San Diego & AAR

Weekend before last was the annual meeting of the American Academy of Religion and the Society of Biblical Literature, this year in San Diego. Since Amy is a member of SBL and I am a member of AAR, it's always a fun time to get away for a weekend and hear some interesting papers.

While SBL often has some solid biblical scholarship, AAR can be a hit or miss affair. For example, last year in Washington, D.C., I was treated to an awkward conversation with the head of an arts and theology department, a great talk by N.T. Wright, and an interpretive dance based on the works of Kant and Hegel.

This year, however, was a fabulous year for my own interests. First I attended a session on the arts and theology which examined Andy Warhol's Sixty Last Suppers. The panel, which consisted of an art historian, a theologian, a Catholic and a Protestant, agreed that it seemed not ironic, and an interesting discussion followed, with Frank Burch Brown among the respondents. I left that session before a film discussion to catch the Baptist Professors of Religion's discussion of Just War.

That afternoon I caught a 19th century theology section, including a discussion of Ritschl, Nietzsche, Elizabeth Cady Stanton and some other 19th century feminists. I was hoping for some help for my dissertation, but it wasn't that helpful, although still interesting, since I've been living in the 19th century.

Following that was a fabulous Hebrews paper by Amy, which she delivered well and fielded some hard questions.

On Sunday I attended a discussion on Eucharistic origins with Andrew McGowan (his paper is posted at his blog), who has continued Bradshaw's calling for the rethinking of a unified early Eucharist. It was a fabulous round table, although I didn't agree with all conclusions that were made (also, it was unfortunately somewhat hard to hear). After that was a session on early depictions of worship, which included slides. Since it was late on my third day and dark, I don't quite remember everything about it.

My other favorite session was one on Monday, regarding Music and Theology. While the papers I heard weren't incredible, I am excited to see this group getting going at AAR. However, I did skip out on the middle couple of papers to hear my friend Justin's paper in the Mark section, which also turned out quite well. It looked like the stronger papers at Music and Theology happened while I was gone, but I was happy to support Justin. It seems as if it's going to become a regular program group, for which I would be grateful.

In all, it was a great conference this year, both for the papers I heard and for the people I got to see. Our OBU religion faculty was there, as well as friends from Princeton, Drew and elsewhere. I don't know what we'll do next year, though, because AAR and SBL are splitting. We'll have to see whose papers get accepted, I suppose.

Come, Labor On

On Sunday, besides singing "For All the Saints," our choir sang an easy arrangement of "Come, Labor On" (arranged by myself) for its anthem, the congregation joining in on the final verse. It was a nice bookend to the pre-communion service, with "For all the saints who from their labors rest" beginning and then, the call to "Come, labor on" to conclude it.

It is a hymn that is not as well-known in non-Anglican churches, although it is an excellent call to service. Jane Laurie Borthwick (1813-1897), the text's author, was a resident of Edinburgh who also spent some time in Switzerland. Like Winkworth, she and her sister produced some translations of German hymns, notably in Hymns from the Land of Luther and Alpine Hymns.

Its rousing tune, ORA LABORA, is by Thomas Tertius Noble (1867-1953), a student of Charles Villiers Stanford. Noble was a noted organist in England, and in 1913 moved to New York to become the organist at St. Thomas Church, where he established their boys choir and choir school, serving until 1943 (the noted organist John Scott serves there now). He was one of the editors of the 1916 Episcopal Hymnal, and served on the committee of the 1940 edition as well.

The text is based on Matthew 25:23. Most hymnals omit the third verse about the enemy watching, and many omit the final verse, probably because the penultimate verse ends so well. Noble's tune fits it well, which could have been difficult with its five-line structure. It doesn't feel as even as many hymns because of this odd number, but it rises to a nice finish.

Come, labor on!
Who dares stand idle, on the harvest plain
While all around him waves the golden grain?
And to each servant does the Master say,
“Go work today.”

Come, labor on!
Claim the high calling angels cannot share—
To young and old the Gospel gladness bear;
Redeem the time; its hours too swiftly fly.
The night draws nigh.

Come, labor on!
The enemy is watching night and day,
To sow the tares, to snatch the seed away;
While we in sleep our duty have forgot,
He slumbered not.

Come, labor on!
Away with gloomy doubts and faithless fear!
No arm so weak but may do service here:
By feeblest agents may our God fulfill
His righteous will.

Come, labor on!
No time for rest, till glows the western sky,
Till the long shadows o’er our pathway lie,
And a glad sound comes with the setting sun,
“Well done, well done!”

Come, labor on!
The toil is pleasant, the reward is sure;
Blessed are those who to the end endure;
How full their joy, how deep their rest shall be,
O Lord, with Thee!

