnal, guitar chord markings are included with folk songs and choruses. Handbell choirs are heard in a small percentage of churches. With the introduction of shared-culture hymns in Hymnal: A Worship Book, more rhythm instruments undoubtedly will find their place in worship. At the same time that the greatest variety of instruments has been incorporated in the history of Brethren worship, there also is a resurgence of a cappella singing.
For Brethren, music is considered not only an aid to worship but an act of worship itself. Some brethren consider congregational singing as important as preaching. Many styles of music are sung, including chorales, gospel songs, Scripture songs, spirituals, ethnic, and classical hymns. Contemporary hymnody in the style of a melody line and a flowing accompaniment requires Brethren to sing some hymns in unison, although historically their preference has been four-part harmony. Antiphons and psalmody, which have had only token representation in past Brethren hymnals, enjoy more exposure in the most recent hymnal. Whether Brethren are willing to sing hymns in the style of chant has yet to be tested.
Themes in hymnody range from the praise of God, Jesus Christ, and the Holy Spirit, to peace, social justice, discipleship, stewardship, and personal salvation. Hymns with themes based on the Brethren ordinances, such as anointing, laying on of hands, Believers’ baptism, love feast, and foot-washing, have also been written by Brethren. Brethren authors and composers continue to be represented in the denominational hymnal, not merely because they have been loved and respected, but because their hymns help Brethren identify with our Anabaptist/pietist roots.
The Arts
Traditionally the visual arts have not been as important as the music in Brethren worship. For most of their history, Brethren have worshiped in very simple buildings with nothing of artistic appeal to catch the eye. According to one historian,
Neither inside nor outside was a dollar spent for any sort of ornamentation. The style of architecture was bare in its simplicity, and far removed from such vanities as spires, towers, stained windows, painted or cushioned pews, ornamental pulpits, or anything else which could not show the passport of indispensable utility … (Henry R. Holsinger, History of the Tunkers and the Brethren Church [Oakland, Calif.: Pacific Press Publishing Co., 1901], 243-244)
In a recent publication, Sign and Symbol in the Church of the Brethren, author Patricia Kennedy Helman agrees, as she states:
It is noted often in the writings of the mystics that one can have a religious experience by either feasting or fasting. The members of the Church of the Brethren chose to fast in their style of worship in the plain meetinghouse, with no statuary, no paintings or stained glass, no incense or candles, no musical instruments, nothing to command the senses. Nothing but the sounds of their own voices rising and falling in cadence. Nothing but the hope that when the presence of God was invoked they would sense affirmation! ([Elgin, Ill.: Brethren Press, 1991], 19)
At the 1971 Annual Conference a small group of persons organized together into what has become known as The Association for the Arts in the Church of the Brethren (AACB). This group encourages and recognizes artists, writers, dramatists, and musicians within the denomination. Since 1971 the Association has actively influenced art at Annual Conference by submitting designs for the conference logo, by sponsoring annual quilting and a quilt auction, and by sponsoring Art for Hunger. In addition, AACB publishes a newsletter for its members, holds workshops, and creates worship resources. Above all, “their main contribution has been the liberating of the artistic spirit within the church.” (Ibid., 74).
Today’s worship environment is very different from that of early Brethren worship. Early Brethren churches had a plain table for the ministers, on the same level as the congregation. Later, Communion tables were introduced. Today, the term altar or worship center is used, signifying a more liturgical style of worship. The worship environment may include banners, worship centers designed around a given theme, candles, an open Bible, and a cross. Symbols are used on the church’s letterhead and denominational materials. The cover of the 1992 Hymnal: A Worship Book includes an Anabaptist symbol of the lamb in the midst of briars, denoting “the suffering lamb of God who calls the faithful to obedient service.” (The cover symbol of Hymnal: A Worship Book is described on the flyleaf of the book.)
Vestments are worn by some pastors, as are robes by some choirs. Although there is a strong feeling that the pastor and choir ought not to be separated from the congregation, the decision is made according to local practice.
Liturgical dance has encountered skepticism because to some it symbolizes undisciplined and worldly living. In the past decade, many congregations have found meaning in chancel drama and storytelling. The core of Brethren heritage is the charge that calls members to radical discipleship to Christ. Any sound or sight which would deter them from that faithfulness would be seriously questioned for its appropriateness in both worship and daily living.