USA > Pennsylvania > Two centuries of the Church of the Brethren in western Pennsylvania, 1751-1950 > Part 10
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The women also had a part, and hundreds of people were fed at the many food stands, the profits of which went to swell the total for the day. One goat, which was donated for the sale,
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was put on auction time and time again by the high bidders, adding substantially to the coffers each time. Three auctioneers worked simultaneously through the day, with the fourth ring later, to dispose of all the items that had been donated. All who helped in any way worked without any thought of ma- terial reward. Finally, in the middle of the night, the money was all in and counted, and the problem of conveying it safely to the bank vault was confronting the men. Unarmed, three cars participated, as one car preceded the car carrying the cash, and one followed closely. With deep joy in their hearts the men left the money in the hands of the banker and turned toward their homes, knowing they had wrought a good work which would surely bear much fruit.
-C. M. Kuhns and Ruth B. Statler
CHAPTER 15. THE MINISTRY OF MUSIC
Ephrata music brought "west of the Alleghenies" Changes in the attitude about instrumental music Congregational singing and robed choirs
Recently Brother S. S. Blough wrote: "I never knew of a meeting in the church when there was no singing. It always seemed that singing was an important part of the service." The striking thing about this is that it is true and yet one seldom gives it any thought. He says further: "May I quote from the introduction to the Brethren Hymnal published [in] 1879: 'Good singing adds greatly to the interest and life of worship, and without it much of the spiritual edification seems to have been lost, no matter how good the preaching may have been.' That hymnal was published by Quinter and Brumbaugh Brothers and this was likely written by one of them."
There probably never was a time in the church-or the Kingdom, for that matter-when music or the lack of it was not exceedingly important. From the time the morning stars sang together God has ever been praised in song. Singing and songs are referred to practically hundreds of times over in the Old Testament and in the New.
The Hebrews were a singing people. Their music was pre-
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served to a degree by the Christian church. Their psalms had become an important part of our worship, and new hymns to express aspirations and praise were developed and engaged in by the early Christians down through the early centuries. The Gregorian chants from the sixth century of the Christian era have had great influence down through the years. Probably through Ambrose, Bishop of Milan, of the fourth century, they trace back to ancient Hebrew melodies. Martin Luther restored congregational singing.
Alexander Mack and his followers had access to a rich heritage of Lutheran-Calvinistic, pietistic, and mystic hymns. "All in all, these early leaders" of the Brethren in Germany and in the colonies were described as "godly, fearless, able men. Most of them were not only preachers of power but writers of important works and composers of fervent hymns."1 Peter Becker "was perhaps the most gifted singer and the most elo- quent man in prayer in the colonial church. . .. He was also a writer of hymns."2 I think I can hear this voice in perhaps the most picturesque scene ever described by Dr. Brumbaugh- that of that memorable baptism in the Wissahickon Creek and the love feast that followed on Christmas evening, 1723. That descriptive scene can hardly be improved upon.
"The group kneels. Overhead the solemn sentinels of the forest fastness-the pines and the hemlock-are stilled. The ice-bound stream utters strangely solemn music. ... Peter Becker's voice breaks the still- ness. The prayer is ended. The six candidates ... are baptized by trine immersion."3 Then, returning to Germantown, at the love feast they "gather around a long table, a hymn is sung, and in the silent evening hour"4 they begin the observance of the most sacred ordinance-the feet washing, the Lord's Supper, the kiss, the hand of fellowship and the holy communion. They "sing a hymn and go out. It is night."5 Was ever music sweeter? This soul-uplifting experience, heightened enormously by sweet music, has been an indescribable experience and continues as the years go by.
When the fire of mysticism, first kindled at Crefeldt, Germany, burned more dimly at Germantown, some were drawn away to the warmth of the Ephrata Society. One of the most impelling forces at Ephrata was its music. The impact of the Ephrata movement upon the Brethren, of which it was an off- shoot, was almost staggering. No small part of this effect was
1 M. G. Brumbaugh, A History of the German Baptist Brethren. Page 154.
2 Ibid. Page 208.
8 Ibid. Page 156 (see the frontispiece for a photo of the baptismal pool).
‘ Ibid. Page 156.
