Brethren (Plymouth) Churches

Plymouth Brethren worship is characterized by a commitment to austerity and simplicity. Music in worship has traditionally been limited to unaccompanied hymn singing. Musical and artistic creativity is most prevalent in Open Brethren churches in worship services other than the breaking of bread service. In some cases, instrumental accompaniment, contemporary music, and dramatic presentations of portions of Scripture are now used.

The (Plymouth) Brethren Movement began as a reaction to the strict sectarianism and clericalism evident in England and Ireland in the 1820s. Among the early leaders were George Müller, Henry Craik, Anthony Norris Groves, J. G. Bellett, John Nelson Darby, and Edward Cronin. Its high goals included a return to a spirit of simplicity, catholicity, and equality of all believers in the worship and remembrance of the Lord, in anticipation of his imminent return. As a result, artistic expression in worship among the Brethren was not held in high esteem. What was considered simple worship was more highly valued, that is, a type of worship that is "in spirit and truth" (John 4:24). The first Brethren believed that such simplicity allowed for only that which is Spirit-guided and otherworldly and not that which is influenced by the trappings of this world or is used to stir the emotions and sensibilities. Austerity in individual and corporate lifestyles was encouraged as a demonstration of this simple, otherworldly faith. And, since the Lord was expected to return soon, there was no need to involve oneself in any lasting cultural expression. Simplicity and even barrenness of architecture and interior decor was cherished so as to keep the focus otherworldly in worship. The only area of artistic expression considered acceptable to the early Brethren was hymn writing, but even hymns were regularly sung without instrumental accompaniment, and nonbiblical imagery was infrequent in their composition. Any extant hymns adopted by the movement were carefully reviewed, and lyrics were corrected to ensure doctrinal purity. With the split of the movement into Open and Exclusive branches over the issue of reception (1845-48), the Darbyite Exclusives began developing their own hymnology, culminating in the many editions of Hymns for the Little Flock. The Open Brethren under the influence of Groves, Muller, and Craik, developed and used a number of other hymnbooks, though some among the Opens also use the Exclusive book. John Darby, the chief Exclusive theologian, also wrote several well-used hymns for the Brethren. He capsulized the Brethren perception of the arts in his preface to the 1881 edition of Hymns for the Little Flock, where he stated that although a hymn did have something of the spirit of poetry, poetry itself was to be rejected as "merely the spirit and imagination of man." In addition to Darby, the earliest of Brethren hymnwriters included S. P. Tregelles (of Greek/Hebrew concordance fame), J. G. Deck, Robert Chapman, and Sir Edward Denny. The central theme of many of these Brethren hymns is devotion to Christ and his sacrificial death. These hymns fit well within the weekly Brethren focus of the breaking of the bread. This concentration on one theme is also a reason why so few Brethren hymns have made their way into non-Brethren hymnbooks. In the last decade or so, a number of leaders in both England and North America began to recognize the numeric and spiritual decline of the movement and spawned various calls and structures for renewal. The Open Brethren movement in particular has begun to see some renewal in the area of worship, although this is still not widespread and is viewed with suspicion in many Brethren quarters. In the area of musical accompaniment, the Open Brethren have increasingly included in their central Breaking of Bread meeting the use of musical instruments (most often the piano, but also occasionally the flute and guitar), although a cappella singing was originally preferred. This preference grew from the desire to minimize or remove any form of human leadership, in deference to the Holy Spirit. The meeting was understood to belong under the leadership of the Holy Spirit alone, and the use of instruments or any other form of prearranged leadership was felt to be contrary to the Spirit's ownership. But many newer Brethren have felt free to allow for the guidance of the Spirit in the planning and execution of certain elements of the meeting as well. Further, many newer worship choruses have been written and used, although there is a strong desire to use them only alongside of more didactic, traditional hymns. Traditionally, Brethren have tended to treat the weekly Breaking of Bread meeting as the true locus of worship and have kept it separate from the preaching/teaching service (often called the Family Bible Hour in North America) and any gospel preaching services they may hold. A more integrative approach has been tried in some assemblies so that the entire morning has been considered a worship experience. One assembly placed the Breaking of Bread as the final meeting of the morning, and an extension that is climactic to the preaching session. But this practice is rare among the Brethren, since the Breaking of Bread is customarily a separate meeting held either first on Sunday mornings or later on Sunday evenings. Because the Breaking of Bread meeting has been deemed sacrosanct by the Brethren, it is the other meetings of the assembly, especially the Family Bible Hour, which have seen most of the creativity in music and the arts. Some younger music leaders and participants have come to believe that their work is very much a part of the worship experience as well, and have put much planning, practice, and prayer into the coming Sunday's meeting. They have begun to employ newer hymns and choruses, synthesizers, electronic and traditional drums, acoustic and electric guitars, violins and cellos, and back up vocalists to enliven the musical participation of the congregation. Dramatic life-presentations, creative dance, and creative signing to contemporary music have also been used in some assemblies. Newer choruses are often projected by an overhead projector rather than sung from a chorus book to lend greater corporate involvement. Occasionally Scripture has been read dramatically, such as in an oral interpretation of an entire biblical book that might be used in the place of a traditional Bible message. In keeping with the Brethren commitment to simplicity in worship, the arts historically have not found expression either in architecture or interior decoration. Most Brethren meeting rooms, halls, or chapels have tended toward being very simple, functional, and unadorned. Decoration is often limited to a modestly adorned biblical text hanging behind the pulpit. Rarely a cross or other form of symbolism may be seen on their buildings or in their meeting rooms. Seating arrangement does have, in a number of instances, a certain symbolic element to it. Often the seating arrangement for Breaking of Bread is circular, with the table and elements in middle, to symbolize the centrality of the Lord's Supper to this group. More progressive Open Brethren have been more sympathetic toward aesthetic concerns in their building design, but buildings still have a far more functional than aesthetic orientation. Thus, as far as the arts are concerned, the Brethren are still in search of an identity that does not violate the essence of their weekly focus on Christ and his work, and yet may incorporate a more creative approach to the Spirit's living presence among the people of God. The younger leaders among the Open Brethren are leading the way toward a greater incorporation of the artistic in worship. It remains to be seen whether they will be successful in integrating these newer ideas with traditional Brethren practices.