Emily R. Brink (firstname.lastname@example.org) is Senior Research Fellow for the Calvin Institute of Christian Worship and former editor of Reformed Worship.
Articles by this author:
- In Matthew's Gospel There Are Five; Angels in the Field Appear; My Soul Does Magnify the Lord
These three songs for Advent and Christmas are scheduled for inclusion in a forthcoming hymnal based directly on New Testament texts copublished by the Calvin Institute of Christian Worship and Faith Alive Christian Resources. The committee charged with selecting Scripture texts that are most likely to be connected to preaching texts for the collection has found it a very interesting exercise.
- As the Deer Runs to the River; Lord, to Whom Shall We Go; Surely It Is God Who Saves Me
The three songs chosen for this Lent/Easter issue are all directly taken from Scripture or based closely on it. One is very short; you might call it a refrain. One is in a traditional hymn structure with a refrain, and one follows a more contemporary structure, also with a refrain.
- Joy Has Dawned; Born Where the Shadows Lie; Imagine; Celtic Christmas Blessing
We are unable to provide midi files of these songs on RW’s website. However, they are available at www.gettymusic.com.
When singing a hymn, it is often interesting to learn which came first, the text or the tune. And if written separately, who put them together? Those who write new songs for congregational worship fall into three main categories.
I’m grateful to have had the opportunity to serve as editor since RW began twenty years ago. This journal has shaped my identity as much as or more than my work editing three hymnals. I was hired by CRC Publications to prepare the 1987 Psalter Hymnal, a brand-new position I thought would last just a few years. Preparing the hymnal for the churches was one thing, but preparing the churches for the hymnal came with many other questions attached, questions being asked by newly formed worship committees.
In last year’s March issue (RW 75) we announced an international search for new song texts based on New Testament passages. The announcement also appeared on our website and in the newsletter of the Hymn Society of the United States and Canada. To our delight, ninety texts by forty-two writers came in from all over the English-speaking world, including England, Scotland, and New Zealand, as well as the United States and Canada.
When the Israelites were still wandering in the wilderness, before they had land, let alone crops and harvests, God instructed them how and when to give thanks for the harvests that were to come:
Three times in the year you shall hold a festival for me. You shall observe the festival of unleavened bread; . . . the festival of harvest, . . . the festival of ingathering . . . (Ex. 23:14-16).
Christ Has Died, Christ Is Risen, Christ Will Come Again: Proclaiming the Gospel through African-American Prayer and Song
This service was prepared for the 2004 Symposium on Worship and the Arts held at Calvin College, Grand Rapids, Michigan. James Abbington played each of the songs on the organ or the piano; those considering this service will want to find a person (or more than one person) who is gifted at playing both instruments for the traditional hymns and spirituals as well as for the contemporary Black gospel songs. Most, but not all songs are by African Americans; those that are not have become favorites of African-American Christians.
It happened again this past Sunday. A great worship service, including baptism. Wonderful singing—of hymns. No psalms, not one. This is a church that stands in the Reformed tradition known for its singing of the psalms. Whenever I go to ecumenical conferences, I’m identified as one who comes from a psalm-singing heritage. I smile wanly, agreeing. But that heritage is too often missing on Sunday mornings.
When I first started editing the Psalter Hymnal in the early 1980s, the story then making the rounds was that permission for including the song “How Great Thou Art” in the 1978 Lutheran Book of Worship was finally granted with a handshake at a cost that would remain secret.