Worship services in Church of the Nazarene congregations feature an extensive amount of music, most of which consists of nineteenth-century gospel songs and contemporary praise choruses. Choral and vocal solo selections are as important as congregational singing. Many congregations are currently eagerly seeking worship renewal, often borrowing practices from either liturgical or charismatic traditions.
From prelude to postlude, Nazarene worship is replete with music. Congregations are led in spirited singing of hymns, gospel songs, and choruses, often in succession and usually accompanied by piano, organ, or both. Choirs are fairly common and special music such as vocal or instrumental solos, duets, trios, and ensembles are routine. Vocalists generally prefer to use taped accompaniment, guitar, or synthesizer and tend to mimic contemporary Christian entertainers in terms of selections and style. Guest artists or visiting choirs are occasionally employed to offer a concert in lieu of the traditional worship service.
Since the Church of the Nazarene was organized at the turn of the twentieth century, its worship understandably bears the influence of both frontier worship and the camp-meeting tradition. It is fair to say that Nazarene worship has an evangelistic flair. Gospel songs and choruses tend to overshadow hymns and anthems. Scripture songs and other praise choruses are especially popular, and music done for the congregation is just as likely as music done by the congregation.
While services almost always end with some kind of choral response to the sermon, some services end with an altar service. Standard “invitational songs” such as “Just As I Am” or “Softly and Tenderly” are sung, sometimes repetitiously, by the congregation while the pastor invites seekers to come to the altar for prayer.
Perhaps Worship in Song (Kansas City, Mo.: Lillenas Publishing Company, 1972), the denomination’s official hymnal since 1972, best reflects Nazarenes’ music preference. Of the 510 entries, only 37 are designated as “worship” hymns or songs. The bulk of the hymnal is given to gospel songs, Wesley tunes, and songs unique to the holiness movement of which the Church of the Nazarene is a part.
In the past ten years, the Nazarene’s Lillenas Publishing Company has produced two hymnal supplements that have been well received by the denomination. The 1984 edition of Exalt Him and the 1987 release of Master Chorus Book included new hymns, gospel songs, and a heavy dose of praise music, the genre of choice. The more popular selections from the 1972 hymnal and the two hymnal supplements were significant in the preparation of the new Nazarene hymnal, Sing to the Lord, scheduled for release in 1993.
Historically, Nazarenes have not been inclined to use the arts in worship. Many Nazarene churches have pulpit-centered sanctuaries accented with stained glass windows, a cross, and the Communion table. In contrast, banners celebrating the Christian year, baptismal fonts, and liturgical dance are generally foreign to Nazarene worship. While drama has long played a role in congregational life, only of late has it enjoyed a more routine role in some parts of the country.
Three divergent trends in Nazarene worship renewal are evident. Olivet College Church of the Nazarene, Kankakee, Illinois, bears the influence of Bill Hybel’s Willow Creek model. “Seeker sensitive” services feature dramatic readings, mini-dramas, and upbeat praise music lead by a worship team.
The second approach in Nazarene worship is evident at the Faribault Church of the Nazarene, Faribault, Minnesota. There, Christ-centered worship often begins with the unison reading of the Psalms, an Entrance hymn, and the Lord’s Prayer prayed in unison or sung by the congregation. The Gloria Patri follows. Obvious is the use of the lectionary, the Apostle’s Creed, and doxology. Congregational participation is preferred over special individual offerings. Though other examples of this liturgical bent are recognized, it barely qualifies as a trend among Nazarenes.
The rapidly growing Grove City Church of the Nazarene, Grove City, Columbus (Ohio), exemplifies the more popular trend in Nazarenes committed to renewal. On the heels of pastoral greeting, the congregation sings, without interruption, five choruses, one hymn, and the verse of yet another hymn, all of which is followed by the choir, special music, offertory, prayer chorus, prayer, more special music, and the sermon. Newsworthy events in the life of the church are offered in the worship folder in lieu of a printed order of service.
Though traces of worship renewal can be documented, Nazarenes tend to be fond of their near century-old tradition of free worship. Accordingly, they have never insisted on uniformity in worship style, a practice that fosters a spirit of toleration and that allows for both diversity in renewal and the retention of tradition.