" Ibid. Page 156.
2
Ephrata Hymnbook Such As Was Used in the Stony Creek, or Brueders Thal, Church
due to the music which flourished there. The schism in the Germantown ranks took with it to Ephrata a number of the ablest workers.6 Some of them never returned. Those who returned or went elsewhere to establish churches, as at Ber- mudian and Stony Creek, took with them the profound spirit and the form of music and other phases of worship as practiced at Ephrata. George Adam Martin was a member of that or- ganization, as were some of his followers.7 They later estab- lished Brothersvalley [Brueders Thal]. Julius Sachse, the noted historian, says that the influence of Ephrata music was very marked in New England and that it was even carried across the Alleghenies.8 It appears that much of the Brethren inter- est in singing, and perhaps some of the best early roots of its performance, come from that source. (See cut.)
6 G. N. Falkenstein, History of the German Baptist Brethren Church. Page 78.
7 M. G. Brumbaugh, op. cit. Pages 328 and 329. (Elder Joseph Berkey of Shade Creek, his parents, and others were originally Seventh Day Baptists.)
8 Julius F. Sachse, Ephrata Cloister Music.
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Since, apart from the above, the history of music in the church of Western Pennsylvania in its early period has been the history of the music of the Brethren in general, it seems advisable to note that the Brethren immigrants to America brought with them a few copies of their songbook, Das David- ische Psalterspiel, first printed in 1718. It contained over one thousand hymns. Christopher Sauer printed a shorter form (five hundred thirty pages) in 1744. Sauer published four editions of it, the last in 1777. Other editions followed, so that by 1850 there were at least fourteen editions.9 All this proves that the Brethren were decidedly a singing people. They have continued to be interested in hymn singing and hymnbook publishing up to the present.10
The music within the Church of the Brethren did not develop wholly apart from the secular music of the com- munity. Brethren communities surrounded two very important music centers of the nation, Pittsburgh and Philadelphia- where there were more than a dozen important musical so- cieties and schools, some dating back to about 1800. The Musical Fund Society, founded in 1820, brought in such talent as Jenny Lind, who was well known to many of our people, and, having influenced them, was often referred to in Brethren homes. Elder C. G. Lint, himself a singer and leader of song, claimed family connection with the above famous singer.
The old-fashioned all-denomination camp meeting had its effect, beginning around 1800 and coming to a climax chiefly under the Baptists and the Methodists throughout Pennsylvania and states south. The Brethren were not able to live wholly apart from the influence of such camp-meeting and revival songs. Singing wholesome songs for whatever occasion is an admirable practice in Brethren homes and communities and is expressive of many moods from the light and cheery to the most profound and devotional. People who cannot change moods will probably have difficulty singing themselves into an attitude of worship.
The influence of George B. Holsinger, born and reared within our district, must be mentioned here. (See his biog- raphy.) As the leading musical authority in the church he conducted singing which attracted much attention within and without the church. This he did for many years, until his death
9 H. R. Holsinger, A History of the Tunkers and the Brethren Church. Page 266. 10 Nevin W. Fisher, The History of Brethren Hymn Books, published in 1950. Chapters IV and VI.
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in November 1908. His goal was to inspire all with the true spirit of worship through sacred music. Perhaps the height of his musical goal was reached when he led the great singing audiences of the Brethren at Annual Conferences, especially at that noted Bicentennial Conference at Des Moines in 1908.
From observation at the Annual Conferences of 1907 and 1908, the writer can say that Brother Holsinger was a dignified, capable, and highly respected leader. The effect of such leaders upon the music of the district and the Brotherhood cannot be easily overestimated. The singing was given publicity in the regular press, the Conference Daily, and church papers. This singing was discussed later for some time in the home and community, new songs were introduced, and new leaders were inspired, who tried to imitate what they had seen and heard. A somewhat similar contribution made by contemporary and later leaders should not be overlooked. Among them were A. J. Showalter, William Beery, Cora Stahley, B. S. Haugh, Roy Dilling, C. L. Rowland, and Alvin Brightbill. Others are fol- lowing them.
