By Robin G. Jordan
Since March I have been on a learning curve. This learning curve has not only included learning more about COVID-19 coronavirus, its effects upon the human body, and the conditions under which it is transmitted but also learning about doing online services and gatherings and doing them well. I have discovered a wealth of resources on the internet and have been exploring creative ways of tapping them.
The countries of the United Kingdom—England, Northern Ireland, Scotland, and Wales—adopted much more restrictive measures against the spread of the virus than the United States. Churches in these countries have been creative and imaginative in ministering to their congregations and those outside their congregations. All Souls Langham Place, London recorded individual members of its choir and orchestra performing at home and then pieced the recordings together into a single video.
Bethany Baptist Church, Pwllgwaun, Wales has posted on Youtube a hilarious video, “Post-Lock Down Church,” which actually contains the seed of a good idea that churches which have adopted a moratorium on choral and congregational singing in the light of the role singing and loud talking may play in the transmission of the virus might want to develop.
In the video which spoofs various precautionary measures the attendees of Bethany’s in-person service play recordings of themselves singing the hymns on their phones during the service. But that suggested to me a way of involving church members and regular attendees who are not ready to return to the building for in-person services. The church could sponsor a weekly online hymn sing at which each household which attends the church in normal times records itself singing along with recordings of the hymns for the upcoming Sunday. After the hymn sing each household would submit its recording electronically to a staff member or volunteer who assembles them into a single recording. Rather than have live singing at the in-person service, the recording would be played at appropriate points in the service. This would provide an additional layer of protection against the transmission of the virus while involving all the households in the music of the service. Admittedly some churches may not have anyone with the technological know-how to pull off this idea. Households may be reluctant to record themselves singing. But I believe that it is worth a try.
In his first letter to the church at Corinth Paul writes, "What then, brothers? When you come together, each one has a hymn, a lesson, a revelation, a tongue, or an interpretation. Let all things be done for building up." Based upon this passage some churches have inaugurated a time of "open worship" in which different members of the congregation take turns offering a song, a Scripture reading, an exhortation, or a prayer during the church's Sunday or midweek gatherings. In a small church the members of a household might sing a hymn or worship song together and record it. They might give a testimony and record it. They might read a psalm together and record it. And so on. These recordings might be sent electronically to the pastor or another staff member or a volunteer and played at the next gathering of the church. They might also be used in the church's online services.
Churches that have shied away from using pre-recorded music in their services may want to reconsider that policy. As early as 1982 Bishop Michael Marshall suggested the use of pre-recorded music in the services of small churches in his book Renewal in Worship. Hymns, psalms, canticle, worship songs, and service music serve more than one purpose. Their sole purpose is not to provide words for our praise and adoration of God albeit that is one of their purposes and an important purpose at that. They also provide a way that we can build up each other’s faith. We listen to the words and they invigorate, strengthen, and confirm our faith. They testify to what we believe and value. They encourage us. Pre-corded singing can do the same thing as live singing.
Most human beings sub-vocalize. They speak or sing to themselves or even to someone else without speaking or singing aloud. They are speaking or singing words but inaudibly. Other people cannot hear them. We may sing along with a favorite vocalist, music ensemble, or choir in our head.
While other people cannot hear us, God can. He knows our thoughts.
I have sung God’s praises in my head while doing something else. Whether this phenomena is my spirit or God’s Spirit singing within me, I cannot say.
I have also listened to a song and then caught myself singing the song in my head. Whether this phenomena is related to the first, I do not know. But it is as if the song so grabbed my attention that my brain made a recording of it and is playing back the recording.
I have found that it is easier for me to remember words and phrases if I sing them while I am memorizing them.
These experiences convince me that we can not only praise God in song without singing aloud but also the words that we are hearing and singing inaudibly are becoming a part of us. They are becoming a part of the prayer of our heart—not the heart of stone that leads us into rebellion against God but the new heart that God has given us in its place.
For these reasons I do not believe that churches should shy away from using pre-recorded music. I am not depreciating the value of live music—instrumental or singing. I am strong proponent of congregational singing. At the same time I see a place for the use of pre-recorded music in our Sunday worship. A number of small churches already use pre-recorded music in the form of digital hymn players, mp3s, and worship tracks.
