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23 Cards in this Set
- Front
- Back
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Baptist were part of the "radical fringe" that rejected any kin of "book worship." Missals, breviaries, books of Common Prayer, and other such materials were thought to smack too much of "popery" to find employment in Baptist congregations."
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David W. Music
Baptist Hymnals as Shapers of Worship pg. 7 Baptist History and Heritage Vo. XXXI, July 1996, No. 3 Slayden A. Yarbrough, Editor Published by: Historical Commission, SBC Nashville, TN |
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(psalters and hymnals) these books seldom contained any worship mateials other than congregational songs. Responsive reading, prayers litanies, creeds, confessions, devotional prose, and non-lyric poetry where almost completely absent from psalm and hymn collections of Baptists and other Christian groups in England and America
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David Music pg. 9
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In Baptist churches, the selection of psalms or hymns to be sung was evidently made by the preacher or precentor; there is little evidence of a pattern in the selection of congregational songs, and they were most likely made to accord with the pastor's sermon topic or were simply selected at random.
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Music pg. 9
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In 1787, the English Baptist pastor John Rippon published "A Selection of Hymns," which quickly became one of the most widely used hymnals among Baptists on both sides of the Atlantic. In addition to the ususal topical arrangements, Rippon included sections of humns that could fill a specific function in the service. One section was titled "Hymns Before Prayer" and ended with a paraphrase of the Lord's Prayer. The following part, "Hymns Before Sermon," had as its first hymn Samuel Stinnett's "Where two or three, with sweet accord," marked "To be sung between prayer and Sermon"; another text, John Fawcett's "Thye presence, gracious God, afford," was noted as being appropriate "Before Sermon." A third division, "Hymns After Sermon," inclded two hymns for use At Dismission, as well as benedictions and doxologies. This hymnal by Prippon represents one of the earliest recongitions by a Baptist compiler that hymns can and should be chosen to fill a specific funtion in the service.
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Music pg. 10
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An examination of the four most recent Southern Baptist hymnals--The Broadman Hymnalof 1940 and the 1956, 1975, and 1991 Baptist Hymnals--reveals that all were arranted by theological topic rather than worhsip order, except for The Broadman Hymnal, which followed no perceptible pattern at all. Perhaps the diversity of Baptist worship practices would make any such attempt at worship-order arrangement a fruitless one.
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Music pg. 11
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The materials to be found in hymnal often represent the worship repertory that binds a church or denomination together.
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Music pg. 11
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With the publication of The Broadman Hymnal, however, the situation was altered considerably. THis book had not only the imprint of the denomiational publishing house, but also the advantage of having been compiled by the most beloved Southern Baptist musician of the time, B.B. McKinney.
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Music pg. 11
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The Proadman Hymnal became the first hymnal to bring about any degree of unanimity in the congreational singing of Southern Baptists and was the most generally used hymnal among Souther Baptists at that time.
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Music pg. 11
quote by William J. Reynolds |
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The impact of The Broadman Hymnal on Southern Baptist worship life was tremendous, but--in the words of William J. Reynolds--"within a decade...the increased awareness of the significance of music in the churches, the increasing influence of seminary music schools, and the apprearance of better trained leadership in church music" demonstranted the need for a new hymnal. Southern Baptist worship was gradually becoming more sophisticated and churches needed a hymnal that could guide and reflect this trend.
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Music pg. 12
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The hymns in the Baptist Hymnal (1956) were grouped into 14 catagories covering the major areas of Christian faith and worship. While these categories reflected traditional baptist theology, they also made evident--particularly for persons who were not professional theologians--the close relationship between the songs they sang and the doctrines they believed.
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Music pg. 13
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Duing the heyday of The Broadman Hymnal and the Baptist Hymnal (1956)--and perhaps partly because of those books--the Southern Baptist Convention was unified in worship practice as it had never been before and has not been since.
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Music pg. 14
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But about the time the Baptist Hymnal (1975) was released, the standardization of Baptist worship reflected in the Broadman and 1956 hymnals was beginning to be reversed. Some churcher were beginning to concentrate heavily on classic hymns that had withstood the test of time, and also on contemporary hymns that spoke in modern language to modern concerns. Others continued in the revivalistic mode by an emphasis on gospel songs, both new and old. Still others began to explore the minimalist approach to evangelism that is characterized by the Scripture or worship chorus.
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Music pg. 14
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The method of organziing the hymns in the 1991 hymnal differed somewhat from earlier Southern Baptist books, in that this was the first to be arranged specifically according to the topics found in the Baptist Faith and Message.
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Music pg. 15
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A study of htese books (hymnals) indicates a growing awareness of the importance of the hymnals as a book of worship. From the fuzzy organization of The Broadman Hymnal to the comprehensive scheme of The Baptist Hymnal 1991, each hymnal has become pregressively more thorough and efficient as a worship tool. Improvements and changes still need to be made, or course. Nevertheless, these tools have effectively enhanced the worship, evangelism and service of Southern Baptists for over 45 years.
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Music pg. 16
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...Baptist sing their theology more clearly than they preach it.
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Ties That Bind pg. 153
Article-Music in the Spiritual Life of Baptists by Robert Reid |
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Baptists are also heirs of Huldreich Zwingli, the Zurich reformer who disallowed any form of musical expression in his congregation's worship so he could avoid any danger of "display." He elimanted choirs and organs and restricted worship to "the exposition of the scriptures."
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Reid pg. 153
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John Smyth "was guided by the principles of simplicity and spontaneity, and he viewed worship as an act of spiritual communion in the presence of God"
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Reid pg. 153
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The seventeenth century followed similar patterns of worship and music. Baptist, Presbyterians, and Congregationalists used a fairly universal order of worship, technically non-liturgical in type but predictably "liturgical" in practice.
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Reid pg. 154
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During the eighteenth century English Baptists followed Isaac Watts, producing a "Golden Age of Baptist Hymnody."
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Reid pg.154
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The change that most affected Baptist music and perspective was the gospel song.
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Reid pg. 158
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Late nineteenth-century Baptists in the south simply ignored social-ethical issues and the hymns that expressed them musically, turning instead to the subjectivity of evangelistic gospel songs. Baptists of the 1970s and 1980s in increasing numbers left the hymnal for chorus singing
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Reid pg. 162
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During the 1980s though, the charismatic praise and worship movement "went public" through the efforts of assorted publishers, and the content and nature of the choruses began to change.
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Reid pg. 162
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In this worship pattern, the congregation engages in a period of singing lively songs of praise and thanksgiving to God, followed by prayer and songs of confession.
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Reid pg. 162
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