There is historical and practical value in a sixteen-page booklet, Singing in the Sunday School, prepared and distributed among the churches by the General Sunday School Board, per- haps forty years ago. It is referred to partly because it was used in this district, and it was compiled by Professor William Beery, the only remaining one of the three outstanding com- .posers of the first generation of trained musicians in the Church of the Brethren.11 The following excerpts will recall some of the problems and the aspirations of the times. Much of the advice is still appropriate.
Good church music is good Sunday school music. The idea that music for the Sunday-school should be different in character from that which is good for the church is erroneous. Without a doubt the services of the church have lost much in dignity, reverence and spiritual uplift by the use of some of the lighter music which has found its way into them through the Sunday-school. To find that in a congregation of intelligent, well educated young and older people, the standard, historically famous, and most worshipful hymns and tunes are not only unfamiliar but also unappreciated, is a condition painful to contemplate. It is deplored that the Sunday-school is often to blame.
The music and manner of singing in the Sunday-school should be at least as high in excellence as that of the public schools. Music is an educational force. The singing of good music will help people to think good and right things; right thinking will bring about right doing.
11 Nevin W. Fisher, op. cit. Page 85.
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The most effective mode of song service is that of congregational singing. An occasional solo, duet, quartet, or chorus or anthem by select voices, is sometimes in place, and can be used to good effect; but by all means, congregational singing must prevail if the best results are desired. We learn to sing by singing, and the way to main- tain this form of singing is to use every means and opportunity to build up popular hymn-singing. We would recommend that there be special attention given to the teaching of vocal music in the congre- gations.
Singing must be regarded and used as an act of worship. It can- not be engaged in while other distractions are going on; selections should be carefully made by a competent person; children should be taught the art and science of music, and the correct use of their voices; every possible means should be employed to maintain, pro- mote and improve congregational singing.
From this point I go back to the earliest regular worship services. The hymns were selected by requests, for use usually with long meter, short, or common, as there were few hymns with the music attached. There was usually no trouble to find one of several tunes to suit a hymn. In those days the leaders never stood up in the local congregational services to lead, nor did they generally use a fork or a musical instrument for finding the correct pitch. They did often beat out the rhythm with the hand or occasionally with the head.
To return to the earliest services within recollection, there were a limited number of books and few printed tunes. This called for regular lining of about two lines of the hymn by the minister, which were then sung by the congregation, fol- lowed by two more lines, this procedure being repeated until the whole hymn was sung. This made the work of the leader even more difficult. At least some of the hymns, as well as the prayers and sermons, were in German.
Singing schools were conducted in the church as early as the writer can remember; but closed meetings, in which fees or subscriptions were taken, were forbidden locally as late as June 1891, though this became the practice after 1900. Many members had learned to read music much earlier than this in union or community singing schools, about as early as the pub- lishing of the first Brethren Hymns and Tunes in 1872, though Annual Meeting at Meyersdale in 1873 advised to keep the "hymn book with notes" out of churches.
The earliest item of business relating to music that came before the District Meeting was a query in 1868: "Will this District Meeting prohibit members to sing Bass, Tenor, or Alto with air in our public assemblies?" The answer was "No."
Another query, in 1875, contains this sentiment: Does District Meet- ing approve social meetings of this order? Someone reads Scripture and
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exhorts, then someone names a hymn. All sing, then prayer, then another announces a hymn and prayer and so on until each has had liberty, or till time to close. Answer: Refer to A. M. "Such social meetings should be conducted according to the Gospel."
In 1880 the question came up again (from Glade Run). "Is it con- trary to the principles of the Gospel or our holy religion for members of the Church and others to sit together and engage in singing during the opening and closing services at our meetings?" The answer was: "As ex- plained (this) referred to males and females promiscuously sitting in con- gregation, where not common. Local congregation to decide. Encourage mutual forbearance."