When I was actively involved in music ministry, I championed singing out, singing the doors right off their hinges, as Howard Hanchey wrote in Church Growth and the Power of Evangelism: Ideas That Work, rather than singing softly, singing as if fearful of awakening God or the neighbor slumbering in the next pew. The later practice was encouraged in an Anglican churches of a particular stripe for many years. I have not changed my views. However, I have concluded that using pre-recorded hymns and other forms of worship music and singing inaudibly along with them may be our best option for the present when churches begin to return to their buildings. It adds another layer of protection against the transmission of the COVID-19 coronavirus. It also enables attendees to wear a face mask throughout the service, further reducing the risk of transmission.
One objection to pre-recorded music is that it does not make room for the Holy Spirit. In response to this objection I must point out that if the vocalist or instrumentalist who was recorded is a believer, the Holy Spirit was present during the recording. If the music ensemble or choir that was recorded includes believers, the Holy Spirit was also present during the recording. If those who are listening to the music or singing along with it inaudibly or otherwise are believers or include believers, the Holy Spirit is present too. Using pre-recorded music does not limit the Holy Spirit. Nothing can limit God.
To illustrate one way that pre-recorded music can be used in a service, as well as to celebrate the feast of Saint Barnabas the Apostle and my birthday, I have put together an online service of Morning Prayer on the A Prayer Book for North America blog. The format of the service is taken from the Scottish Episcopal Church’s Daily Prayer, which adapts much more easily to online use than the formats of the Daily Offices in a number of Anglican service books.
The two canticles are metrical versions of the Venite and the Benedictus—the quintessential canticles of Morning Prayer in the Anglican tradition. The Venite is Michael Joncas’ adaptation of the metrical version of Psalm 95 from The Psalter 1912, which in turn is based upon an earlier metrical version in the 1650 Scottish Psalter. The tune CLEARWATER is Michael Joncas’ own composition and originally appeared in the music collection As Morning Breaks/O Joyous Light. It is one of my favorite metrical settings of the Venite.
The Benedictus is Carl P. Daw’s metrical version of that canticle, “Blessed Be the God of Israel (Who Comes to Set Us Free).” It is most widely sung to FOREST GREEN, an English folk tune that Ralph Vaughan Williams turned into a hymn tune for The English Hymnal (1906). FOREST GREEN is one of the settings of “O Little Town of Bethlehem” and “I Sing the Almighty Power of God.” “Blessed Be the God of Israel” may also be sung to KINGSFOLD, Dorothy Howell Sheets’ SONG OF ZACHARIAS, and Annabeth McClelland Gay’s SHEPHERD’S PIPES. KINGSFOLD is another English folk tune that Ralph Vaughan Williams introduced as a hymn tune in The English Hymnal (1906), in which it is used as the setting for Horatius Bonar’s “I Heard the Voice of Jesus Say.” Both canticle settings were selected for singing or listening.
The Office Hymn is a choral arrangement of Eleanor Farjeon’s “Morning Has Broken,” set to BUNESSAN, a Gaelic folk tune, and sung by the Cambridge Singers. It follows the Venite, the position for the Office Hymn that Percy Dearmer and others have championed. In a small church which recites the psalms, it is in this writer’s opinion the most appropriate position for the Office Hymn, considering the Venite’s invitation to sing God’s praises. To my mind it is lame to proceed the Venite with a hymn of praise and follow it with a recited psalm as has become customary in a number of Anglican parishes. While the particular selection for the Office Hymn is intended for listening, some of us may want to join the Cambridge Singers in singing it.
The anthem is a setting of James Quinn’s adaptation of St. Patrick’s Lorica, or Breastplate, “This Day God Gives Me,” which is new to me. I picked it for listening. The setting is not a difficult one and can quickly be learned through repeated hearing. Like my grandfather, I primarily learn music by ear. He was the instrumentalist in my family, playing the organ, piano, and violin. “This Day God Gives Me” is a beautiful prayer-song for the conclusion of Morning Prayer.
The music of service reflects my love of congregational and choral settings adapted from folk tunes or inspired by them.
The psalm is a shortened version of Psalm 63, which was one of the fixed psalms of the ancient cathedral office of Lauds. It concludes with a psalm prayer, or psalter collect. The service includes a reading from the Gospel of Luke and a short devotional.
The texts of the canticles, hymns, psalms, prayers, and reading were posted solely for educational purposes. Those who wish to use them in a service of public worship will need to secure the permission of the appropriate copyright holder.
Rather than lamenting the constraints that the precautionary measures that we need to take to reduce the risk of COVID19 coronavirus infection to our congregations and communities impose upon our Sunday gatherings, we should be look for alternative ways of offering God our thanks and praise and celebrating the sacraments. God has given us the gift of a creative imagination. Let us use this gift in his service and for his glory.
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