An Anglican Document On Music In Worship: In Tune With Heaven

The following paragraphs are selected from the 1992 report of the Anglican Archbishops' Commission on Church Music, the third such report issued in the twentieth century. These paragraphs, here identified by the paragraph numbers used in the full report, outline theological considerations for the use of music in worship and reflect a convergence of worship styles within the Anglican communion. God, Music, and Creation 56. Most people would be hard pressed to produce a satisfying definition of music, yet they know instinctively what is meant by the word. In spite of differences in our ability to recognize, appreciate, and make it, there is music of some kind within every one of us. It is an experience common to all people and all nations. It is identified variously in the rhythms and tunes of human invention, the songs of birds, the sounds of waters and winds, or even the supposed harmonies of the spheres in space. Religious belief is not necessary to accept that music is part of the natural order. It is something that is there, to be enjoyed or not, as we wish, in the same way as the scent of flowers, the colors of the rocks, the taste of honey, or the warmth of the sun. Creation and Communication 57. For those who believe in a divine Creator, however, the natural order has its origins in God and is no mere chance happening. The beginning of Scripture depicts its being carefully planned and describes everything as being "very good" (Gen. 1:31), from the division of light and darkness to the creation of the human race. No less than the earth and its resources, music is an integral part of God's great act of creation. Like all manifestations of truth, beauty, goodness and love in their many forms, it has its origin in God. With its place in his design, it has a purpose. 58. At the simplest level that purpose may be described as communication. In this music is not alone. Writing, painting, and sculpture also communicate, as do speech, gesture and other means of expression which depend on neither sound nor sight. Each has its place and each its distinctive way of conveying thoughts, ideas, and emotions. But music, which is our concern here, is one of the most accessible and universal languages, being less limited than speech by social, intellectual, national, or religious boundaries. It expresses, often more effectively than words, our feelings and aspirations. It is therefore widely employed in religious rituals, not only to address God but also to express his reality for the worshipers. A Revelation of God 59. That which is made reveals something about its maker, as a book its writer or a home its occupants. Music may be seen, therefore, as telling us something not only about its composer and performers but also about the God who has given it. In common with other creative gifts, it expresses something of the mystery, the order, and the glory of creation and its Creator. Music partakes of the goodness of the Creation and reflects varying aspects of the divine nature. It is thus used by God, both within and outside worship, to speak to us of himself. By means of it we may glimpse his majesty and his simplicity, his righteousness and his mercy, his power and his gentleness, his mystery and his love. One might even suggest that the revelation of God as Trinity is reflected in different kinds of music. So for some the triumphant last movement of a Beethoven symphony conveys the power and transcendence of God the Father; the gentle plaintiveness of an Irish folk song may speak of the humanity and solidarity in suffering of the incarnate Son; and the cheerful appeal of a Strauss waltz might reflect for some people the warmth and encouragement of the indwelling Holy Spirit. Uses and Abuses of Music 60. In addition to speaking to us of God, music has other uses, including that of simple enjoyment. Indeed, it is not improper to suggest that God may have given it to us largely for that purpose. The fact that most people respond positively to music indicates that it is among those things of this world which are provided for our pleasure. Not surprisingly, therefore, it is widely employed to help people, and even animals, relax. It can also be of great assistance in the process of healing; David was employed to play in order to soothe the demented Saul (1 Sam. 16:23). It can challenge, too. Thus, Elisha summoned a minstrel to enable him to prophesy (2 Kings 3:15). Shakespeare describes it as "the food of love" (Twelfth Night, I, i) and it is without doubt a potent means of stirring emotions at their deepest level. By music people are easily moved, inspired, and uplifted. 61. Like all God's good gifts, music can be trivialized, as it is so often when it is employed as background noise for gatherings of people. More serious is its actual abuse. For, as a "language," it is quite capable of being used to express that which is evil, as well as that which is good. The views and state of mind of those who compose and perform it will influence its content and its effect. Association of ideas is a strong element in musical language; if the ethos of some music is too much associated with a way of life in conflict with the Gospel, its use could even have harmful results. This might be true not only of the more extreme forms of "pop" music, but also of the very secular and pagan ideas found in some of the music of Wagner, for example. The close connection between some kinds of music and the drug culture may not be coincidental. The use of music as a kind of anaesthetic is well known, even in religious gatherings. 62. The manipulation of feelings through music is not new, and because of this many of the church fathers regarded music as part of our lower nature. St. John Chrysostom, for example, believed it to be sensual and pagan, obstructing our progress towards the "real world" of the Spirit. There was a concern that people might be moved more by the music than by the Reality for whose worship it is used. Such concern was not without foundation, and Erasmus in the sixteenth century anticipated the view of the Protestant Reformers when he complained that the English were obsessed with the performance of fine music in church. Calvin allowed only "utility" music in the Genevan Psalm tunes. Lutheranism generally encouraged much fuller artistic expression and created a climate in which great music could flourish. There were nevertheless those who objected to the liturgical pieces of composers such as Bach and Buxtehude, because of their being too "elaborate." 63. Certainly it was, and is, possible for people to be drawn more to the means than to the End. But even St. Augustine, who worried a good deal about the worldly nature of music, had to admit to a profound experience as a result of it:

How I wept to hear your hymns and songs, deeply moved by the voices of your sweet singing in church. Their voices penetrated my ears, and with them truth found its way into my heart; my frozen feeling for God began to thaw, tears flowed and I experienced joy and relief. (Confessions IX.6.14)

