Choir In Church Quotes

Then the singing enveloped me. It was furry and resonant, coming from everyone's very heart. There was no sense of performance or judgment, only that the music was breath and food.

The entire range of human experience is present in a church choir, including, but not restricted to jealousy, revenge, horror, pride, incompetence (the tenors have never been on the right note in the entire history of church choirs, and the basses have never been on the right page), wrath, lust and existential despair.

The choir always tittered and whispered all through service. There was once a church choir that was not ill-bred, but I have forgotten where it was, now. It was a great many years ago, and I can scarcely remember anything about it, but I think it was in some foreign country.

Go to church to learn about forgiveness; come back to become a forgiver! Go to church and learn about kindness; come back to become a kind person! If things go like that, you will be a true image of Christ after going to church only 10 times on 10 Sundays!

Rigel, Betelgeuse, and Orion. There was no finer church, no finer choir, than the stars speaking in silence to the many consumptives silently condemned, a legion upon the dark rooftops. The wind came down from the north like a runner in lacrosse, violent and hard, to batter every living thing. They were there, each one alone in conversation with the stars, mining ephemeral love from cold and distant light.

The polarization is such that the conservatives on this side have their prayer meeting and their choir meeting. And the liberals on this side have their prayer meeting and their choir meeting, and the two sides never get together and talk about it. The result is the tearing apart of the fabric of the body of Christ.

Singing is my pleasure, but not in church, for the parson said the gargoyles must remain on the outside, not seek room in the choir stalls. So I sing inside the mountain of my flesh, and my voice is as slender as a reed and my voice has no lard in it. When I sing the dogs sit quiet and people who pass in the night stop their jabbering and discontent and think of other times, when they were happy. And I sing of other times, when I was happy, though I know that these are figments of my mind and nowhere I have been. But does it matter if the place cannot be mapped as long as I can still describe it?

The next home-going service at your church could be yours. And the most important thing on that day won’t be the amount of flowers that surround your casket or how well the choir sings your favorite hymn. The only thing that will matter is how well you use that dash between the day you were born and the day you die.

The organist was almost at the end of the anthem’s long introduction, and as the crescendo increases the cathedral began to glitter before my eyes until I felt as if every stone in the building was vibrating in anticipation of the sweeping sword of sound from the Choir. The note exploded in our midst, and at that moment I knew our creator had touched not only me but all of us, just as Harriet had touched that sculpture with a loving hand long ago, and in that touch I sensed the indestructible fidelity, the indescribable devotion and the inexhaustible energy of the creator as he shaped his creation, bringing life out of dead matter, wresting form continually from chaos. Nothing was ever lost, Harriet had said, and nothing was ever wasted because always, when the work was finally completed, every article of the created process, seen or unseen, kept or discarded, broken or mended – EVERYTHING was justified, glorified and redeemed.

Oscar Romero wrote: “A church that doesn’t provoke any crises, a gospel that doesn’t unsettle, a word of God that doesn’t get under anyone’s skin, a word that doesn’t touch the real sin of the society in which it is being proclaimed—what gospel is that?

You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of other things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sounds like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

Tonio Treschi was that half man, that less than man that arouses the contempt of every whole man who looks upon it. Tonio Treschi was that thing which women cannot leave alone and men find infinitely disturbing, frightening, pathetic, the butt of jokes and endless bullying, the necessary evil of the church choirs and the opera stage which is, outside that artifice and grace and soaring music, very simply monstrous.

Ida had always been different. At school, when all the kids used to play church, and one would be the preacher, another the preacher’s wife, a deacon, and the choir leader, and some would be the parishioners who had come to the church, Ida said she wanted to be God, because she was the only one who knew how to do it. Of

When he was creating this picture, Leonardo da Vinci encountered a serious problem: he had to depict Good - in the person of Jesus - and Evil - in the figure of Judas, the friend who resolves to betray him during the meal. He stopped work on the painting until he could find his ideal models. One day, when he was listening to a choir, he saw in one of the boys the perfect image of Christ. He invited him to his studio and made sketches and studies of his face. Three years went by. The Last Supper was almost complete, but Leonardo had still not found the perfect model for Judas. The cardinal responsible for the church started to put pressure on him to finish the mural. After many days spent vainly searching, the artist came across a prematurely aged youth, in rags and lying drunk in the gutter. With some difficulty, he persuaded his assistants to bring the fellow directly to the church, since there was no time left to make preliminary sketches. The beggar was taken there, not quite understanding what was going on. He was propped up by Leonardo's assistants, while Leonardo copied the lines of impiety, sin and egotism so clearly etched on his features. When he had finished, the beggar, who had sobered up slightly, opened his eyes and saw the picture before him. With a mixture of horror and sadness he said: 'I've seen that picture before!' 'When?' asked an astonished Leonardo. 'Three years ago, before I lost everything I had, at a time when I used to sing in a choir and my life was full of dreams. The artist asked me to pose as the model for the face of Jesus.

Well, I'm sorry you couldn't make it either. I'm sorry I had to sit there in that church--which, by the way, had a broken air conditioner--sweating, watching all those people march down the aisle to look in my mother's casket and whisper to themselves all this mess about how much she looked like herself, even though she didn't. I'm sorry you weren't there to hear the lame choir drag out, song after song. I'm sorry you weren't there to see my dad try his best to be upbeat, cracking bad jokes in his speech, choking on his words. I'm sorry you weren't there to watch me totally lose it and explode into tears. I'm sorry you weren't there for me, but it doesn't matter, because even if you were, you wouldn't be able to feel what I feel. Nobody can. Even the preacher said so.

Good Stab fell to his knees, pressed his forehead to the floor and he screamed too, and I daresay our screams harmonized, at least in how much they pained us. This, I believe, is the story of America, told in a forgotten church in the hinterlands, with a choir of the dead mutely witnessing.

The volume swelled with passion and deliberation as we poured our emotions into every darkened corner of the church. Every dusty cloister and crevice reverberated, reaching a crescendo in the final chorus, a vocal unison of thirteen villagers that cold, still night, pouring out our longings, our anxieties, our deepest fears.

Here I am looking at my lovely ten-year-old daughter, Maggie, in her white dress, singing Protestant hymns with the choir at the Plymouth Church of the Brethren when I should be at Mass praying for the repose of the soul of my mother, Angela McCourt, mother of seven, believer, sinner, though when I contemplate her seventy-three years on this earth I can’t believe the Lord God Almighty on His throne would even dream of consigning her to the flames. A God like that wouldn’t deserve the time of day.

By this time the Gentle Reader is thinking that people who go to church and sing in the choir should not make love in hayfields.

My mom used to have her own hymnal. It was as marked up as her Bible. She sang in the church choir for years. She said she felt closest to God in music.

Lord, save the Church from desiring to have pews, choirs, organs, or instrumental music, and a congregational ministry, like other heathen Churches around them!

LOVE IS ONLY LUST DRESSED UP FOR CHURCH.

The first time I sang in the church choir; two hundred people changed their religion.

If the chanting in temple would help inner peace, if the preaching in a mosque would address humanity and the choirs in a church would sing songs of universal love, I am not against religions!

As it recurred again and again, it set me thinking of what my architect's books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave, being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St. Barnabe, and whether something not usually supposed to be at home in a Christian church, might have entered undetected, and taken possession of the west gallery. I had read of such things happening too, but not in works on architecture. ("In The Court Of The Dragon")

When I look at the state of the world, I have come to the conclusion that the world does not need more churches, more revivals, more choirs, more psalmists, or more minstrels. What the church needs is more men and women of prayer.

Cyril, church warden and lead tenor in the choir, lives with mother, banned from unsupervised contact with schoolchildren; Harold, drunk dentist, early retirement, pretty thatched cottage off the Bodmin road, one son in rehab, wife in the bin.

But when she watched Clara Belle prance around the room, singing, she wondered why such joy should be kept only in the kitchen or in a church choir. Why were women with gifts not allowed to show them? And she could hear that her daughter had a gifted singing voice.