As the church faced division in 1881, a paper was sent by the district to Annual Meeting at Ashland on irregularity, in that disowned members and others were received into a newly organized congregation using "instrumental music and a salaried ministry."
Then again, after the division, in 1888, a query stated that inasmuch as Annual Meeting allows the use of musical instru- ments, such as the piano and the organ, when they cause no offense, how then is it considered if Brethren take part with and belong to a brass band or string band? The answer was: "Brethren should not belong to such organizations or take part in them."
There we have the problems of music confronting the District Meeting up to about the turn of the century. We also have the attitude of the district toward them.
At this point we may face forward and review organized efforts to improve church music. It is fair to say that up until then there is scarcely a religious meeting recorded in the local and district minutes that did not specifically open with singing and prayer, and it might truthfully be said that each one closed in the same way. While there was scarcely anything ever said as to the interpretation of hymns, the common admonition was: "Sing with the spirit and the understanding"-or sing without further lining. There had been practically no chosen choristers, officially, and few if any trained leaders, but there were many songsters good enough to inspire others.
We could say that C. G. Lint was a trained leader for his day. He was a very good singer, and also an author of hymns. I understand that he "had completed several courses in vocal music, and was industrially en- gaged in teaching the art in the evenings." He had three large classes when he "decided to devote his entire time and attention to the work of the ministry."12 Professor William Beery pays him tribute in various ways.
12 Blough's history, biography of Lint.
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We should refer next to the contribution of Professor Beery, who has been helpful in the preparation of this article. He had the distinction of being the first trained leader who had an effective and extended period of influence over the district church music. His low salary at Juniata College, fortunately for the churches, forced him out to conduct singing classes in the local churches. Professor J. W. Yoder also taught classes in the district.
The rudiments of music were taught with round note reading in the various keys, and related modulations. Stress was placed on tone quality, interpretation, and worship in song especially when the rudiment book was laid aside. Professor Yoder also stressed smaller group participation, and started the first male quartet known to the writer, who became a participant. Leadership was also taken up. Some of these special groups kept functioning for years. Even the classes were held together for practice for some time afterward by local leadership. The quartet, duet, and chorus singing has really never died out.
In 1908 and 1910 the writer and wife and J. L. Weaver and wife were privileged to take training in methods and con- ducting at Bethany Seminary. Observation work was taken at Moody Bible Institute, with practical experience at the mis- sions, Sunday schools, and vacation classes. It was natural that when these students returned home to the district they should practice what they had learned. They found here a ready 're- sponse, with classes in various churches and communities, some being repeated year after year each summer vacation for some time.
REPORT OF MUSIC SURVEY BY QUESTIONNAIRE, 1950
The following facts on music were gleaned from a survey made among the churches of the district, relating to interests and practices as of 1950. There were forty items, falling under fifteen different classes. There was a response from seventeen of the sixty congregations, repre- senting city churches, urban-small town-churches, and predominantly rural churches, with five or six congregations in each class, representing two thousand one hundred forty, one thousand one hundred sixty-one, and two thousand one hundred fifteen members in each class, respectively. There were answers from eleven and one-tenth per cent of the five thousand five hundred sixteen members represented in the survey. (Ten per cent of any group is sufficient for statistical purposes.) There was a total of six hundred ten persons voting on any of the whole group of questions.
1. Ninety-three per cent of five hundred thirty-six favored the use of instruments with congregational singing.
2. Ninety-seven per cent favored the use of a chorister.
3. A goodly number or seventy-nine per cent wanted to know about authors, the origin and influence of hymns, or the stories of hymns.
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4. Seventy-nine per cent did not remember the old practice of lining the hymns.
5. The choir as an aid to worship was favored by ninety-five per cent.
6. Only three of the seventeen churches did not have a choir. These were rural churches. The number in these fourteen choirs averaged about ten, with few having over thirteen.
7. Choir robes were preferred by sixty-nine per cent. The main reason for favoring the robing of the choir was that of uniformity of dress.
8. Fifty per cent of the churches want the music program left in the hands of the music committee. Second choice, the choir director; third and fourth places, the pastor and the board of Christian education.