64. Nevertheless, it has to be recognized that music, and our use of it, is not perfect. It is part of a universe which waits with "eager longing" for redemption, in which all humans and their gifts are to find their fulfillment in Christ, together with their physical environment (Rom. 8:18–23). Until that time, we recognize the imperfections of a "fallen" creation. Whilst acknowledging the dangers of allowing his many gifts to interrupt the direct relationship between God and his children, we use those gifts as responsibly as we can. To do otherwise would be to reject without gratitude what God has provided for us. The Necessity of Music 65. As gifts of God, therefore, music and the other arts should not be seen as luxuries or optional extras, to be indulged only when all the other needs of daily living have been met. Even in times of hardship, danger or oppression, people paint the walls of caves, whittle pieces of wood, make up prison poems, tell and act stories, create simple musical instruments or sing songs of freedom. We need, as those made in the likeness of God (Gen. 1:27), an outlet for that creative instinct which all of us share with our Creator. To regard music as an unnecessary indulgence not only denigrates one of God's gifts, but also suppresses human creativity. 66. Since the church has a concern for the redemption of the whole human person, physical, spiritual, intellectual, emotional and aesthetic, it has the responsibility to encourage to the full the cultivation of musical and other artistic gifts. Indeed, our western culture is the result of such encouragement in the past. But there needs to be the recognition that different people have different gifts and that musical tastes vary widely. As Jesus asserts, each person has individuality and unique worth within the vast complexity of the universe (Luke 12:6–7). Music and Worship 67. A further reason why the church has the responsibility for encouraging the arts arises from our understanding of worship. In that activity everyone offers to God a personality whose gifts are artistic and creative as well as spiritual. The offering of music as one of these gifts rests upon a firm biblical foundation. The Christian church has been singing since the time of Jesus and the Apostles (Mark 14:26). They in turn were within a long Jewish musical tradition in which the Song of Moses (Exod. 15:1–18) and the Song of Deborah (Judg. 5) are among the oldest parts of Scripture. Hymns of praise are found within the Psalter, too, but that also contains outpourings of sorrow, complaint, and anger. Indeed, the whole gamut of human emotion had its poetic and musical expression in the worship of the Jewish people. However, references to music in Scripture and quotations from early Christian hymns in the New Testament Epistles, as well as the songs of the redeemed in Revelation, show music mostly as a means of giving glory to God. It communicates the thanksgiving and joy of the created to their Creator. Sacred and Secular 68. The Fathers believed that in order to be acceptable in worship the music had to be "purified" and "seized" by the life-giving power of the Spirit. This belief is not widely held today, any more than the view that music is irretrievably tainted as part of fallen creation. But there is considerable debate, and much prejudice, as to what music is suitable for use in church. For example, there is common disagreement between those who believe that the only appropriate music is that which is instantly communicable to all the faithful, and others who hold that an insistence on vocal participation by everybody underrates the use, demanded by much music of the European classical tradition, of the mind and senses. 69. For many of the latter the music preferred by proponents of "full participation" is not properly "religious" in its feel. It has too much of the world about it. But that is true also of much of the more traditional repertoire, even if it does not reach the proportions of Gounod's somewhat operative Messe Solennelle. If a secular musical idiom is compatible with a Christian view of life, there seems no reason why it should not be used and consecrated in worship as part of a whole human offering. Given the belief that music itself is part of a fundamentally good creation, and not merely a means of understanding it, and given that it is capable of enhancing rather than detracting from the bond between God and his people, it is difficult to draw a line between what is sacred and what is secular. It is dangerous to make too clear-cut a separation of life inside and outside a church building. Too great a concern to have only "religious" music in church may limit the worshiper's response to God's goodness in creation. It is understandable that people whose life and work is largely "secular" should wish to use the world's idioms at least occasionally in their worship. What is acceptable secular activity for the Christian surely becomes sacred through its conscious offering to God. 70. The ability to discern is listed as one of the gifts of the Holy Spirit (1 Cor. 12:10). It is as necessary for church musicians as for anyone else to seek that gift, in their choice of music. Moreover, God's Spirit is mentioned in Scripture as having part both in the Creation, and in the bestowal of artistic talents on human beings (Gen. 1:2; Exod. 35:30–35). From him we derive our many and varied abilities, including the gift of music which is commonly regarded as being amongst the highest manifestations of human creativity. Whether or not music is used in the context of worship, it remains a gift of God to the world. Its pervasiveness in every human society is indicative of its importance. Worship, Prayer and the Liturgy of the Church 71. We have referred to worship several times in the preceding pages, but there is more to be said. Worship provides the context for the music which is the concern of this Report. It is an activity which expresses an attitude fundamental to human life. Many people experience, deep within themselves, the need to give glory to God and an urge to have communion with him. St. Augustine identifies the reason for this in his oft-quoted words: "Thou hast made us for thyself, and the heart of man is restless until it finds its rest in thee" (Confessions I, i). It is not, however, only a matter of instinct. We worship God because we know him to be worthy of worship, and because he both desires and enables us to offer it. This is a truth which all Christians believe, even though their responses to it vary according to differing traditions. 72. The most common form of response is to praise God and to thank him because of the salvation which he offers us in Jesus Christ. Thanksgiving is indeed the characteristic form of corporate worship, both in the Eucharist and on other occasions. So the Ephesians were enjoined to be "filled with the Spirit … always and for everything giving thanks in the name of our Lord Jesus Christ to God the Father" (Eph. 5:18–20). Whilst other forms of devotion may be helpful in taking us deeper into the mystery of prayer, thanksgiving marks Christian liturgical worship at its best. In it we give glory to God in response to his mighty acts. The act of thanksgiving reminds us that even in worship the initiative lies not with us but with God. The Purpose of Worship 73. In its proper sense worship is not confined to an activity in church, or to when one seeks to be consciously "religious." Genuine faith expresses itself in the worship of one's whole life, as is suggested by St. Paul when he writes, "I appeal to you … by the mercies of God, to present your bodies as a living sacrifice, holy and acceptable to God, which is your spiritual worship" (Rom. 12:1). Nevertheless, the worship of daily life is expressed and focused in the liturgical worship of the church. That worship not only reflects the worship of everyday living but also helps to form it. For this reason it is vital that the church's services be services of worship before they be anything else. Teaching, Fellowship, and Evangelism 74. Often, however, there would seem to be other priorities in the minds of those responsible for the worship in our churches. Three are common. The first is when a service is used for "teaching," so that the Sunday liturgy is principally a time to communicate the faith. Thematic lectionaries, and hymn lists to complement them, encourage such thinking, and the structure of the traditional morning and evening prayer of Anglicanism seems to lead towards a climax of the expounding of the Word. For some people it is the preaching which determines their attendance at a particular church. Yet the public reading and exposition of the Scriptures, which themselves give glory to God, are as much directed towards him in worship as towards the people for their edification. There are other occasions and contexts for the latter. 75. Another, and increasingly popular, view is that of worship as a means of promoting fellowship within the Christian community. Appropriate hymns and songs bind the people together in solidarity and love, which may be further expressed and fostered by movement and ritual. The whole atmosphere speaks of welcome, of belonging and friendship. There is no denying the enormous gain that has been brought by the rediscovery of church services as the normative context for Christian fellowship, but that is not the primary purpose of worship. 