T Chapter XVII: Introit and Antiphons HERE is needed a brief further word about the usage of an Introit as suggested in the last chapter. The logic and function of its place in the service was perhaps made sufficiently clear there. It is calculated to do what a prologue or first act of a play does. It sets forth the theme of the whole service with sufficiently rich material, carried by beautiful antiphonal music, to capture attention and begin the process of the total presentation of the hour. Such an exercise should be confident in spirit and declarative in manner-a work of art never argues but simply presents. In style and diction it should be preferably archaic or poetic, though not metrical. In tone of utterance it should not be modulated nor weighty, but straightforward and clear and even, confidently declarative. In form, a tripartite arrangement seems to be a natural one, each of the three readings of the minister being followed by the antiphonal response of the choir. A reëxamination of a considerable number already used discovers a marked tendency in the character of the three parts. The first reading sets forth some statement of faith or some attribute of Divinity. The second relates to the corresponding human obligation, some statement of the moral implications of the divine character previously testified. The third reading then expresses the hope of triumph for the truth proclaimed or reward for the virtues admonished. Materials for these parts should be taken largely from the Bible. Some churches will, at least occasionally, be willing to have other religious writings drawn upon for such declarative statements as they regard to be truthfully and beautifully set forth. One of the best collections of material of this character has been made by Mr. Stanton Coit and published in the volumes on "Social Worship." Good music for responses is hard to find. We use some times that which is included in the "Selected Readings" published by the A. S. Barnes Company. Most of it is very unsatisfactory, although the plan is good. Mr. Clarence Dickinson has prepared similar antiphonals for use in the Brick Presbyterian Church, New York, which are being published. Our own organist is composing new ones, according as we are able to develop the material in harmony with the services. Two of these are presented below in this chapter. It is hoped that these can sometime be published in form suitable for choir usage. If any church desires to make use of such an introductory number, it should possess, sooner or later, a sufficiently large variety of music to cover the main themes of the Christian year. Oftentimes the same musical response will serve for somewhat different selections for the readings. It is less difficult to find readings more fully pertinent to the theme of the service. If the words which are sung are reasonably in accord, the spoken material will sufficiently carry the burden of more precise introduction. There is nothing in this general plan to make it impracticable, even with very modest resources. Even without any music at all, there may be an Introit in the service, though it consist of nothing more than two or three verses carefully selected for their pertinence as a preliminary announcement of the theme of the day. It is, at least, far better to have such an introduction, fresh for every formal service, than to use a familiar stereotyped call to worship. There will always be some people who will try to be in their pews on time simply to hear what those introductory verses are, knowing that they will be fresh and appropriate. Sometimes even a single well-selected verse declaring some divine truth will secure an interest and be fixed in memory better than a longer reading or antiphonal exercise. Such a practice makes all the worshipers feel that the service has been well prepared and tends greatly to increase their expectation of getting genuine good from it. It will sometimes be found valuable to use an antiphonal exercise in the midst of the service rather than as an Introit. Particularly is this suggestion applicable to special occa sional services or celebrations. The future artist in worship will find many opportunities for impressive recitals of this character, including responses by two choirs and responses between two portions of the congregation, as well as between minister and people or minister and singers. The exercises here presented were used in the regular morning service at the Wellington Avenue Congregational Church in Chicago. The music was written by the regular choir director, Mr. Leo Sowerby. The first was prepared for the service at which the sermon topic was "The Son of God," the second was introductory to a sermon on "The Communion of Work." INTROIT ON CREATIVE SONSHIP Minister: Thus saith the Lord: I am the Lord, and there is none else; beside me there is no God. I will gird thee, though thou hast not known me: That they may know from the rising of the sun, and from the west, that there is none beside me: I am the Lord, and there is none else. I form the light, and create darkness; I am the Lord, that doeth all these things. Choir: Slowly p p. Ho-ly, Ho-ly, Holy, Lord God of Hosts. A- p Minister: As many as are led by the Spirit of God, these are the sons of God. For ye received not the spirit of bondage again unto fear; but ye received the spirit of adoption, whereby we cry, Abba, Father. For the earnest expectation of the creation waiteth for the revealing of the sons of God. For the creation was subjected to vanity . . . in hope that the creation itself also shall be delivered from the bondage of corruption into the liberty of the glory of the children of God. Choir: Moderately ** The Heavens and the earth are full, Are full of Thy glo-ry. नै Minister: And I saw the heaven opened: and behold, a white horse and he that sat thereon, called Faithful and True: And his eyes are a flame of fire and upon his head are many diadems: And his name is called the Word of God. |