9. The tabulation in the next group is not satisfactory. It raises the question of what the churches are doing to promote music.
10. Fifty-nine per cent feel that the listener profits quite as much or rather more than the one who participates.
11. Exactly fifty per cent of those participating expressed their pref- erence for musical instruments to be used in church worship.
12. Ninety-seven per cent favored using the Hymnal: Church of the Brethren.
13. On the various types of vocal music, the first choice was for con- gregational singing, with adult choir, quartet, duet, men's chorus, junior choir, women's chorus, song fests, and finally solos, in this order.
14. Seventeen per cent of those who responded played some instru- ment.
15. Fifty-one per cent said they received most of their help in music from the church; next in order were the school, the home, private lessons or help, the choir, and lastly the community.
Those most interested should study these findings carefully and do what they can about the situations they reflect. Has your church had a music institute lately? Why not? It appears that the Brotherhood is becoming more music conscious again -and look at the many reasons why it should! Then why not your church?
A great many churches are doing much to improve their choir singing. This has been immeasurably inspired by the influence of the Juniata College a cappella choir and other college glee clubs. Professor Charles L. Rowland has given the best of his life to this work. Other leaders were trained at Bethany and other schools. George Detweiler aided the district activity materially; so also have others of the District Music Committee, including Ernest Statler and Sisters Roy Forney and Clarence Bowman. Many local leaders, such as John Fike, George Berkley, Chester Strayer, Ray Berkebile, J. H. Lehman, and Harry Howells have sacrificed that progress in this field might be possible. Some have spent much of their own personal funds to carry this work forward. Special recognition should
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be given to the helpful activity of Ernest Statler and his Roof Garden Chorus as well as such other groups as the Rummel men's chorus, the Gideons of Walnut Grove, and the Roxbury choral groups, to name only a few of them.
Where are our modern hymn writers? Why not more musi- cians and hymn writers among the Brethren? We know we have a few at work. Time will tell of the quality of their work. The least that we can do, short of producing, is to join the effort to sing and play our present hymns more effectively.
Our leaders may have a slight tendency to follow the un- tried and bizarre, or the difficult to perform. The simpler music, well performed, may be more effective than the poorer performance of the more elaborate music. However, we must continue to democratize our church music. More leisure should give us increased interest, variety, and activity in the church music. Let us hope that The Brethren Hymnal (1951) and the attending enthusiasm for better hymn singing may carry us to new heights of worship in song.
-Alvin G. Faust
CHAPTER 16. HIGHER EDUCATION IN WESTERN PENNSYLVANIA*
Young Brethren as select-school teachers Establishing of academies and colleges Influence of Juniata College on the district
"The greatest thing in the world is a human life. The great- est work in the world is the helpful touch upon that life."1 That quotation has been ringing in my ears for more than four decades. That helpful touch, from at least one angle, is education.
As to the meaning of higher education, I am not sure, par- ticularly as to the point where it begins and when it ends. It begins with the cradle-or does it? It does not end with the grave, I feel sure. To determine just where elementary educa-
* Brother Alvin G. Faust, Ph.D., prepared an interesting and exhaustive chapter on this subject, but the limited space available makes only the following excerpts possible .- Editor.
1 Antoinette Abernethy Lamoreaux, The Unfolding Life (Preface). Religious Publishing Company.
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tion ends and where secondary or higher education begins is really difficult. It may depend partly on the individual and the circumstances under which it takes place.
Any education above the eighth grade should be considered higher education in a formal sense. The regular high school course, however, has become common for youth today, and its administration has passed from private to public control; accordingly, this phase will receive slight emphasis in this dis- cussion. Would it be a great surprise to hear that a high school education of the present time has a greater content of subject material than the college course-and certainly the academy course-of a number of years ago? This education on the high school level, and even higher, is now so much within the reach of students that anyone with the will and a little means and ability may attain at least minimum standards. In this study we should put more stress upon conditions of the earlier period, when the opportunities on this level were more rare and the sacrifices of the leadership were much greater to make such standards as even the academy available to a few.
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