76. Nor is its purpose chiefly one of evangelism, even if a service and its music have the undeniable power to convert or inspire. For whilst it is perfectly proper to expect people to be drawn by worship into a first experience of the living God, or to be reconverted in that context, the overriding purpose of worship is not one of mission. Thanksgiving 77. There is no doubt that worship does instruct, promote fellowship, and present the Gospel to those who have not before been touched by it and to those whose faith has weakened. It does all these and does them well. But that is because God chooses or allows it for one or more of these purposes. It is his prerogative and activity, not ours. Our responsibility is first and foremost to offer to him ourselves, "our souls and bodies" in thanksgiving. Nothing matters for us except to give glory and to seek communion with him. The raison d'etre of the whole enterprise is that worship is for God. In it we consciously stretch up towards heaven, seeking to get in tune with the angels and archangels. We strive to latch on to that worship of the whole company of the redeemed which is depicted in Revelation as being unceasing. For this reason the central part of authentic worship is the offering of thanksgiving, adoration and praise. By this means, above all others, we help people to catch a glimpse of God's glory. Public Worship and Personal Prayer 78. Part of the difficulty in achieving this purpose arises from a widely held belief that we have lost a sense of the numinous. It is sometimes suggested that this is a result of "abandoning" The Book of Common Prayer, or of the fact that the celebrant no longer has his back to the people at a distant east end. But whatever the effects of particular liturgical texts or of architectural and choreographic arrangements, the difficulty in capturing a glimpse of heaven has much to do with the spiritual condition of those who worship. 79. The quality of the devotional life of the faithful is important, not least because many people see little connection between private prayer and public worship. This is true of some who practice both, but is even more true of the large number of people who either go to church or say their prayers, but do not do both. Yet the liturgy is seriously weakened by such disconnections, since it needs above all to be prayed. Below the level of hymns, psalms, readings and prayers there needs to be an undercurrent or reservoir of prayerfulness. This is not the kind of praying which is turned on by "Let us pray," and off again by the saying of the Grace. It is a deep spirit of longing for God. It is also rather different from the once popular custom of offering one's own personal prayers, often from a little holy book, at certain points during the liturgy. A private supplement to public worship, or an alternative approach to God in parallel, is not helpful. What is required is a prayerfulness in all who are present, which is wholly integrated with the action of the liturgy and which deepens it at every point. Music and Silence 80. Music is one aide recovering this undercurrent of prayerfulness. An opportunity is provided, for example, by the singing of an anthem during the liturgy. It may well be used by God as a "word" for people, as they sit quietly and let the music wash over them. Many of those who go to Evensong in a cathedral have learned to use the singing of the choir in just this way. There is no justification for a piece of music's intrusion into the flow of the service, however, unless worshipers are drawn into a deeper sense of God and a closer communion with him. It is not uncommon to find the singing of an anthem which rings more of "performance" than prayerfulness, as the people sit back after the "act" has been announced to enjoy (or endure) the result. Anthems should bring us to our knees, but it is not always so. The provision of a text can help people to unite themselves fully with what the choir is doing. 81. More telling as an aid to prayerfulness, however, is silence. For prayer in worship is not what the minister does, or even what the people do when they join in the set-piece texts. It is what continues when the speaking or the singing stops and the silence starts. The loss of this sense is illustrated in the way in which the collect of the day is commonly used. In the classic start to the liturgy, after the presider's greeting, the words "Let us pray" introduced a lengthy silence before the praying of the collect. However, "Let us pray" has come to be understood as an instruction about posture, instead of expressing an attitude of mind and heart. No longer does it allow silent prayer by the people to take place during a substantial pause. The collect, no longer a collective summing up of all the individual praying, is left on its own to "collect" something which has not happened. All that remains of the people's praying is the "amen" at the end of it. 82. The loss of silence has been a serious impoverishment of the liturgy for a thousand years and we need to recover its use, together with music, as a means of deepening the prayerfulness of worshipers. For participation in worship does not consist of being singled out to do something apart, or even in joining vocally in as much of the service as possible, whether singing or saying. Our profoundest offering is often to be silent and still. In such apparent passivity, we may contribute that undercurrent of prayer which is absolutely crucial and which gives worship its authenticity. This is as true of public liturgy as it is of private devotion. The recovery of this truth will help significantly in regaining a sense of the numinous. Transcendence and Immanence 83. In speaking of the numinous (and some would prefer to speak of catching a glimpse of heaven as being more concrete and biblical), it needs to be remembered that in the Incarnation we have an expression of the numinous in human form. Unlike those who belong to nonincarnational religions, Christians believe that in Jesus Christ the transcendent has been embodied and that we have received a full revelation of the God who has made heaven and earth. For this reason there is danger in drawing too sharp a distinction between the vertical and the horizontal in our faith and worship. In Jesus they have come together. A blessing used at Christmas expresses it: "Christ … by his incarnation gathering into one things earthly and heavenly." In trying to catch a glimpse of heaven, we do so as those who have in a sense received it and are surrounded by it. In reaching up to God in our worship we respond to the one who has reached, and continues to reach, down to us. God's Use of Our Worship 84. In our worship God often takes what we are trying to give him, no matter how inadequately, transforms it and makes of it a gift to us. We think we are doing one thing, only to find that God has turned the tables on us and given us much more than we have been able to give him. This is his nature and character. So worship is after all a means of teaching. The whole experience, including the readings and preaching, teaches us of God, not because of our plans but because God chooses to accept what we offer and to use it in this way. Similarly, we do not set out to use worship as a means of fostering fellowship. But it develops into that, and at a level as deep as the reality and quality of the worship which is being offered. In the same way, we seek to worship rather than intend to evangelize at a Sunday Eucharist. But we often find that God so fills the assembly with grace that people can discover him, either for the first time or more deeply than before. Giving Glory to God 85. In the end, therefore, worship is a means of teaching, fellowship, mission, and much else besides (for example, encouragement—Hebrews 10:25), but the reason for our worship nevertheless matters. Giving glory to God is not just one, or even the first, of a long string of reasons. It is the fundamental, deepest and truest reason, all-sufficient in itself. All the other reasons that are given for worship are to be seen, not as products of our own contriving, but as the gifts of God in return for our response of giving him the glory. 