I was a country kid who went to a public school, and she was more of a middle-class girl who attended a private school. I was into hunting and fishing, and she liked drama and singing in the choir at school and church. Our lives up until that point were totally different.

The choir always tittered and whispered all through service. There was once a church choir that was not ill bred, but I have forgotten where it was, now. It was a great many years ago and I can scarcely remember anything about it, but I think it was in some foreign country.

As it recurred again and again, it set me thinking of what my architect’s books say about the custom in early times to consecrate the choir as soon as it was built, and that the nave,7 being finished sometimes half a century later, often did not get any blessing at all: I wondered idly if that had been the case at St. Barnabé, and whether something not usually supposed to be at home in a Christian church might have entered undetected and taken possession of the west gallery. I had read of such things happening, too, but not in works on architecture.

Memories of the first time he’d heard DeFranchesca’s small church choir could still make him cry now, and if he spent too long thinking about how Palestrina had sounded in his first experience with the priest’s iPod, this leap was going to end in a hug rather than the required violence.

Misner walked away from the pulpit, to the rear wall of the church. There he stretched, reaching up until he was able to unhook the cross that hung there. He carried it then, past the empty choir stall, past the organ where Kate sat, the chair where Pulliam was, on to the podium and held it before him for all to see - if only they would. . . . Without this sign, the believer's life was confined to praising God and taking the hits. The praise was credit; the hits were interest due on a debt that could never be paid. . . . But with it, in the religion in which this sign was paramount and foundational, well, life was a whole other matter.

The Christian canon consists of two different, separate voices, indeed of two different choirs of voices. The Old Testament is the voice of Israel, the New that of the church. But beyond this, the voice of the New Testament is largely that of a transformed Old Testament which is now understood in the light of the gospel.

There were lights in the nave but they could do no more than splash pools of gold here and there, they could not illumine the shadows above or the dim unlighted chantries and half-seen tombs. The great pillars soared into darkness and the aisles narrowed to twilight. Candles twinkled in the choir and the high altar with its flowers was ablaze with them, but all the myriad flames were no more than seed pearls embroidered on a dark cloak.

A noise recalled him to Saint-Sulpice; the choir was leaving; the church was about to close. "I should have tried to pray," he thought. "It would have been better than sitting here in the empty church, dreaming in my chair--but pray? I have no desire to pray. I am haunted by Catholicism, intoxicated by its atmosphere of incense and candle wax. I hover in its outskirts, moved to tears by its prayers, touched to the very marrow by its psalms and chants.

A Lutheran church in Nebraska is typically a place where any mad passion for Christ is politely concealed. Men and women recite the various creeds in hypnotic monotone; the hymns, pumped from wheezy organ pipes, are sung with no lilt or musicality. The members of the choirs not only don't dance, they don't sway. That's not to say no one is ever smacked hard with God's love or filled up to the eyeballs with the Holy Spirit, but when you are, you keep it to yourself." (48)

I’d come to BYU to study music, so that one day I could direct a church choir. But that semester—the fall of my junior year—I didn’t enroll in a single music course. I couldn’t have explained why I dropped advanced music theory in favor of geography and comparative politics, or gave up sight-singing to take History of the Jews. But when I’d seen those courses in the catalog, and read their titles aloud, I had felt something infinite, and I wanted a taste of that infinity.

In the search for a strong and permanent glue, Spencer Silver at 3M in Minneapolis found a weak and temporary adhesive instead. This was in 1968. Nobody could think of a use for it, until five years later a colleague named Art Fry remembered it when irritated by his place-markers falling out of a hymn-book while singing in a church choir. He went back to Silver and asked to apply the glue to small sheets of paper. The only paper lying around was bright yellow. The Post-it note was born.

I can remember how glad I was when there happened to be a light in the church, and the painted glass window shone out at us as we came along the frozen street. In the winter bleakness a hunger for colour came over people, like the Laplander's craving for fats and sugar. Without knowing why, we used to linger on the sidewalk outside the church when the lamps were lighted early for choir practice or prayer-meeting, shivering and talking until our feet were lumps of ice. The crude reds and greens and blues of that coloured glass held us there.

Mabel went on, and you Petites Cendres, you haven’t forgotten we’re throwing a party for your Doctor Dieudonné, oh yes, soon as he gets back, the entire Black Ancestral Choir’s going to celebrate Dieudonné, man of God taking care of the poor and never asking for one cent, why did he have to go away said Petites Cendres, carefree in the comfort of his bed, wasn’t his clinic enough, he mumbled into the dishevelled folds of his sloth, I mean why go volunteer there when we’re holding a party for him right here, Mabel’s singsong voice cut in, going from deep to nasal, he’s getting the town’s medal of honour for doctoring all you lazy layabouts and lost souls, and running two hospitals and a hospice, our very own choir director’s going to give him his plaque with those same fingers and long thin red nails of hers, the ideal man, says the doctor, is not one who piles up money but one who saves lives, why he’s even helped our Ancestral Choir a whole lot too, he’s going to need a nice black tuxedo, just what he hates, and Eureka, the head of the choir, will be so proud that day when Reverend Ézéchielle invites us all to sing in her church,

AND LOOK AT WHAT WE CALL ‘RELIGION’: TURN ON ANY TELEVISION ON ANY SUNDAY MORNING! SEE THE CHOIRS OF THE POOR AND UNEDUCATED—AND THESE TERRIBLE PREACHERS, SELLING OLD JESUS-STORIES LIKE JUNK FOOD. SOON THERE’LL BE AN EVANGELIST IN THE WHITE HOUSE; SOON THERE’LL BE A CARDINAL ON THE SUPREME COURT. ONE DAY THERE WILL COME AN EPIDEMIC—I’LL BET ON SOME HUMDINGER OF A SEXUAL DISEASE. AND WHAT WILL OUR PEERLESS LEADERS, OUR HEADS OF CHURCH AND STATE … WHAT WILL THEY SAY TO US? HOW WILL THEY HELP US? YOU CAN BE SURE THEY WON’T CURE US—BUT HOW WILL THEY COMFORT US? JUST TURN ON THE TV—AND HERE’S WHAT

When I grew up in the church, once or twice a year one of the women in our choir would sing a song that really tore the house down called “I Am Not Ashamed.” This was an emotional song for everybody in the room. Our chins would quiver, and we’d close our eyes and put our hands in the air, really feeling it. But looking back, I think what made that song so overpowering to me was that I was ashamed. And I don’t think I was the only one. That’s why we had that song! You don’t have to sing “I am not ashamed of the Gospel of Jesus Christ” if you’re really not ashamed. No one has ever sang “I am not ashamed of ice cream.” There’s no need.

In their book Radical Reconciliation, Curtiss DeYoung and Allan Boesak unpack why this happens. They write, "reconciliation is revolutionary, that is, oriented to structural change." Which means, reconciliation can never be apolitical. Reconciliation chooses sides, and the side is always justice. This is why white American churches remain so far from experiencing anything resembling reconciliation. The white Church considers power its birthright rather than its curse. And so, rather than seeking reconciliation, they stage moments of racial harmony that don't challenge the status quo. They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple of times a year, where they celebrate MLK but don't acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don't change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they're not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

Good reader, I was exactly the Church Youth Group Girl you think I was. Christian T-shirts and youth choir with a side of sanctimony. It pains me to admit this, but my class voted me “Most Inspirational” my senior year. I was a lot of fun, bless my heart. I grew up immersed in typical Christian culture: heavy emphasis on morality, fairly dogmatic, linear, and authoritative. Because my experience was so homogenous and my skill set included Flying Right, I found wild success within the paradigm. My interpretations were rarely challenged by diversity, suffering, or disparity. Since the bull’s-eye was good behavior (we called it “holiness”), I earned an A.

