Why We Practice Blended Worship at St. Luke’s
We embrace the best of both the Ancient and the Modern to the Glory of God
Those who have attended worship at St. Luke’s have no doubt noticed that we make use of both “traditional” and “contemporary” elements in our liturgy. The most common way of describing this eclectic approach to liturgy is “blended worship.”
Let me say from the outset that we have no argument with others who choose to be more “traditional” than us, nor do we criticize those who are more “contemporary” than us. But since I am often asked about our worship style, I thought it might be worthwhile to discuss our practice and our rationale for it.
We Use a Modern Language Liturgy
We admit that there are many good reasons to use a traditional language Prayer Book. We also acknowledge the foundational nature of the 1549 and 1662 editions of the Book of Common Prayer of the Church of England. They are focal points of our unity. They instruct and direct our liturgical practice, as they have guided the Reformed Episcopal Church from her founding as an Anglican denomination over 130 years ago.
However, we believe that there is a role to be played by liturgy in the modern idiom. We believe modern English can be reverential, and instrumental to those who seek to “worship the Lord in the beauty of holiness.” In doing so, we state our belief that no era in the development of the church (or of the English language) is uniquely sacred. So, while honoring the beauty of the language of the foundational formularies, we respectfully support the expression of Elizabethan theology in contemporary English.
We Sing Traditional Hymns
If we are not quite the same as our dear friends who are more strictly “Traditional”, we are also distinct from some who are more exclusively “Contemporary.”
Just as we would feel that we lost something if we could not make use of hymns and songs composed in the last 100 years, we would also mourn the loss of the great collection of more ancient Christian hymnody and liturgical music.
We Sing Modern Hymns and Songs
Some might ask “Are there not doctrinal defects or at least theological shallowness in modern church music?” And of course, the answer is, yes, some modern church music has this problem, but then, older hymnody is not universally immune to it either! The truth is, diligent, careful Christians must “test all things”. And we can never really relax that posture.
Since the older a hymn or song might be, the longer the Church has had to test and evaluate it, it might be that it takes more diligence to use contemporary songs than it does to restrict oneself to only traditional hymns. While there may be some truth to this argument, we find the extra effort worth our while in order to benefit from the “best of every generation of the Church.”
Sometimes we are faced with a false dilemma: to sing only older hymns or to sing only modern praise choruses, when, of course, we can do both, and we can also avoid any song that is shallow or theologically incorrect. So we sing both hymns and “praise songs.” But, we cannot ignore another significant body of music, namely, the modern hymn.
Modern Hymns are fresh, contemporary compositions that share the essential traits of traditional Christian hymnody while employing new, thoughtful lyrics and/or new melodies. The hymnal we keep in our pew, Worship and Rejoice (Hope Publishing) is a leader in the publication of such hymns.
For our purposes, we will consider any lyrics or tunes that postdate the Episcopal 1940 Hymnal to be “modern.”
Examples of traditional lyrics wedded to new tunes would include:
Psalm 103
Tune: Taize Community
The Beattitudes
Tune: David Haas, 1985
At the Name of Jesus
Tune: Michael Brierly, 1960
Glorious Things of Thee are Spoken
Lyrics: John Newton, 18th Century
Tune: “Abbot’s Leigh,” 1942
Examples of new lyrics attached to traditional tunes would include:
Sing Praise to the Father
Lyrics: M. Clarkson, 1966
Tune: Doane, 1900
Like A Mighty River Flowing
Lyrics: Michael Perry, 1982
Tune: Traditional, 14th Century
We Come O Christ to You
Lyrics: Clarkson, 1957
Tune: “Darwell’s 148th” 18th Century
Christ is the World’s Light
Lyrics: Fred Pratt Green, 1969
Tune: “Christe Sanctorum,” 17th Century
When Jesus Came to Jordan
Lyrics: Fred Pratt Green, 1980
Tune: “Munich,” 17th Century
Examples of fine hymns with both modern lyrics and tune might well include:
Jesus on the Mountain Peak
Lyrics: Brian Wren
Tune: “Mowsley” 1985
I Want to Walk as a Child of the Light
Lyrics: Kathleen Thomerson, 1970
Tune: “Houston,” 1970
Name of All Majesty
Lyrics: Timothy Dudley-Smith, 1984
Tune: Michael Baughen, 1982
Be Not Afraid
Lyrics & Tune: Bob Dufford, 1975
In Christ Alone
Lyrics & Tune: Stuart Townsend, 2002
Jesus is Our King
Sherrell Prebble, Howard Clark, 1978
King of the Nations
Graham Kendrick, 1990
Come and Rejoice
Don Moen & Gerrit Gufstafson, 1989
In conclusion, our guiding principles:
1) We hold an Ancient-Future faith, thus we seek the best of what every era of the Christian Church has to offer us in terms of music, liturgy and ceremonial practice;
2) We adhere strictly to the rubrics of the authorized formularies of the Reformed Episcopal Church, and use no liturgy that is not explicitly approved by the appropriate Ecclesiastical Authority (our Bishop or the General Council of the Church);
3) We are governed by the doctrinal commitments of the Creeds, Ecumenical Councils, and the clear teaching of Holy Scripture in all that we do;
4) We seek both to preserve the heritage of the past by singing traditional hymns and plainsong settings as well as looking toward the most appropriate modern hymns, songs and liturgical music as adding to this ‘holy repertoire.’
5) We reject the notion that any century or era in the Church’s History is the ideal or “golden age” that future generations must imitate above all others. Rather, we believe that the Holy Spirit has worked in every era of the Church, and it is a great privilege to learn from each successive generation of the Body of Christ.
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