86. This means that in the preparation for the Sunday liturgy there needs to be (especially on the part of those who lead it) a desire above all to worship God. They will long to experience a glimpse of heaven and have communion at a level that is only in part about bread and wine. In response to such yearning of the soul, God is able to work the miracle which makes it possible to speak of worship in terms of teaching, fellowship, and mission. 87. The primacy of praise and adoration remains, however, and is well expressed in Bishop Thomas Ken's familiar doxology: Praise God, from whom all blessings flow, Praise him, all creatures here below. Praise him above, ye heavenly host, Praise Father, Son, and Holy Ghost. Music and Worship 88. Almost all Christian traditions include the use of music in their worship. Worship can happen without it, but the recognition that music is one of God's gifts which we have to offer in worship has ensured its place in the services of the church from biblical times onwards. There are many examples and exhortations in Scripture, and those who employ music in worship belong in the mainstream of Christianity, both East and West. We are able to draw on a rich tradition. 89. If the fundamental purpose of worship is to give glory to God, this must be the overriding reason for the use of music within that context. However, as has been noted, what begins as our offering to God often becomes his giving to us. Thus he accepts the offering of our hymns, songs, anthems, and settings and returns it to us transformed and enriched for our benefit. This may be so as to reveal something of himself, and in order that we may have a glimpse of heaven. It may also be for blessings of other kinds. Two in particular, unity and evangelism, were mentioned in the previous chapter, and are dealt with more fully here. Unity 90. Music, as has been said, may be a means of creating, fostering, and deepening the fellowship of the congregation. Those who have experienced the singing of a crowd at a World Cup final or of the audience at the Last Night of the Proms know that music binds people together more deeply than almost anything else. It is, perhaps, part of St. Paul's concern for unity amongst his readers that leads him to urge them, whilst singing in their hearts to the Lord, to use "psalms and hymns and spiritual songs" to address one another, and even to teach and admonish (Eph. 5:19; Col. 3:16). Whilst some may find it a strange notion, it may not be inappropriate for those singing in church to look one another in the eye, and even to smile as they do so. By such means God not only enlarges our awareness of his Word and deepens our confidence in the faith; he also blends widely differing people together in mutual joy, encouragement and acceptance. 91. In some traditions this is the more real when the exchange of the peace in the Eucharist is accompanied by singing, and sometimes dancing as well. The corporate encouragement that may be derived from music sends the worshiper out with a deeper sense of security and a renewed hope. There is something to "take away" for the facing of the demands of daily life. It is thus valuable in encouraging people in the many areas of mission and Christian caring in society, as well as having important implications for ecumenism. Evangelism 92. No less significant is God's use of worship and music to confront those present with the Gospel, with all its promises and demands. For some, his way into their hearts is through music and they are brought to faith, or have their commitment renewed or deepened, because of what they hear or sing. 93. This is not always an instant process and it may be spread over a long period of time. There are very many people, for instance, who have been brought to Christ, and sometimes to ordained ministry as well, as a result of many year's membership in a choir. Equally, people who attend services because they enjoy the music can one day find that they are there for more than that. God has used it to draw from them their love and obedience to himself. A consequence of such "conversion" is that a person who has been blessed in this way may be enthused to share a new-found faith with others. Music has considerable potential for evangelism both in itself and through its devotees. Our Responsibility 94. Precisely how or when, or even if, the use of music will move worshipers is something that cannot be foreseen, planned, or guaranteed. It remains part of the mystery of God's gift. We may neither anticipate nor dictate the ways and occasions on which he will use it. The important and well-planned service does not always "take off," no matter how great the care that has been lavished upon its preparation. A "routine" service, on the other hand, sometimes quite unexpectedly catches fire, and people experience something of the numinous. Like the wind, the Spirit blows where he wills (John 3:8), whatever the results we hope for from our planning. 95. We are not, however, absolved from the work of planning. Our receptiveness to the "miracle" to be performed by God is perhaps in direct proportion to the quality of the material we offer him through careful preparation. This makes considerable demands on those who are responsible for the choice and performance of music. Perhaps their chief concern should be to create the right mood, both for the service as a whole and for its constituent parts. Music and Mood 96. Filmmakers and broadcasters know well the unsurpassable power of music to set a mood, and church musicians may learn much from them. What happens before a service, for example, is important, whether it be silence or the use of worship songs or the playing of an instrumental voluntary. Erik Routley once said that the organ music before a service does for Anglicans what the smoke of incense does (or used to do) for Catholics: "It lifts you over the threshold and into worship." Thereafter the average congregation responds well to a well-known and lively piece in which all can join together. This generally gets the service off to a better start than when most of those present are silent, either because they do not know the music or because it is for the choir alone. 97. At other points in the worship the mood will be different. Something quiet and gentle is called for during those parts of the service which are reflective; or strong, affirmative music for a confession of faith and commitment; or merry and boisterous pieces where the mood is one of celebration and praise. The final piece or the final voluntary is important, too, in influencing the morale of worshipers as they leave the service. 98. A valuable defense against monotony, prejudice, and personal idiosyncrasies is in the themes for the day or season provided by the liturgical year. Even so, one of the Commission's members heard of a church which on Easter Day 1990 had one Easter hymn, two for Passiontide, and one for Ascension Day. 99. The importance of music for setting the appropriate mood, both for and within an act of worship, cannot be overemphasized. Those who are responsible for its choice and performance wield an influence which is awesome indeed. They are perhaps helped by the fact that most of the music that is used is written for the enrichment of words. These provide a more concrete vehicle for the expression of human emotion, and most people use words as the primary means of expressing their feelings for God. Music is for the enhancement of their offering. Singing in Tongues 100. Something of the same might be said about the phenomenon known as singing in tongues. Particularly used by the Pentecostal churches, this is one of the marks of the charismatic movement which has emerged in some churches within the mainline denominations during the past few decades. It has its theological roots in the New Testament, where it is commonly associated with praising God and is a spontaneous improvisation in a "language" not previously known by the worshiper. It conveys a depth of worship literally beyond description. 