Come sing, your choirs exultant, those messengers of God, Through whom the living Gospels came sounding all abroad! Whose voice proclaimed salvation that poured upon the night, And drove away the shadows, and filled the world with light. In one harmonious witness the chosen four combine, While each his own commission fulfills in every line; As, in the prophet’s vision from out the amber flame In mystic form and image four living creatures came. Four-square on this foundation the Church of Christ remains, A house to stand unshaken by floods or winds or rains. How blessed this habitation of gospel liberty, Where with a holy people God dwells in Unity. Latin, 12th Century

They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple times a year, where they celebrate MLK but don’t acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don’t change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they’re not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

They dated," Frank says, with just a little too much relish. "For two years. They were the shiniest golden couple of our class. What a match, you know? Both gorgeous. She's super smart--does student government, debate, choir, all that business. He does the sports and volunteers with his dad's church, has those puppy eyes that make you want to buy him a boat--" "Do they?" "Yes, gaze deeply into his eyes next time--you'll feel it." He takes a long draw from his drink and then continues. "Anyway, they were the kind of couple where it's like, separate--they're great. But together, it's . . . star magic." "Star magic?" "From the universe. Celestial bodies aligning and shit. That kind of magic.

Of all the old festivals, however, that of Christmas awakens the strongest and most heartfelt associations. There is a tone of solemn and sacred feeling that blends with our conviviality, and lifts the spirit to a state of hallowed and elevated enjoyment. The services of the church about this season are extremely tender and inspiring. They dwell on the beautiful story of the origin of our faith, and the pastoral scenes that accompanied its announcement. They gradually increase in fervor and pathos during the season of Advent, until they break forth in full jubilee on the morning that brought peace and goodwill to men. I do not know a grander effect of music on the moral feelings than to hear the full choir and the pealing organ performing a Christmas anthem in a cathedral, and filling every part of the vast pile with triumphant harmony.

Church is important to most folks in the South. So the most important thing going is basically ruled by men as decreed by the Big Man himself. Not only that, but the church puts pressures on women that it does not put on men. Young women are expected to be chaste, moral, and pure, whereas young men are given way more leeway, ’cause, ya know, boys will be boys. Girls are expected to marry young and have kids, be a helpmate to their husbands (who are basically like having another child), and, of course, raise perfect little Christian babies to make this world a better place. So while it’s the preacher man who controls the church, it’s the women—those helpmates—who keep that shit going. They keep the pews tidy and wash the windows; type up the bulletins; volunteer for Sunday school, the nursery, youth group, and Vacation Bible School; fry the chicken for the postchurch dinners; organize the monthly potluck dinners, the spaghetti supper to raise money for a new roof, and the church fund drive; plant flowers in the front of the church, make food for sick parishioners, serve food after funerals, put together the Christmas pageant, get Easter lilies for Easter, wash the choir robes, organize the church trip, bake cookies for the bake sale to fund the church trip, pray unceasingly for their husband and their pastor and their kids and never complain, and then make sure their skirts are ironed for Sunday mornin’ service. All this while in most churches not being allowed to speak with any authority on the direction or doctrine of the church. No, no, ladies, the heavy lifting—thinkin’ up shit to say, standing up at the lectern telling people what to do, counting the money—that ain’t for yuns. So sorry.

AND LOOK AT WHAT WE CALL ‘RELIGION’: TURN ON ANY TELEVISION ON ANY SUNDAY MORNING! SEE THE CHOIRS OF THE POOR AND UNEDUCATED—AND THESE TERRIBLE PREACHERS, SELLING OLD JESUS-STORIES LIKE JUNK FOOD. SOON THERE’LL BE AN EVANGELIST IN THE WHITE HOUSE; SOON THERE’LL BE A CARDINAL ON THE SUPREME COURT. ONE DAY THERE WILL COME AN EPIDEMIC—I’LL BET ON SOME HUMDINGER OF A SEXUAL DISEASE. AND WHAT WILL OUR PEERLESS LEADERS, OUR HEADS OF CHURCH AND STATE … WHAT WILL THEY SAY TO US? HOW WILL THEY HELP US? YOU CAN BE SURE THEY WON’T CURE US—BUT HOW WILL THEY COMFORT US? JUST TURN ON THE TV—AND HERE’S WHAT OUR PEERLESS LEADERS, OUR HEADS OF CHURCH AND STATE WILL SAY: THEY’LL SAY, ‘I TOLD YOU SO!’ THEY’LL SAY, ‘THAT’S WHAT YOU GET FOR FUCKING AROUND—I TOLD YOU NOT TO DO IT UNTIL YOU GOT MARRIED.’ DOESN’T ANYONE SEE WHAT THESE SIMPLETONS ARE UP TO? THESE SELF-RIGHTEOUS FANATICS ARE NOT ‘RELIGIOUS’—THEIR HOMEY WISDOM

Westray sat down near the door, and was so engrossed in the study of the building and in the strange play of the shafts of sunlight across the massive stonework, that half an hour passed before he rose to walk up the church. A solid stone screen separates the choir from the nave, making, as it were, two churches out of one; but as Westray opened the doors between them, he heard four voices calling to him, and, looking up, saw above his head the four tower arches. "The arch never sleeps," cried one. "They have bound on us a burden too heavy to be borne," answered another. "We never sleep," said the third; and the fourth returned to the old refrain, "The arch never sleeps, never sleeps." As he considered them in the daylight, he wondered still more at their breadth and slenderness, and was still more surprised that his Chief had made so light of the settlement and of the ominous crack in the south wall.

Sinners have more good times, I say. You know why? she ast. Cause you ain't all the time worrying bout God, I say. Naw, that ain't it, she say. Us worry bout God a lot. But once us feel loved by God, us do the best us can to please him with what us like. You telling me God love you, and you ain't never done nothing for him? I mean, not go to church, sing in the choir, feed the preacher and all like that? But if God love me, Celie, I don't have to do all that. Unless I want to. There's a lot of things I can do that I speck God likes. Like what? I ast. Oh, she say. I can lay back and just admire stuff. Be happy. Have a good time. Well, this sound like blasphemy sure nuff. She say, Celie, tell the truth, have you ever found God in church? I never did. I just found a bunch of folks hoping for him to show. Any God I ever felt in church I brought in with me. And I think all the other folks did too. They come to church to share God, not find God.

She felt safe for a while and derived solace from the reflection that there would always be church. If she were a governess all her life there would be church. There was a little sting of guilt in the thought. It would be practising deception.... To despise it all, to hate the minister and the choir and the congregation and yet to come—running—she could imagine herself all her life running, at least in her mind, weekly to some church—working her fingers into their gloves and pretending to take everything for granted and to be just like everybody else and really thinking only of getting into a quiet pew and ceasing to pretend. It was wrong to use church like that. She was wrong—all wrong. It couldn't be helped. Who was there who could help her? She imagined herself going to a clergyman and saying she was bad and wanted to be good—even crying. He would be kind and would pray and smile—and she would be told to listen to sermons in the right spirit. She could never do that.... There she felt she was on solid ground. Listening to sermons was wrong... people ought to refuse to be preached at by these men. Trying to listen to them made her more furious than anything she could think of, more base in submitting... those men's sermons were worse than women's smiles... just as insincere at any rate... and you could get away from the smiles, make it plain you did not agree and that things were not simple and settled... but you could not stop a sermon. It was so unfair. The service might be lovely, if you did not listen to the words; and then the man got up and went on and on from unsound premises until your brain was sick... droning on and on and getting more and more pleased with himself and emphatic... and nothing behind it. As often as not you could pick out the logical fallacy if you took the trouble.... Preachers knew no more than anyone else... you could see by their faces... sheeps' faces.... What a terrible life... and wives and children in the homes taking them for granted....