For All the Saints

Yesterday, being All Saints Day, is a good day in the church's calendar because of the obvious usage of the hymn "For All the Saints," by William How, an Anglican rector and bishop. At a time when we are called upon to remember the "cloud of witnesses" who have stood strong in the faith, this hymn is useful for more than just its title. It is a lengthy one, with many hymnals including five or six verses, and some up to eight.

Besides its fabulous text, the tune, SINE NOMINE, is by the master Ralph Vaughan Williams (if you're up on your Latin, you might get the little joke of the tune title). It features a driving pedal line for the organ, and a lively melody for singing (oh, I briefly discussed it before). The accents of the text are sometimes different between verses, so it also makes the singer (and organist) pay close attention to the words. I also find it very appropriate to play at funerals, although played with less fervor than I usually would. If you come to my funeral, be sure this one is sung—not that I'm saintly by nature, but all are saints who are sanctified.

I was happy to go to choir last night and find that we will be singing this on Sunday. I had already planned to play a Vaughan Williams setting of a communion hymn for a postlude, so it will be a Vaughan Williams Sunday. Here's the text, with all the verses, of "For All the Saints."

For all the saints, who from their labors rest,
Who Thee by faith before the world confessed,
Thy Name, O Jesus, be forever blessed.
Alleluia, Alleluia!

Thou wast their Rock, their Fortress and their Might;
Thou, Lord, their Captain in the well fought fight;
Thou, in the darkness drear, their one true Light.
Alleluia, Alleluia!

For the Apostles’ glorious company,
Who bearing forth the Cross o’er land and sea,
Shook all the mighty world, we sing to Thee:
Alleluia, Alleluia!

For the Evangelists, by whose blest word,
Like fourfold streams, the garden of the Lord,
Is fair and fruitful, be Thy Name adored.
Alleluia, Alleluia!

For Martyrs, who with rapture kindled eye,
Saw the bright crown descending from the sky,
And seeing, grasped it, Thee we glorify.
Alleluia, Alleluia!

O blest communion, fellowship divine!
We feebly struggle, they in glory shine;
All are one in Thee, for all are Thine.
Alleluia, Alleluia!

O may Thy soldiers, faithful, true and bold,
Fight as the saints who nobly fought of old,
And win with them the victor’s crown of gold.
Alleluia, Alleluia!

And when the strife is fierce, the warfare long,
Steals on the ear the distant triumph song,
And hearts are brave, again, and arms are strong.
Alleluia, Alleluia!

The golden evening brightens in the west;
Soon, soon to faithful warriors comes their rest;
Sweet is the calm of paradise the blessed.
Alleluia, Alleluia!

But lo! there breaks a yet more glorious day;
The saints triumphant rise in bright array;
The King of glory passes on His way.
Alleluia, Alleluia!

From earth’s wide bounds, from ocean’s farthest coast,
Through gates of pearl streams in the countless host,
And singing to Father, Son and Holy Ghost:
Alleluia, Alleluia!

My Statement of Music in Worship

As I promised a couple of weeks ago, here are the ideas I hold to about music in worship. Well, these are them as they stood when I wrote this at Westminster about four years ago, before I actually took many courses and read many things about worship itself. I was going to rework them because I think some of these points definitely should be, but I decided to present them and see what comments you might have. For one thing, as I read this I see that my writing style has slowly been changing, but that's another topic. More importantly—no, never mind. As I said, I'm going to post them without more comment.