101. Because of its unfamiliarity, the sound of singing in tongues at first strikes some people as eerie; however, it is not long before most appreciate its beauty and its simplicity. Often it begins by one person singing a melody, either quietly during a silence or at the height of praise which follows joyful hymns and songs. Other people begin to join in, each in an individual given "language," and they contribute to variations on a common chord with the occasional passing note, or to harmony and counterpoint which may rise and fall in different parts of the church. If there are instruments, they may add their individual melodies, weaving in and out in improvisation. 102. After a continuous time of worship through music someone may sing in a tongue, either a song of praise to God or a prophecy. In this case, since the solo involves only voice, the leader is likely to pray for an interpretation to be given. This may be received either by the original singer or by some other person, and is usually a paraphrase rather than a literal translation of the original tongue. It may be spoken or sung. When it is sung it is often an exact repeat of the original melody, in spite of its usually being too long or complicated to be memorized on one hearing even by a trained musician. Or the interpretation is given in music which decorates, answers, or complements the original. 103. Neither the leader of the worship nor the director of music plans, initiates or terminates the period of "worshiping in the Spirit." Nor is there any question of the congregation being out of control, since each individual can start or stop at will. Not all people have the ability or wish to sing in tongues, although many of those who desire this particular gift of the Spirit may well receive it at some time in their lives. 104. The musician observing this phenomenon might well expect chaos to be the result of such spontaneity by those who are not particularly musical. They seem to be largely unaware of key, rhythm, occurrence of notes and pitch, and other "technical" considerations. Yet many people who cannot normally sing in tune do so perfectly when singing in tongues and produce a pleasing vocal sound. Moreover, the melodies that are sung are normally well-constructed and interesting. Far from there being discords and cacophony, there is such harmonious blending and unity that some would see it as an anticipation of the worship of heaven. 105. The practice of singing in tongues need not divide a congregation. A sensitive leader will invite all to join together in singing, if not in tongues then in familiar words and phrases such as "Alleluia," "Hosanna," or "We praise you, O God." What matters is not so much the language used as that a whole congregation offers their spontaneous and heartfelt worship to God. Liturgical Dance 106. Words are not the only form of expression for which music provides an accompaniment, for with the introduction of many new songs since the charismatic renewal of the 1970s, there has been an increasing use in church of liturgical dance. It was to be expected that "folk" music should find additional expression through movement, and its ethos is more one of corporate participation than of "performance." Those who present dance in worship are usually amateur enthusiasts rather than highly trained "balletic" professionals. 107. Liturgical dance has been described as a "descant in movement" and that indicates both its subordination to, and its embellishment of, a theme. Frequently it accompanies the spoken word, such as a reading from Scripture. It can also take the form of a silent mime. Most commonly, however, it is accompanied by music. This may be prerecorded or live, instrumental or vocal. 108. The appropriate context for liturgical dance is an atmosphere of worship, sharing and prayer, and the ideas and vision for its use arise naturally from the regular meetings of a committed membership. The underlying principal is that it should fit comfortably into the service. With or without words, it is as much an interpretation or expression of worship as the music which accompanies it. Performance and Participation 109. In common with dancers, musicians are commonly described as giving a performance. When this is applied to those who sing in church, it can give rise to misunderstanding. For whether or not all those who are present perform the music which is employed in worship, it is for the use of everyone. When an anthem is sung, that music is offered for use by those who are listening silently to it, quite as much as by its performers. The announcement that "the choir will sing an anthem" is an invitation to worshipers, not to sit back and relax but to do some "praying with their ears," as Cardinal Basil Hume has suggested. 110. Today there is an increasing emphasis on active musical "participation" by the whole congregation. It should not be forgotten, however, that performance by a smaller number of people is a valid means of participation, which brings its own advantages. It encourages the employment of special musical skills, whilst allowing those who cannot or do not wish to sing to enjoy and meditate upon what is being done by others. Both are part of the worshiping congregation. The word "performance" is not necessarily a pejorative one. Full participation does not, properly understood, demand speaking or singing by everybody all the time. Musicians without Faith 111. Those who accuse choirs of giving "performances" in church sometimes find justification in the seeming attitude of those whom they criticize. But it is dangerous to make assumptions concerning the quality of their Christian commitment. God alone is the judge of the human heart, and some reticence is required before judging the motives or spiritual qualifications of players and singers. 112. Nevertheless, not all church musicians are believing Christians, and a good musical tradition often attracts those whose interest is more in the music than in the worship. Some argue that only believers should be involved (and perhaps quote John 4:24), whilst others see God as accepting and using a musical contribution for the benefit of the whole community, whether it is offered by a believer or not. There are many architects, painters, sculptors, and embroiderers, as well as musicians, who are not believers but who want to make a contribution to the church's worship. Dare we say that God does not wish to make his gifts available to us through them? 113. Music as a means or vehicle for worship is not the sole preserve of those who gather in church. Its use in a service clearly makes it an offering to God by those who are there on that occasion. But it may also be an expression of worship by those who are not present who are responsible for its composition and even perhaps its publication. God gives music as much to those who write and propagate it as to those who perform and listen to it in church. There are composers for whom the writing of a piece of music is an act of response to God; there are secular musicians who regard their performances in terms of glorifying God. People can encounter God within a concert hall as well as in a church building. There is always a danger when we restrict God and his power to our own preconceptions. Conclusion 114. The attempt to describe the role of music in worship can be neither tidy nor precise. It is impossible to define the point at which our offering of music to God becomes his offering to us, since both usually happen at the same time. We use it to create an atmosphere helpful to worshipers and as a vehicle to express our feelings for God, with or without words or dance. He uses it simultaneously to reveal something of his nature to us, or in some other way to "speak" to his people, or to draw people to himself, or to bring the congregation together. What is important is that we hold to our belief that music is a gift from God. As we offer the other gifts of creation to him in worship, so we offer and use this one. It is a gift which communicates chiefly in the area of human emotion, as well as being immensely satisfying to the intellect. There is nothing wrong with that. As Spurgeon, the great Baptist preacher, said in reply to a question about what kind of music should be used in church, "Why, music which gives the heart the most play." Words and Music 115. In almost all Christian traditions speech predominates in church services. Consequently, music in worship is nearly always used in conjunction with words and is commonly seen as subordinate to the words to which it is set. There is no doubt that an appropriate musical setting can greatly enhance the power of speech. As has been said, "he who sings prays twice." Language and Expression 116. The emphasis on verbal communication is understandable in a society as dependent as ours upon speech. Words are plentiful and are employed cheaply. They are necessary for philosophical thought, for the exchange of ideas and for the formulation and definition of anything beyond the vaguest feeling. 