While the Gregorian chant in its afterlife has flourished as the authentic music of the Roman Church, its original character still remains in doubt. Not until the twentieth century did the Gregorian chant come back into its own. The old melodies had been mutilated into a monotonous plainchant to facilitate organ accompaniment. In 1889 the scholarly Benedictine monks of Solesmes in France undertook to rediscover the medieval practice. Their product was numerous volumes of “Gregorian chants” in a free-flowing nonrhythmic style. By 1903 they had recaptured the Gregorian chant to the satisfaction of Pope Pius X, himself a scholar of musical history, who established their versions of the Gregorian melodies by his encyclical motu proprio. But the rhythms still remain a puzzle. Pius X’s purified Gregorian chant banned the “theatrical style” of recitation, forbade the use of instruments, replaced women by boys in the church choir, and restricted the use of the organ. A Vatican Edition provided an authorized corpus of plainchant, which would prevail in the modern Catholic world.

The cathedral in Conakry had an elegant, ornate choir, with a beautiful replica of the Bernini baldachin, surrounded by very beautiful angels. At the time of the first discussions about liturgical reform, Archbishop Tchidimbo returned to Conakry and ordered the destruction of the baldachin and the main altar. We were angry, incredulous at this hasty decision. Rather violently, we passed without any preparation from one liturgy to another. I can attest to the fact that the botched preparation for the liturgical reform had devastating effects on the Catholic population, particularly on the simpler people, who scarcely understood the swiftness of these changes or even the reason for them. No doubt it is regrettable that some priests allowed themselves to be so carried away by personal ideologies. They claimed to be democratizing the liturgy, and the people were the first victims of their actions. The liturgy is not a political object that we can make more egalitarian according to social demands. How could such a strange movement produce in the life of the Church anything but great confusion among the people? Nevertheless,

The first thing that impressed itself on me as I gave him the once-over was his air of respectability. I had always supposed that poachers were tough-looking eggs who wore whatever they could borrow from the nearest scarecrow and shaved only once a week. He, to the contrary, was neatly clad in formfitting tweeds and was shaven to the bone. His eyes were frank and blue, his hair a becoming grey. I have seen more raffish Cabinet ministers. He looked like someone who might have sung in the sainted Briscoe's church choir, as I was informed later he did, being the possessor of a musical tenor voice which came in handy for the anthem and when they were doing those 'miserable sinner' bits in the Litany. He was about the height and tonnage of Fred Astaire, and he had the lissomness which is such an asset in his chosen profession. One could readily imagine him flitting silently through the undergrowth with a couple of rabbits in his grasp, always two jumps ahead of the gamekeepers who were trying to locate him. The old ancestor had compared him to the Scarlet Pimpernel, and a glance was enough to tell me that the tribute was well deserved. I thought how wise Jeeves had been in suggesting that I entrust to him the delicate mission which I had in mind. When it comes to returning cats that have been snitched from their lawful homes, you need a specialist. Where Lloyd George or Winston Churchill would have failed, this Graham, I knew would succeed.

I DO NOT BELIEVE that such groups as these which I found my way to not long after returning from Wheaton, or Alcoholics Anonymous, which is the group they all grew out of, are perfect any more than anything human is perfect, but I believe that the Church has an enormous amount to learn from them. I also believe that what goes on in them is far closer to what Christ meant his Church to be, and what it originally was, than much of what goes on in most churches I know. These groups have no buildings or official leadership or money. They have no rummage sales, no altar guilds, no every-member canvases. They have no preachers, no choirs, no liturgy, no real estate. They have no creeds. They have no program. They make you wonder if the best thing that could happen to many a church might not be to have its building burn down and to lose all its money. Then all that the people would have left would be God and each other. The church often bears an uncomfortable resemblance to the dysfunctional family. There is the authoritarian presence of the minister—the professional who knows all of the answers and calls most of the shots—whom few ever challenge either because they don’t dare to or because they feel it would do no good if they did. There is the outward camaraderie and inward loneliness of the congregation. There are the unspoken rules and hidden agendas, the doubts and disagreements that for propriety’s sake are kept more or less under cover. There are people with all sorts of enthusiasms and creativities which are not often enough made use of or even recognized because the tendency is not to rock the boat but to keep on doing things the way they have always been done.

You look beautiful,” my dad said as he walked over to me and offered his arm. His voice was quiet--even quieter than his normal quiet--and it broke, trailed off, died. I took his arm, and together we walked forward, toward the large wooden doors that led to the beautiful sanctuary where I’d been baptized as a young child just after our family joined the Episcopal church. Where I’d been confirmed by the bishop at the age of twelve. I’d worn a Black Watch plaid Gunne Sax dress that day. It had delicate ribbon trim and a lace-up tie in the back--a corset-style tie, which, I realized, foreshadowed the style of my wedding gown. I looked through the windows and down the aisle and could see myself kneeling there, the bishop’s wrinkled, weathered hands on my auburn hair. I shivered with emotion, feeling the sting in my nose…and the warm beginnings of nostalgia-driven tears. Biting my bottom lip, I stepped forward with my father. Connell had started walking down the aisle as the organist began playing “Jesu, Joy of Man’s Desiring.” I could close my eyes and hear the same music playing on the eight-track tape player in my mom’s Oldsmobile station wagon. Was it the London Symphony Orchestra or the Mormon Tabernacle Choir? I suddenly couldn’t remember. But that’s why I’d chosen it for the processional--not because it appeared on Modern Bride’s list of acceptable wedding processionals, but because it reminded me of childhood…of Bach…of home. I watched as Becky followed Connell, and then my sister, Betsy, her almost jet-black hair shining in the beautiful light of the church. I was so glad to have a sister. Ms. Altar Guild gently coaxed my father and me toward the door. “It’s time,” she whispered. My stomach fell. What was happening? Where was I? Who was I? At that very moment, my worlds were colliding--the old world with the new, the past life with the future. I felt my dad inhale deeply, and I followed his lead. He was nervous; I could feel it. I was nervous, too. As we took our place in the doorway, I squeezed his arm and whispered, “I love thee.” It was our little line. “I love thee, too,” he whispered back. And as I turned my head toward the front of the church, my eyes went straight to him--to Marlboro Man, who was standing dead ahead, looking straight at me.

I was a country kid who went to a public school, and she was more of a middle-class girl who attended a private school. I was into hunting and fishing, and she liked drama and singing in the choir at school and church. Our lives up until that point were totally different. But Missy and I had a very deep spiritual connection, and I thought our mutual love for the Lord might be our biggest strength in sustaining our relationship. Even though Missy was so different from me, I found her world to be very interesting. Looking back, perhaps another reason I decided to give our relationship a chance was because of my aunt Jan’s bizarre premonition about Missy years earlier. My dad’s sister Jan had helped bring him to the Lord, and she taught the fourth grade at OCS. One of her students was Missy, and they went to church together at White’s Ferry Road Church. When I was a kid we attended a small church in the country, but occasionally we visited White’s Ferry with my aunt Jan and her husband. One Sunday, Missy walked by us as we were waiting in the pew. “Let me tell you something,” Jan told me as she pointed at me and then Missy. “That’s the girl you’re going to marry.” Missy was nine years old. To say that was one of the dumbest things I’d ever heard would be an understatement. I love my aunt Jan, but she has a lot in common with her brother Si. They talk a lot, are very animated, and even seem crazy at times. However, they love the Lord and have great hearts. I actually never thought about it again until she reminded me of that day once Missy and I started getting serious. Freaky? A bit. Bizarre? Definitely! Was she right? Absolutely, good call! Missy still isn’t sure what my aunt Jan saw in her. Missy: What did Jan see in me at nine years old? Well, you’ll have to ask her about that. She was the only teacher in my academic history from whom I ever received a smack. She announced a rule to the class one day that no one could touch anyone else’s possessions at any time (due to a recent rash of kids messing with other people’s stuff). The next day, I moved some papers around on one of my classmates’ desks before school, and he tattled on me. Because of her newly pronounced rule, she took me to the girls’ bathroom and gave me a whack on the rear. At the time, I certainly would have never thought she had picked me out to marry her nephew!