1. As God showed His creativity in the act of Creation, and humanity is created in His image (Genesis 1), we should use our creativity to fashion good music and other forms of art (e.g. drama, painting, sculpture, sermons, responsive readings, etc.) for His worship. This is also embodied in the statement that we are to sing a new song unto God (Psalm 33:3; 96:1; 98:1; 149:1; Isaiah 42:10).
2. The act of worship is one of the most important activities in which the church as a community participates. This is also true on a personal level—the act of worship, both communally and personally, gives a greater depth to the spiritual life and the fellowship which one enjoys with God. The focus of worship is God—not our own emotions or desires. It is not something to be merely observed or attended, but is something in which to actively participate. This is one way among many that we can “present our bodies a living and holy sacrifice unto God, [as] our spiritual service of worship” (Romans 12:1). Participation is not limited to the music leaders (organist, choir members, music director, etc.), but the congregation's voice should be the main instrument of praise. All are commanded to sing (I Chronicles 16:23-25; Psalm 66:1-2; 96:1,2; 98:1; 147:7; 149:1; Isa. 42:10).
3. The time that is set aside for the community of believers to come together to worship Him is not the time for evangelism to be emphasized. Although evangelism is also one of the highest callings of the people of God, it has its own time and place. The worship service is just that—a time when the worship of God is the main focus. It is good to be reminded of the gift outlined in the Gospel and have opportunity for those who feel the urging of the Holy Spirit to follow His call; however, the purpose of the music of the service is to glorify God and turn our minds towards Him.
4. What we offer to God in worship should be to Him as the fragrant incense that was burned on the Altar of Incense in the Tabernacle and the Temple. In describing the Day of Atonement in Leviticus 16, Aaron is commanded to offer two goats, a ram, and incense, the cloud of which will cover the Mercy Seat so that he will not die. For Christians, the book of Hebrews describes Jesus as our High Priest, through whose eternal sacrifice we are able to enter the presence of God and also into the rest He grants us. The sacrifices of the Old Testament were always accompanied by music (I Chronicles 16; I Chronicles 25; II Chronicles 5:11-14; 23:18). David, in Psalm 69:30-31, even states that praising God pleases Him even more than sacrifice. Our eternal sacrifice, Jesus, also sang a hymn to conclude the Passover meal that we celebrate as the Lord's Supper just before He sacrificed Himself on the cross.
5. The music that is used should be the very best that can be done. As we are bringing our gifts before God, they should be of the first fruit, as Abel did in Genesis 4:4. This implies that it is the most excellent, not merely something that everyone likes. The priests in the Temple also used the best in music of their time. This is shown in I Kings 5-7—as everything that was done for the Temple was done with great skill, the music must also have been performed as such. II Chronicles 5:11-14 describes the dedication of the Temple, and the priests played instruments and sang praise to God, and His glory came down so greatly that they could not enter the Temple.
6. The texts of the music in the worship service should be consistent with Scripture, doctrinally sound, and meaningful to the Christian experience. We are told in Colossians 3:16, “Let the word of Christ dwell in you richly, in all wisdom teaching and admonishing one another with psalms, hymns and spiritual songs, singing with thankfulness in your hearts to God” (see also Ephesians 5:19). Jesus commanded us to worship God both in spirit and in truth (John 4:24). And the Apostle Paul, in his first letter to the Corinthians, says to pray and sing with both the spirit and the mind (I Corinthians 14:15). Therefore, our music and the texts that are used with it should not just give a nice feeling nor just make good theological sense, but should do a combination of both. Also, just because a particular piece is popular or is known by many people does not make it fitting for true worship. The music is there to glorify God, not for our entertainment.
7. The ceremony of the church (and the music that's included), whether the celebration of the Lord's Supper or a Good Friday service, must not become so familiar as to become empty ritual. All should be mindful of the significance of everything that is done in the worship service. The service should also be both free and orderly—without the leadership of the Holy Spirit it is dead, but, without order there is chaos.

So, what thoughts might you have? I am definitely open to suggestions. What should be changed? What should be added/omitted? I have some ideas...

Fall has finally come

Now that there's not a 70 to be found in the ten day forecast, I think I'm safe in saying that Fall has finally arrived in New Jersey. It is the best season of the year, for not only is it time for school (yes, I'm a nerd), it's cool out, and that brings out the beautiful leaves, as well as good, warm things to eat and drink. That's probably the greatest reason I like Fall—because it's time to drag out the good spices, like cinnamon, clove, nutmeg, etc., with which I love to bake things.

In fact, this afternoon as I was heating up some apple cider, I dropped some cinnamon sticks and some whole cloves in. As I did, I was reminded, as I always am, of a conversation with millinerd about what the medieval church used to help people understand theology. In a time when reading and writing was very rare, other means were used to teach the tenets of faith. In this case, cloves are a wonderful object lesson, for whole cloves look like nails. These clove-nails were used to remind the faithful of the crucifixion. It is a wonderful object lesson, because not only is it a visual one, but the very distinctive smell and taste of clove serves as an even greater sensory experience.

It is such a great sensory experience, that now whenever I open the cloves (which is fairly often, because it is my favorite spice), I instantly think of the crucifixion. It's an experience for which I'm glad.

Here's my favorite recipe involving cloves (although, of the ground variety). It's from my grandmother's German grandmother. I like to take them out just when the tops crack, and then dip them in powdered sugar. And you can tinker around with the spices as you like—e.g., I like to add extra cloves.

Sugar & Spice Cookies

INGREDIENTS:

- 3/4 cup shortening
- 1 cup sugar
- 1 egg
- 1/4 cup molasses
- 2 cups flour
- 2 teaspoons baking soda
- 1/4 teaspoon salt
- 1 teaspoon cinnamon
- 3/4 teaspoon cloves
- 3/4 teaspoon ginger

METHOD:
Mix the first 4 ingredients together.
Sift other ingredients together and stir into other ingredients.
Form into walnut-sized balls. Bake 10-12 minutes at 350.