117. Words are also used both for the creation of beauty and to allow the feelings of awe and wonder, joy and laughter, to be discovered and refined. The practice of poetry is the discovery of human ability to give language to what was hitherto inexpressible, and T. S. Eliot describes it as "a raid on the inarticulate" (Four Quartets). 118. So, although music has perhaps a greater capacity for expressing the subtleties of human emotions, we need words on most occasions in order to express what we hope or feel. Used in worship, they can exalt and proclaim, excite and delight. They allow our souls to express themselves, "Till we cast our crowns before thee/Lost in wonder, love and praise." 119. But speech can also oversimplify issues, and ill-chosen words can debase them by their coarseness, their lack of finer feelings, their insensitivity, their use of cliché, or their sheer quantity. When the mind and spirit flag because of words ill-used in worship, music, as well as silence, provides blessed relief. It may also heighten the value and significance of the surrounding speech. Variety and Flexibility 120. Many of the traditional patterns of worship (associated for Anglicans with matins, Evensong, and the 1662 service of Holy Communion) have disappeared, taking with them much of the fine language of former days, and have made way for styles which give greater emphasis to spontaneity, variety, and freedom of choice. Congregations differ in their styles of worship and "churchmanship" and in their composition, according to age, ethnic make-up or social situation. Consequently, the same language is made to sound different in different contexts, by pronunciation and rhythm. The English of BBC 1 or 2 sounds different from that broadcast on BBC 3 or 4, and the kind of music used with that language differs as well. 121. Those who adopt the idiom of BBC 1 or 2 and of the tabloid newspapers do so because these are the media with which their congregations are familiar. However, there is danger in any approach which aims for what is most widely acceptable. To hold to the level of the popular press and radio is liable in the long run to lead to the debasing of worship. But the cultural and intellectual approach of the other radio stations and "quality" newspapers clearly has its dangers as well. For many, the language of The Book of Common Prayer is unsurpassed in its beauty, but for others it is antiquated and out of touch with contemporary needs. For that reason there is widespread support for those who, like the Jubilate Group, set out to provide "modern words for modern people." 122. As with music, so language has to meet the varied demands of different styles of worship. There are registers and styles for prayer and reflection, for celebration and adoration. There are languages for sermons and for hymns. There are biblical languages of many kinds: prophetic, poetic, narrative, philosophical and mystical. The words used in church, therefore, have to satisfy a number of needs. They have to be clear, literal, and down to earth in order to express the doctrines and grounds of belief; to be metaphorical and beautiful in order to express mystery and holiness; to be familiar in order to provide a right kind of security; to be fresh in order to offer a challenge; to be gentle for prayer and joyful for praise. 123. All this underlies the need to be flexible in the use of language in worship and to take account of every occasion and every mood. It is no longer assumed that worship can or should be the same for all cultures and communities, or for all time, in a society which is multicultural and multiracial and in which words and their meanings are continually changing. For this reason words, as well as music, have to be more adaptable today than in the past. Modern and experimental language in worship has to exist side by side with that which is traditional. Sexism in Language 124. One of the most significant agreements among those writing texts today is the recognition that exclusively masculine language is no longer satisfactory. To the widespread recognition of the equality of the sexes has been added an awareness that attitudes toward women continue to be influenced by the traditional language of a patriarchal society. Religious and official documents seem to imply that women are less important than men. Inclusive language is a necessary corrective. Sometimes the traditional language also has militaristic overtones (an example is "Soldiers of Christ, Arise," based on Ephesians 6:10–17) which compound the offense. 125. Awareness of this poses little problem for present-day writers, but some people find difficulty using hymns which refer in masculine terms to the human race. There are those who find it offensive to refer even to the Persons of the Holy Trinity as male. Whilst it is possible to make simple amendments to some texts, collects, and hymns without doing violence to the language or musical setting, there are many which cannot be altered appropriately. In such cases it is preferable to recognize the language as being normal in the age in which they were written. It would be a pity if our sensitivities caused them to fall into disuse. The Psalms 126. The oldest form of hymnody is the Psalter. This is one of the greatest treasures of Christian worship inherited from Judaism, in which human yearning and a full range of emotions are powerfully expressed in noble words. The Reformers valued the Psalms because, "whereas all other Scriptures do teach us what God saith unto us, these praises … do teach us what we shall say unto God." Calvin described them as "the anatomy of all parts of the soul." 127. Use of the Psalms in church is common to all traditions. Although the quality of their poetry and the range and depth of their feeling ensure their effectiveness when spoken, they are commonly used with music. This usage varies in difficulty and appropriateness, ranging from plain song, metrical and Anglican chants to Gelineau, Taizé, responsorial, and polyphonic settings, and modern song. Of these, Anglican chant is one of the harder forms to master, and unless it is sung fluently, the music may be a hindrance rather than a help to devotion. Hymnody 128. Of all the new writing of texts for the church today, that of hymns and worship song is the most common and important. It is an art form which seems more readily accessible to both writer and singer than any other. So recent years have seen what is commonly called a hymn explosion, with a boom in the publishing of new books which shows no sign of abating. 129. Hymns have been part of Christian worship since the earliest times. They feature at the Last Supper, in St. Paul's writings (for example, Ephesians 5:14, Philippians 2:5–11), and are mentioned by Pliny the Younger (early second century). The Didache, of the first or second century, includes some prayers written in rhythmical prose. In the Western church, the Te Deum (traditionally ascribed to St. Ambrose) was one of the earliest Latin hymns. Almost every part of the Christian world had its hymns, written by poets and monks such as Venatius Fortunatus and Rabanus Maurus (who probably wrote Veni Creator Spiritus), by Prudentius in Spain, and by St. Patrick and St. Columba among the Celts. St. Augustine says:

If you praise God, and do not sing, you utter no hymn. If you sing, and praise no god, you utter no hymn. If you praise anything which does not pertain to the praise of God, though in singing you praise, you utter no hymn.