MY PROCESS I got bullied quite a bit as a kid, so I learned how to take a punch and how to put up a good fight. God used that. I am not afraid of spiritual “violence” or of facing spiritual fights. My Dad was drafted during Vietnam and I grew up an Army brat, moving around frequently. God used that. I am very spiritually mobile, adaptable, and flexible. My parents used to hand me a Bible and make me go look up what I did wrong. God used that, as well. I knew the Word before I knew the Lord, so studying Scripture is not intimidating to me. I was admitted into a learning enrichment program in junior high. They taught me critical thinking skills, logic, and Greek Mythology. God used that, too. In seventh grade I was in school band and choir. God used that. At 14, before I even got saved, a youth pastor at my parents’ church taught me to play guitar. God used that. My best buddies in school were a druggie, a Jewish kid, and an Irish soccer player. God used that. I broke my back my senior year and had to take theatre instead of wrestling. God used that. I used to sleep on the couch outside of the Dean’s office between classes. God used that. My parents sent me to a Christian college for a semester in hopes of getting me saved. God used that. I majored in art, advertising, astronomy, pre-med, and finally English. God used all of that. I made a woman I loved get an abortion. God used (and redeemed) that. I got my teaching certification. I got plugged into a group of sincere Christian young adults. I took courses for ministry credentials. I worked as an autism therapist. I taught emotionally disabled kids. And God used each of those things. I married a pastor’s daughter. God really used that. Are you getting the picture? San Antonio led me to Houston, Houston led me to El Paso, El Paso led me to Fort Leonard Wood, Fort Leonard Wood led me back to San Antonio, which led me to Austin, then to Kentucky, then to Belton, then to Maryland, to Pennsylvania, to Dallas, to Alabama, which led me to Fort Worth. With thousands of smaller journeys in between. The reason that I am able to do the things that I do today is because of the process that God walked me through yesterday. Our lives are cumulative. No day stands alone. Each builds upon the foundation of the last—just like a stairway, each layer bringing us closer to Him. God uses each experience, each lesson, each relationship, even our traumas and tragedies as steps in the process of becoming the people He made us to be. They are steps in the process of achieving the destinies that He has encoded into the weave of each of our lives. We are journeymen, finding the way home. What is the value of the journey? If the journey makes us who we are, then the journey is priceless.

But won’t political involvement distract us from the main task of preaching the Gospel? At this point someone may object that while political involvement may have some benefits and may do some good, it can so easily distract us, turn unbelievers away from the church, and cause us to neglect the main task of pointing people toward personal trust in Christ. John MacArthur writes, “When the church takes a stance that emphasizes political activism and social moralizing, it always diverts energy and resources away from evangelization.”83 Yet the proper question is not, “Does political influence take resources away from evangelism?” but, “Is political influence something God has called us to do?” If God has called some of us to some political influence, then those resources would not be blessed if we diverted them to evangelism—or to the choir, or to teaching Sunday School to children, or to any other use. In this matter, as in everything else the church does, it would be healthy for Christians to realize that God may call individual Christians to different emphases in their lives. This is because God has placed in the church “varieties of gifts” (1 Cor. 12:4) and the church is an entity that has “many members” but is still “one body” (v. 12). Therefore God might call someone to devote almost all of his or her time to the choir, someone else to youth work, someone else to evangelism, someone else to preparing refreshments to welcome visitors, and someone else to work with lighting and sound systems. “But if Jim places all his attention on the sound system, won’t that distract the church from the main task of preaching the Gospel?” No, not at all. That is not what God has called Jim to emphasize (though he will certainly share the Gospel with others as he has opportunity). Jim’s exclusive focus on the church’s sound system means he is just being a faithful steward in the responsibility God has given him. In the same way, I think it is entirely possible that God called Billy Graham to emphasize evangelism and say nothing about politics and also called James Dobson to emphasize a radio ministry to families and to influencing the political world for good. Aren’t there enough Christians in the world for us to focus on more than one task? And does God not call us to thousands of different emphases, all in obedience to him? But the whole ministry of the church will include both emphases. And the teaching ministry from the pulpit should do nothing less than proclaim “the whole counsel of God” (Acts 20:27). It should teach, over the course of time, on all areas of life and all areas of Bible knowledge. That certainly must include, to some extent, what the Bible says about the purposes of civil government and how that teaching should apply to our situations today. This means that in a healthy church we will find that some people emphasize influencing the government and politics, others emphasize influencing the business world, others emphasize influencing the educational system, others entertainment and the media, others marriage and the family, and so forth. When that happens, it seems to me that we should encourage, not discourage, one another. We should adopt the attitude toward each other that Paul encouraged in the church at Rome: Why do you pass judgment on your brother? Or you, why do you despise your brother? For we will all stand before the judgment seat of God…. So then each of us will give an account of himself to God. Therefore let us not pass judgment on one another any longer, but rather decide never to put a stumbling block or hindrance in the way of a brother (Rom. 14:10–13). For several different reasons, then, I think the view that says the church should just “do evangelism, not politics” is incorrect.

Robert Askins Brings ‘Hand to God’ to Broadway Chad Batka for The New York Times Robert Askins at the Booth Theater, where his play “Hand to God” opens on Tuesday. By MICHAEL PAULSON The conceit is zany: In a church basement, a group of adolescents gathers (mostly at the insistence of their parents) to make puppets that will spread the Christian message, but one of the puppets turns out to be more demonic than divine. The result — a dark comedy with the can-puppets-really-do-that raunchiness of “Avenue Q” and can-people-really-say-that outrageousness of “The Book of Mormon” — is “Hand to God,” a new play that is among the more improbable entrants in the packed competition for Broadway audiences over the next few weeks. Given the irreverence of some of the material — at one point stuffed animals are mutilated in ways that replicate the torments of Catholic martyrs — it is perhaps not a surprise to discover that the play’s author, Robert Askins, was nicknamed “Dirty Rob” as an undergraduate at Baylor, a Baptist-affiliated university where the sexual explicitness and violence of his early scripts raised eyebrows. But Mr. Askins had also been a lone male soloist in the children’s choir at St. John Lutheran of Cypress, Tex. — a child who discovered early that singing was a way to make the stern church ladies smile. His earliest performances were in a deeply religious world, and his writings since then have been a complex reaction to that upbringing. “It’s kind of frustrating in life to be like, ‘I’m a playwright,’ and watch people’s face fall, because they associate plays with phenomenally dull, didactic, poetic grad-schoolery, where everything takes too long and tediously explores the beauty in ourselves,” he said in a recent interview. “It’s not church, even though it feels like church a lot when we go these days.” The journey to Broadway, where “Hand to God” opens on Tuesday at the Booth Theater, still seems unlikely to Mr. Askins, 34, who works as a bartender in Brooklyn and says he can’t afford to see Broadway shows, despite his newfound prominence. He seems simultaneously enthralled by and contemptuous of contemporary theater, the world in which he has chosen to make his life; during a walk from the Cobble Hill coffee shop where he sometimes writes to the Park Slope restaurant where he tends bar, he quoted Nietzsche and Derrida, described himself as “deeply weird,” and swore like, well, a satanic sock-puppet. “If there were no laughs in the show, I’d think there was something wrong with him,” said the actor Steven Boyer, who won raves in earlier “Hand to God” productions as Jason, a grief-stricken adolescent with a meek demeanor and an angry-puppet pal. “But anybody who is able to write about such serious stuff and be as hilarious as it is, I’m not worried about their mental health.” Mr. Askins’s interest in the performing arts began when he was a boy attending rural Texas churches affiliated with the conservative Lutheran Church-Missouri Synod denomination; he recalls the worshipers as “deeply conservative, old farm folks, stone-faced, pride and suffering, and the only time anybody ever really livened up was when the children’s choir would perform.” “My grandmother had a cross-stitch that said, ‘God respects me when I work, but he loves me when I sing,’ and so I got into that,” he said. “For somebody who enjoys performance, that was the way in.” The church also had a puppet ministry — an effort to teach children about the Bible by use of puppets — and when Mr. Askins’s mother, a nurse, began running the program, he enlisted to help. He would perform shows for other children at preschools and vacation Bible camps. “The shows are wacky, but it was fun,” he said. “They’re badly written attempts to bring children to Jesus.” Not all of his formative encounters with puppets were positive. Particularly scarring: D