130. To this day, through the Reformation and with high periods during the eighteenth and nineteenth centuries, hymns have retained their popularity. It is not difficult to see why. They provide opportunities for varieties of self-expression by the worshipers, in verse as against prose, sound as against silence, singing as against saying. They draw upon the Psalms or other passages of Scripture, which they paraphrase, versify, and expound. They articulate personal spiritual experience, with its difficulties as well as its joys. They reveal the inner weather of the human heart. 131. Hymns are used to complement lessons, prayers, and sermon. They allow the congregation to be vocally active in standing and expressing their praise, thought, and emotion in words and music. They help worshipers to experience a deeper unity through making music together and singing the same words simultaneously. For preachers they can be a valuable resource in supplementing their message, in quotations from their statements of doctrine and ideas about belief. 132. Dr. Johnson thought hymns to be restricted in their expression. Although they are written within the strict constraints of tempo and meter, they are capable of great variety in the hands of craftsmen such as Watts and Wesley. Congregations have come to accept that their style and deviations from normal speech are part of a special rhetoric. They sing, without a flicker of hesitation, inversions of normal word order such as "To his feet thy tribute bring." Distortions of syntax and unusual juxtapositions were a marked feature of the metrical psalms (especially the 'Old Version' of Sternhold and Hopkins) which had a long dominance in the worship of this century. 133. Whatever the origin of this trait, the linguistic and stylistic organization of hymns has worked well for centuries and has become part of the consciousness of ordinary people in worship. Hymns provide a rich resource for personal devotion and can be recited as poetry. However, inasmuch as they are written for corporate singing, many of them feel rather flat when spoken; they need to be sung if they are to come to life. For they are what Roland Barthes would call "Image-Music-Text," the unique combination of words and music which exists in a hymnbook but which only truly exists when it is performed in worship. The hymn is written down, but the writing does not come off the page until the congregation sings it and it enters the body, the lungs, and the blood. Through the sound made by the mouth and breath the writing becomes "speech" again. Music's Significance 134. "Church music" means hymns for very many people, not so much because the music enhances the words as because music and words are inseparably linked. Indeed, a hymn tune is sometimes more memorable than its words, since associations are generally more readily evoked by music than by a text. Consequently, some hymns and songs retain their place in collections, in spite of words of doubtful literary or theological merit, because their tunes are popular. 135. This situation is seldom reversed, although one sometimes comes across a hymn in which both text and music are of poor quality but which nevertheless keeps its place in the repertoire, perhaps for "old times sake." In such cases it is often the familiarity of the tune which carries the day. Further evidence of the significance of the music of hymns and songs is that few things upset regular worshipers more than changing the traditional partnership of words and music in a particular piece. This suggests the need for great sensitivity in the increasingly common practice of either "borrowing" a well-known tune for new words or introducing a new tune to a familiar text. 136. Music is also of service to hymns because it is an aid to memory. Many a former cathedral chorister know how a particular Anglican chant brings to mind at least some of the words to which it was set when he was a boy. Opera singers are able to cope with a long and complex libretto because of the wedding of the words to music. So the music used in church on Sunday can provide material for the worshiper during the week. A snatch of a canticle may be hummed and pondered or a fragment of a chorus, or a phrase from a hymn. Familiar music may well be the major factor in the enormous popularity of television programs such as "Songs of Praise." People take the opportunity to hear their long-loved favorite tunes again and again. The Independence of Music 137. Before leaving the question of the words, it should be pointed out that on occasions music in church has a life of its own, and even a significance greater than words. As has been suggested, it is capable of expressing the full variety of human emotions, without verbal undergirding. A piece played by a music group, a voluntary on the organ, or a Mozart symphony may "speak." It may express what we want to "say" to God as much as "Rejoice, Rejoice, Christ is in you" or Nunc Dimittis or Messiah. To stress overmuch the importance of words is to forget that music is an effective form of communication in its own right. It has the power to create an atmosphere for prayer and contemplation, and to set the tone for a celebration. 138. Nevertheless, words will continue to have priority in our worship. Music will be used primarily for their enhancement. There can be no more powerful partnership than these two forms of expression, but that depends on their being used with imagination and awareness of their creative potential. 139. Words and music are important as symbols in themselves, but they need to become more than that and to live. To cite Coleridge's use of the imagery of Ezekiel, "The truths and symbols that represent them move in conjunction and form the living chariot that bears up (for us) the throne of the Divine Humanity." Those concerned with the use of language in worship need to remember that words are capable of bearing such imaginative charge. For God reveals himself through them, as he does through music. Quality, Styles, Standards, and Choice 164. The choice of music in worship is a responsibility greater than is often recognized. It does not always rest alone with those who direct its use or performance in church; in many situations it involves the clergy and musical director in consultation. Increasing use is made of worship subcommittees which include "ordinary" members of the congregation as well as those with musical or liturgical expertise. Circumstances differ greatly from place to place, but a healthy church should have no difficulty in achieving a proper balance between its specialists and the rest of the worshiping community, where the expertise of the specialist will be recognized and the wishes of the nonexperts will be respected by the specialist. When there is a lack of acceptance on either side, or a failure to recognize the right of all to participate in worship, there will probably be trouble. Only the Best 165. Perhaps the least satisfactory discussion in connection with any art form is in reply to the question, "What is good art … painting … sculpture … poetry … music?" Except in a few cases, there is unlikely to be a conclusion with which all will agree, and it has to be recognized that judgment depends primarily on personal taste. We may not expect too definite an answer in reply to "What is good church music?" There is difficulty even in trying to define exactly what we mean by saying that only the best is good enough for God. Of course it is, but how do we know what is best in his eyes? Who dare presume to describe the aesthetic tastes of the Almighty? Who other than he can finally judge the quality of our offering in worship? 166. Yet some judgment of quality has to be made by the people responsible for the choice of music. Such discernment is highly subjective. Deciding on pieces of music by merit or quality is often difficult. It is always subject to the danger of arbitrariness based on prejudice or preference. But it is some comfort to recognize that often that which is really good stands out just as clearly as that which is of poor quality. Moreover, the bad does not on the whole survive. Publishers' catalogues in the last century contained quantities of dross, together with the gems that are still part of the standard repertoire. 167. In the end the choice is best based not on personal preferences but on asking the question, "Within the style which is suitable, comprehensible and helpful to my congregation, is this piece of the best quality that I can find?" The answer to that question may not always be easy. But there should never be a suspension of sensible critical judgement because the music is for use in church. Appropriate Styles 168. The question of quality is further complicated because the church musician is faced with an almost bewildering variety of musical styles. The point has already been made that none of these can safely be said to be outside God's inspiration. Potentially, any of them might be appropriate for a particular act of worship. In addition, to "church" music, folk music (real or imitation), classical music, rock, pop, and jazz have all been used with varying degrees of success. 169. As well as being an offering to God, the particular musical style adopted in a church is intended to help people in their worship, rather than obtrude or be a source of irritation and dissatisfaction. Consequently most churches have a repertoire which is limited, and, some would say, unimaginative. That each church and cathedral should develop its own musical tradition is to be expected. Some will find rock music offensive in church, whilst others are bored or even alienated by the more traditional forms. The Needs of People 170. Diversity of preferences is explained by the fact that people differ enormously in their temperaments and personalities and therefore in their responses to different kinds of music. The significance of these differences has long been known to those interested in the relationship of psychology and spirituality. In recent years it has become more widely known through the Jungian Myers-Briggs Type Indicator. 