By the authority of God Almighty, the Father, Son, and Holy Ghost, and of the holy canons, and of the undefiled Virgin Mary, mother and patroness of our Saviour, and of all the celestial virtues, angels, archangels, thrones, dominions, powers, cherubins and seraphins, and of all the holy patriarchs, prophets, and of all the apostles and evangelists, and of the holy innocents, who in the sight of the Holy Lamb, are found worthy to sing the new song of the holy martyrs and holy confessors, and of the holy virgins, and of all the saints together, with the holy and elect of God, may he be damn'd. We excommunicate, and anathematize him, and from the thresholds of the holy church of God Almighty we sequester him, that he may be tormented, disposed, and delivered over with Dathan and Abiram, and with those who say unto the Lord God, Depart from us, we desire none of thy ways. And as fire is quenched with water, so let the light of him be put out for evermore, unless it shall repent him' and make satisfaction. Amen. May the Father who created man, curse him. May the Son who suffered for us curse him. May the Holy Ghost, who was given to us in baptism, curse him May the holy cross which Christ, for our salvation triumphing over his enemies, ascended, curse him. May the holy and eternal Virgin Mary, mother of God, curse him. May St. Michael, the advocate of holy souls, curse him. May all the angels and archangels, principalities and powers, and all the heavenly armies, curse him. [Our armies swore terribly in Flanders, cried my uncle Toby,---but nothing to this.---For my own part I could not have a heart to curse my dog so.] May St. John the Pre-cursor, and St. John the Baptist, and St. Peter and St. Paul, and St. Andrew, and all other Christ's apostles, together curse him. And may the rest of his disciples and four evangelists, who by their preaching converted the universal world, and may the holy and wonderful company of martyrs and confessors who by their holy works are found pleasing to God Almighty, curse him. May the holy choir of the holy virgins, who for the honor of Christ have despised the things of the world, damn him May all the saints, who from the beginning of the world to everlasting ages are found to be beloved of God, damn him May the heavens and earth, and all the holy things remaining therein, damn him. May he be damn'd wherever he be---whether in the house or the stables, the garden or the field, or the highway, or in the path, or in the wood, or in the water, or in the church. May he be cursed in living, in dying. May he be cursed in eating and drinking, in being hungry, in being thirsty, in fasting, in sleeping, in slumbering, in walking, in standing, in sitting, in lying, in working, in resting, in pissing, in shitting, and in blood-letting! May he be cursed in all the faculties of his body! May he be cursed inwardly and outwardly! May he be cursed in the hair of his head! May he be cursed in his brains, and in his vertex, in his temples, in his forehead, in his ears, in his eye-brows, in his cheeks, in his jaw-bones, in his nostrils, in his fore-teeth and grinders, in his lips, in his throat, in his shoulders, in his wrists, in his arms, in his hands, in his fingers! May he be damn'd in his mouth, in his breast, in his heart and purtenance, down to the very stomach! May he be cursed in his reins, and in his groin, in his thighs, in his genitals, and in his hips, and in his knees, his legs, and feet, and toe-nails! May he be cursed in all the joints and articulations of the members, from the top of his head to the sole of his foot! May there be no soundness in him! May the son of the living God, with all the glory of his Majesty and may heaven, with all the powers which move therein, rise up against him, curse and damn him, unless he repent and make satisfaction! Amen. I declare, quoth my uncle Toby, my heart would not let me curse the devil himself with so much bitterness!

The white Church considers power its birthright rather than its curse. And so, rather than seeking reconciliation, they stage moments of racial harmony that don’t challenge the status quo. They organize worship services where the choirs of two racially different churches sing together, where a pastor of a different race preaches a couple times a year, where they celebrate MLK but don’t acknowledge current racial injustices. Acts like these can create beautiful moments of harmony and goodwill, but since they don’t change the underlying power structure at the organization, it would be misleading to call them acts of reconciliation. Even worse, when they’re not paired with greater change, diversity efforts can have the opposite of their intended effect. They keep the church feeling good, innocent, maybe even progressive, all the while preserving the roots of injustice.

As a church, as the Choir, we must stop at nothing to find our joy. Not in a ruthless, cutthroat way but in a way that is genuine and determined. We choose joy in all its constant delighting. After all, there is no group more practiced at fretting and worry than human beings. Delighting is a real

Scars" They tell how it was, and how time came along, and how it happened again and again. They tell the slant life takes when it turns and slashes your face as a friend. Any wound is real. In church a woman lets the sun find her cheek, and we see the lesson: there are years in that book; there are sorrows a choir can't reach when they sing. Rows of children lift their faces of promise, places where the scars will be. William Stafford, Americans’ Favorite Poems edited by Maggie Dietz and Robert Pinsky (W. W. Norton & Company; 1st edition, November 1, 1999)

In 1144, the finished choir at Saint Denis was consecrated in an elaborate ceremony. The king of France was there and his queen Eleanor of Aquitaine. So was Bernard of Clairvaux. All around them was evidence of a new Neoplatonic spirit arising in the Catholic Church, inspiring a fresh appreciation of the physical world. It was the result of a synthesis of Saint Augustine’s belief in the power of love and faith and Neoplatonism’s belief in the power of visible order to bring the human soul closer to God.

There were church announcements, which I listened to intently trying to stay focused. Then the choir stood and started to sing, “Speak to my

Throughout the sixteenth century the wedding ceremony changed in detail.17 In the Reformed Church the marriage was performed inside the church, whatever the social degree of the couple. During the early Tudor era most marriages took place at the church door. Only high status weddings were held inside. Whilst a knight married within the door, an earl’s child might marry at the choir door. The dowry was announced in public at the church door and the couple were asked if they were willing to be married. Later, the groom laid the ring with an offering of money on a book or in a dish. The priest blessed it, sprinkled it with holy water and placed it on the bride’s finger. Gifts were given to wedding guests. They often were gloves and ribbons. Wedding presents such as plate or jewellery were

Throughout the sixteenth century the wedding ceremony changed in detail.17 In the Reformed Church the marriage was performed inside the church, whatever the social degree of the couple. During the early Tudor era most marriages took place at the church door. Only high status weddings were held inside. Whilst a knight married within the door, an earl’s child might marry at the choir door. The dowry was announced in public at the church door and the couple were asked if they were willing to be married. Later, the groom laid the ring with an offering of money on a book or in a dish. The priest blessed it, sprinkled it with holy water and placed it on the bride’s finger. Gifts were given to wedding guests. They often were gloves and ribbons. Wedding presents such as plate or jewellery were presented to the couple, usually cast into a basin on a table within the church.18 For poorer weddings bride ales (festivals) became commonplace. These were held prior to the wedding to raise money for the cost of the wedding through the sale of food and drink. A wedding had to be consummated for the marriage to be legal and this was the reason for a ceremonial bedding ceremony after the wedding feast. For ordinary people the event could become extremely boisterous. The wedding party played games as the couple were put to bed. Brides-men traditionally would pull off the bride’s garters and

All of the band members had been raised as churchgoers—Bricoux, Krins, and Clarke as Catholics, Hume as a Congregationalist, Woodward and Hartley as Methodists, Brailey and Taylor as Anglicans. Harley and Taylor had sung in choirs, and Hume played his violin in church. It’s impossible to determine the commitment they each had to the religion of their birth, but it’s likely that they all had knowledge of and affection for hymns.

One of the most compelling pieces of evidence, though, for the use of “Nearer, My God, to Thee” was the fact that it was the best-loved hymn of Wallace Hartley and had been introduced to the Bethel Chapel by Wallace’s father, Albion Hartley, when he was choirmaster. A friend from Colne told the British Weekly: “It was the custom of the Bethel church choir leader to choose the hymn or chant after prayer and Mr. Albion Hartley often selected ‘Nearer, My God, to Thee.’ The hymn was also a great favourite with his son, the bandmaster of the Titanic, for a cousin mentioned that he would often be kept waiting for Wallace to go and play cricket because he was practicing ‘Nearer, My God, to Thee’ in variations on the violin.