171. This suggests that there are sixteen basic personality types with many subtle differences within each type. Broadly, each person is somewhere on a continuum between extroverted and introverted, sensing and intuiting, thinking and feeling, judging and perceiving. Consequently, in a congregation some people will not want to change anything in their worship; for others, the more change there is the happier they will be. Some long for more silence and know how to use it creatively; others find silence difficult and need to have their minds and their worship channelled. Some will happily accept what is offered them; others will want answers to innumerable theological and liturgical questions before making up their minds. Some will be drawn to worship through the power and beauty of a performance of Bach's St. Matthew Passion; others will be reached through Christian pop music. 172. People therefore differ in temperament as well as according to any temporary state of happiness, anxiety, grief, anger, depression, or exhilaration. They differ, too, in their preferences and needs according to where they are in their spiritual journey. As an individual moves from one stage to the next it is normal to enjoy a different kind of musical expression. Progress in maturity may well be marked by a greater catholicity of taste. 173. It is not a question of one way being superior to another. Different people have their own preferred ways of worshiping, in which they can feel at ease. Such differences have to be taken seriously, not only by church musicians but by all who plan and lead worship. All of us are created in the image of God. But each is a unique personality, with the need to respond to the worth and love of God as oneself and not as a stereotype. This is obviously more possible in the context of individual devotion than that of public worship. Knowledge of the many temperamental differences within a congregation, however, explains why a particular musical piece attracts some but repels others. It calls for greater sensitivity on the part of those responsible for the music. 174. We have also to accept that what once appeared to be a common musical language in which all could participate has been curtailed. Thus, familiar hymns and psalms which were part of most church people's upbringing before 1950 are not known by a younger generation. In any case the congregation will probably contain people of significantly differing tastes. 175. In the large town or city, there are enough places for people to find the kind of worship which is most helpful or congenial to them. But in small centers of population and rural communities, where there is only one place of worship, the question of musical styles has to be faced particularly sensitively and imaginatively. There is no reason why all the music in all the services should have the solemnity popularly associated with church music. It should be possible to use varying styles, either on the same occasion or at different services. People may need to learn that their indifference or antipathy to a particular style does not mean that it is unsuitable for others. Preferences will be expressed, but there has also to be a tolerance of other tastes. One style of hymn is not necessarily "better" or "worse" than another. Standards of Performance 176. In the performance of a musical piece, no matter what the quality and style of the writing and whether it be simple or complex, there should always be the aim of achieving the highest possible standard. This is because music in worship is part of the church's offering to God. It is also because a poor performance can distract the congregation and be destructive of worship. Poorly played hymns, strident singing, insensitive amplification, poor intonation, or insecure part-singing can all intrude and will unsettle the worshiper no less seriously than an unsatisfactory sermon. Moreover, performers are likely to be judged increasingly by the standard of the many recordings of the church and other music which are widely available today. 177. Because perfection is unattainable here on earth, there is bound to be some falling short of the ideal. Worshipers readily forgive minor blemishes, but this should not be made an excuse for shoddy performances. Nor is there any justification for a popular notion that the standard of performance does not matter as long as it is sincere. It is not sincerity before God on the part of musicians if they ignore the right notes or do not attempt to fulfill the intentions of the composer. After all, the skills of performers and composer alike are God-given, and it is no glory to him to be musically careless. God may not be glorified by a congregation which has been set on edge by a needlessly low standard of singing or playing. Making the Choice 178. Standards are dictated in the first place by the choice that is made of the music to be performed. That choice is determined by a number of factors, but it is always subject to the overriding consideration that worship is first and foremost an offering to God, whether it be in the simplicity of a country church with a "reluctant organist" and no choir, or in the grandeur of a Perpendicular cathedral with a team of thirty-six professional musicians. The music is neither community singing nor is it a concert performance. It is the raising of the hearts and minds of the congregation, whether they take part silently or with their voices. 179. Of the other considerations which guide the choices to be made, the most important is the necessity of tailoring one's selection to the resources which are available. Pieces which are beyond the skill of players or singers, or an over-ambitious anthem can seriously detract from an otherwise admirable service. Although it is often stated, it remains true that a simple piece well or even adequately performed is much more effective than one which is too difficult for the performers and leaves performers and listeners alike with a feeling of dissatisfaction. 180. It is important to take account both of the styles of music which meet the requirements of that particular congregation, and of the quality of music within those styles, if there is to be a worthy act of worship. There is also the need to be sensitive to the moods of the seasons of the year, of the service as a whole and of the different parts of the service. Moreover, it is essential to have some understanding of the effect that music can have upon the human being. Music's Power 181. The power of music to heal is familiar to those who use it for therapy. The wide range of people helped in this way includes those with mental, physical, or emotional handicaps, sufferers from disease, and those with other disadvantages. There is a biblical precedent in the story of David's playing for Saul when he was under the influence of an "evil spirit from God" (1 Sam. 16:23). The therapist "uses music, in a therapeutic environment, to influence changes in the patient's feelings and behavior" (Flashman and Fryear, The Arts in Therapy [Chicago: Nelson Hall, 1981]). It is also used for self-enrichment. 182. Therapists analyze the effects on their clients of the basic components of music, such as pitch, duration, loudness, and timbre. Most people, for example, are most comfortable with the middle range of pitches. A high range creates tension and a lower one brings relaxation. Tempi of 70–80 beats per minute echo the average beat of the human heart. An accelerating tempo may speed up the pulse-rate and provide stimulation, but a lower one will relax the listener. Loud music may give the client a sense either of being safe or surrounded or of being excluded or of feeling frightened. Reactions differ widely, too, to timbre and tone color. The sound of a bagpipe, for example, affects different people in very different ways. Moreover, individual associations, such as the words of a song or the familiarity of a piece, will determine the response of the listener. If music can be used to heal and help, it can also, therefore, be harmful. 183. The implications of this for church musicians are obvious. Because music is a powerful tool which can affect people deeply, even when this is not perceived or intended, those responsible need to be aware of its influence. It may not be realistic to incorporate instruction on the psychology of music, or the basic principles of music therapy, in the training of musicians and clergy. But it should be possible to observe the reactions of congregations during worship. Also, members of the congregation might be given some opportunity to respond to the choice of music, and even to have some part in it. This is one of the principles of music therapy, and it would provide for greater cooperation and participation in the planning of services, which in turn could bring benefits to the worshiping life of the church. Censorship 184. From time to time the suggestion is made that "the church" should ban certain pieces of music from use in worship. Apart from being practically difficult, such prohibition is highly undesirable. For congregations differ in their ethos and tradition and they need to address God through the music of their choice. Furthermore, if God can reveal something of himself through many styles of music, whether it be Mozart or the Beatles, we might be in danger of limiting both God and church musicians were we to compile an index of forbidden pieces. We could also be in danger of creating a musical elite with the right to bind or loose. 185. But it is important that neither within a congregation nor within the wider Church should there be a single group which assumes that it alone has the right approach. In this area, as in many, no one has the authority finally to judge others. Tolerance of different approaches is essential. We are, unhappily, accustomed to condemning or despising the forms of worship unfamiliar to us but it can be deadly to the life of the church. Whilst preferences are both allowable and necessary, judgmentalism is not. Conclusion 186. Every effort should be made to educate fully those who are responsible for music in church. It is so important an ingredient of worship that the greatest care needs to be taken over its choice, in order to ensure that the varying temperamental, spiritual, and cultural needs of the congregation are respected. Above all, the quality and style of music must assist the community to worship in a way that will lift their hearts and minds as an offering to God. The Archbishops' Commission on Church Music