A noise recalled him to Saint-Sulpice; the choir was leaving; the church was about to close. “I should have tried to pray,” he thought. “It would have been better than sitting here in the empty church, dreaming in my chair—but pray? I have no desire to pray. I am haunted by Catholicism, intoxicated by its atmosphere of incense and candle wax. I hover on its outskirts, moved to tears by its prayers, touched to the very marrow by its psalms and chants. I am revolted with my life, I am sick of myself, but so far from changing my ways! And yet … and yet … however troubled I am in these chapels, as soon as I leave them I become unmoved and dry. In the end,” he told himself, as he rose and followed the last ones out, shepherded by the Swiss guard, “in the end, my heart is hardened and smoked dry by dissipation. I am good for nothing.” —J.-K. Huysmans, En route

Another reason I was deeply uncomfortable was because I’d been having thoughts. Lots of thoughts. Ever since my family had pointed out my lack of relationship experience, I’d thought back through the last ten years and second-guessed everything. I remembered going to the rodeo when I was fourteen and getting a boner when I saw the cowboys in chaps. But I’d also gotten a boner that weekend in church when the choir sang, so that wasn’t saying much. Then

I'm no knight in shining armour. Just a weather-beaten man in a crumpled overcoat on a street corner with only a grey idea of something you might as well go ahead and call Morality. Sure, I'm none too scrupulous about the things that might benefit my pocket, and I could no more inspire a bunch of young thugs to do good works than I could stand up and sing a solo in the church choir. But of one thing I was sure. I was through looking at my fingernails when there were thieves in the store.

The audience was transported, not only by the work but also by the fine dynamics of the choir, which were something unusual in those days. Not less powerful was the religious impression made by Bach’s music. “The crowded hall looked like a church,” writes Fanny Mendelssohn. “Every one was filled with the most solemn devotion; one heard only an occasional involuntary ejaculation that sprang from deep emotion.

It is this people, then, the priestly people, the body of Christ and the community of Christ, who are the ‘subject’ of liturgical celebrations. In other words, it is they who celebrate the liturgy, and the form of the liturgy must be of such sort as to make this possible. The Christian liturgy by its nature cannot be the monologue of a single participant. It is the action of a whole community. On the other hand, it is not an unstructured community. Each member, and indeed each group of members (e.g. the choir), has its role to fulfil and all by these funcitons are exercising the priesthood that they share with Christ and Chruches, an indispensable part of this structure is the priesthood, which is a ministry...of the priesthood of Christ and is in no way opposed to the priesthood of the people but is complementary to it. There is but one priesthood, that of Christ, which the whole Church exists to seve and make actual in the here and now. In the liturgical assembly the ministers of Christ have a special role of leading, of presiding, of preaching of uniting all in self-offering with Christ. For their part, the people not only act and offer through the priest-celebrant, they act and offer with him. By virtue of their baptism, they share in the priesthood of Christ and...they have their various roles to perform.

Joining a church choir no longer being of help?” he noted.

I am the wind, I just want to flow amongst the people without any barrier. I have no desire to prove the supremacy of facts where there's no need. Some days you may find me in the church taking part in the choir and singing out loud praising my humanitarian predecessor most enthusiastically. Other days, you may find me talking shop with a bunch of atheist scientists. I am in everybody, everybody is in me.

queenly heads on churches of this period in the area – at Langon’s Notre-Dame du Bourg, heads from the south wall of the choir are frequently said to represent portraits of Eleanor and Henry. But others exist at Saint-Andre in Bordeaux and in Notre-Dame de Saintes, where Eleanor’s aunt was abbess.

The most virulent expression of narco religion is by La Familia Cartel in Michoacán. La Familia indoctrinates its followers in its own version of evangelical Christianity mixed with some peasant rebel politics. The gang’s spiritual leader, Nazario Moreno, “El Mas Loco,” or the Maddest One, actually wrote his own bible, which is compulsory reading for the troops. This sounds so nuts I thought it was another drug war myth. Until I got my hands on a copy of his “good” book. It is not an easy bedtime read. But La Familia is only the most defined voice in a chorus of narco religion that has been rising in volume for decades. Other tones of the choir include some morphed rituals of Caribbean Santeria, the folk saint Jesús Malverde, and the wildly popular Santa Muerte, or Holy Death. Many who follow these faiths are not drug traffickers or gun-toting assassins. The beliefs all have an appeal to poor Mexicans who feel the staid Catholic Church is not speaking to them and their problems. But gangsters definitely feel at home in these new sects and exert a powerful influence on them, giving a spiritual and semi-ideological backbone to narco clans. Such a backbone strengthens El Narco as an insurgent movement that is challenging the old order. Kingpins now fight for souls as well as turfs.

The South was a place that grew perfect strawberries and green tomatoes and white pumpkins and fat dogwood trees. It grew glorious church choirs and generous neighbors and grace. But the South I think of now was also a place where people strained for salvation, and lost things they loved, deplored Catholics and Jews, and got hanged for having dark skin. The South grew bullies who would use anything at hand—threats of damnation, mocking songs, blue blazes of brimstone—to build a wall against the future because of what it might destroy.

if people left our services saying, “What an awesome choir” or “That's a great church,” then we have failed in our mission. No, the only thing I want said is, “What an awesome God!” I

I'd been told that Catholic masses were stable and cold with dull organ music so I was surprised when the choir broke into song. They sang in Shona, with African drums and rattles, ngoma ne bosho. The women;s voices merged with men's bass producing an effect that was confusing but beautiful. At Forward with Faith Ministries we only used guitars, western drums and a keyboard, because Pastor Mavumba preached against using African Traditional instruments. He said that before the missionaries came, our people engaged in devil worship, so the instruments they used were the devil's instruments. We sang in English and he preached in English too, when he was not speaking in tongues. I was a bit confused; maybe the Catholic Church was the devil's church after all, but I couldn't stop my foot from tapping along to the music. [88]

Hitler’s religious beliefs have been the focus of some debate. His father, though nominally Catholic, was anticlerical and skeptical of religion; his mother, with whom he was particularly close, was a practicing, devout Catholic. Hitler was confirmed in the Catholic Church in May 1904. He regularly attended services throughout his childhood and even sang in the choir at the Benedictine

Tom and Esperanza exchanged vows in a quaint church. White poppies lined the pews. Tom’s side of the aisle was dressed in black and white—a sea of penguins. Esperanza’s side had so many colors, Crayola sent a scout. It looked like the Halloween parade in Greenwich Village. The organ played beautiful hymns. The choir sang like angels. The setting could not have been more serene. For

You go first," Joe told Tory. "Wait in the parking lot for the rest of us." Tory and Sweatshirt set off, threading their way around the tables and the silent customers. Davy grinned at her when she got to the door. She went out into the parking lot, and as the other customers filed out—there were perhaps thirty of them—they formed an orderly double line in front of her. She felt a little like the last baritone in a church choir.

Sunday 26 May King George VI and Queen Wilhelmina of the Netherlands, carrying their gas masks, went to a special service in Westminster Abbey. Churchill also arrived, explaining that he could only stay for ten minutes. The government had, in their very English way, managed to avoid an official day of prayer, in case it smacked of desperation, but still knew that the churches around the nation could be relied on to pray pretty fervently. “The English are loath to expose their feelings,” wrote Churchill later, “but in my stall in the choir I could feel the pent up, passionate emotion, and also the fear of the congregation, not of death or wounds or material loss, but of defeat and the final ruin of Britain.

But it is the personal synthesis of elements taken from a wide variety of historical styles and periods that most strongly links the church music with Vaughan Williams’s output as a whole. This can be observed anywhere but is perhaps best illustrated by the Mass, a work whose neo-Tudor associations have obscured awareness of a wider eclecticism. Techniques favoured by sixteenth-century English church musicians – false relations, fauxbourdon-like textures, contrasts between soloist(s) and the full choir – are indeed present, but they are combined with others – canon and points of imitation, sectional division of the text (articulated by textural contrasts), emphasis on the church modes – that were the lingua franca of the period, common to English and continental music alike. Even these Renaissance techniques are but a ‘starting-point’32 for what is clearly a highly personal essay, however.

Now, years later, he had been commissioned to fashion pictures with sugar water and dyes, a holiday mural. He had risen into something he could do, he had been recognized, and those years spent enduring his father's impatience seemed far away. He would do it for number 98,761,580, his love whose hand he held, cold as it was, who had lain beside him in the tunnels, in the filth. What had haunted him was the thought of her lovely body wasting away. It had torn at his eyes, his throat. It had taken away his faith. He painted a band of sugar on the walls of the hotel, the mural reflecting the city back to itself - the deep green park, the holiday windows, lovers under golden angels, flowers spilling out of markets in December, a resurrected skyscraper, a choir of variegated faces singing in front of a red door of a dark church, the homeless - not swept away, not forgotten - their realities on their faces, hands, hair. It was not a Rockwell. There were a few artists, subcontractors, who kept trying to abscond with the project, to make it what it wasn't for the sake of something they likened to a good make-believe before bed. -- 'A Potter's Field

a solemn hush fell upon the church which was only broken by the tittering and whispering of the choir in the gallery. The choir always tittered and whispered all through service. There was once a church choir that was not ill-bred, but I have forgotten where it was, now. It was a great many years ago, and I can scarcely remember anything about it, but I think it was in some foreign country.

Ye Shall Have a Song From Randall Thompson’s The Peaceable Kingdom, written in 1936 Performed by the Choral Society of Grace Church in the Winter, 2011 Water Night Eric Whitacre, 1995 Performed by Stacy Horn alone on January 10, 2012 Fate and Faith Songs Britlin Losee, 2011 Performed by the Women’s Choir of the Aaron Copland School of Music, 2012

Is this part of your church thing?" he asks. Juanita has been using her excess money to start her own branch of the Catholic church -- she considers herself a missionary to the intelligent atheists of the world. "Don't be condescending," she says. "That's exactly the attitude I'm fighting. Religion is not for simpletons." "Sorry. This is unfair, you know -- you can read every expression on my face, and I'm looking at you through a fucking blizzard." "It's definitely related to religion," she says. "But this is so complex, and your background in that area is so deficient, I don't know where to begin." "Hey, I went to church every week in high school. I sang in the choir." "I know. That's exactly the problem. Ninety-nine percent of everything that goes on in most Christian churches has nothing whatsoever to do with the actual religion. Intelligent people all notice this sooner or later, and they conclude that the entire one hundred percent is bullshit, which is why atheism is connected with being intelligent in people's minds." "So none of that stuff I learned in church has anything to do with what you're talking about?" Juanita thinks for a while, eyeing him. Then she pulls a hypercard out of her pocket. "Here. Take this.

Agood hymnbook is also clever—or maybe I should say a good hymnbook in the hands of a clever worship leader is a remarkably flexible tool. Through the use of metrical and tune indices, new matchings of tunes and texts can be found that allow for variety and freshness. For instance, in a church with a limited music budget, a modest but eager choir, and minimum arranging skills on the part of the leader, new combinations of tune and text can be turned into fresh, singable, and accessible anthems, and not a penny has been spent on music.

Votre adoration est proportionnelle à votre communion avec Dieu et comment vous êtes libre

Concerned about attitudes toward worship and practices in worship in the churches of his time, Søren Kierkegaard, a nineteenth-century Danish philosopher/theologian, compared what was taking place in the theater and what was happening in Christian worship. In a theater, actors, prompted by people offstage, perform for their audiences. To his dismay, Kierkegaard found that this theatrical model dominated the worship practices of many churches. A minister was viewed as the on-stage actor, God as the offstage prompter, and the congregation as the audience. Unfortunately, that understanding of worship remains as prevalent as it is wrong. Each ingredient of the theatrical model mentioned by Kierkegaard is an essential component in Christian worship. Crucial, though, is a proper identification of the role of each one. In authentic worship, the actor is, in fact, many actors and actresses—the members of the congregation. The prompter is the minister, if singular, or, if plural, all of the people who lead in worship (choir members, instrumentalists, soloists, readers, prayers, preachers). The audience is God. Always, without exception, the audience is God! If God is not the audience in any given service, Christian worship does not take place. If worship does occur and God is not the audience, all present participate in the sin of idolatry.3

Midnight Mass was required, and at Saint Aloysius, it lasted ninety minutes. Because the church was crowded with what Mother called “one timers” who attended Mass only on Christmas Eve, we arrived at 11:00 p.m. to get a seat near the front. The church was splendidly decorated. Poinsettias bloomed everywhere, huge wreaths and sprigs of holly tied with red bows hung on every pillar, potent incense enveloped us, and six tall candles burning on the main altar lighted our way out of the long, cold darkness. Carols sung from the choir loft filled the church and evoked the sensuous beauty and mystery of this holy night. While other children chatted with friends and showed off their holiday apparel, My PareNTs, gail aNd i, Mara aNd NiCho- las; ChrisTMas, 1974; CaNToN, ohio I sat quietly, awaiting the chimes that announced the first minutes of Christmas and heralded the solemn service: the priest’s white and gold vestments, his ritualized gestures, the Latin prayers, the incense, the communion service with the transfigured bread and wine, and the priest’s blessings from the high altar that together

Pat and I felt rather insignificant in a throng that included not only England’s most important, famous, and titled citizens but also most of western Europe’s royalty and heads of state from all over the world. The marriage of the heir to the English throne was very much a grand state occasion, in contrast to the ball, which had been a private celebration. The relative intimacy of the ball and the chance to visit with Diana made the party the more dazzling experience for us that week. Nonetheless, our spirits were buoyed by the happy fact that we actually knew the bride. Given our lack of social or political stature, Pat and I had joked that our assigned seats were likely to be at the very back of the nave and behind a pillar. Silently, we gave each other wide-eyed looks of surprise as the usher led us slowly up and up the center aisle to seats under the famous crossing dome, less than a dozen rows from the very front of the nave. We were floored! We would have an unobstructed view of the ceremony taking place on the dais on the front edge of the choir. As we entered our row to the left, we noticed Mrs. Thatcher, somber in dark blue, on the aisle in the same row to the right. Once again, I regretted my timidity two nights earlier. Pat and I couldn’t understand how we had ended up so near to the front of the cathedral. We assumed some error had been made, but were grateful for the mistake. Years later, when I was in London for Diana’s funeral, I learned that she had been allowed only one hundred personal invitations to her own wedding. We must have been in that small group, fortunately placed near the front of the church. As we waited almost breathlessly for the ceremony to being, Pat and I gazed discreetly at our splendid surroundings and the other guests privileged to be inside the cathedral. Once again, we didn’t know a soul and we would only see Diana from a distance today.

Given our lack of social or political stature, Pat and I had joked that our assigned seats were likely to be at the very back of the nave and behind a pillar. Silently, we gave each other wide-eyed looks of surprise as the usher led us slowly up and up the center aisle to seats under the famous crossing dome, less than a dozen rows from the very front of the nave. We were floored! We would have an unobstructed view of the ceremony taking place on the dais on the front edge of the choir. As we entered our row to the left, we noticed Mrs. Thatcher, somber in dark blue, on the aisle in the same row to the right. Once again, I regretted my timidity two nights earlier. Pat and I couldn’t understand how we had ended up so near to the front of the cathedral. We assumed some error had been made, but were grateful for the mistake. Years later, when I was in London for Diana’s funeral, I learned that she had been allowed only one hundred personal invitations to her own wedding. We must have been in that small group, fortunately placed near the front of the church.