Art for worship must evidence not only aesthetic integrity but also fidelity to Christian truths. Specifically, liturgical art should reflect the theology and character of the worship that is enacted in the local congregation. The following article explains these claims and describes two examples of how they have been put into practice.
The Presbyterian Directory of Worship provides authority and guidance for artists and liturgists who desire to proclaim the gospel through various art forms. This article describes this document and imagines new possibilities for the role of the arts in Reformed worship.
Traditionally, Anabaptists have been wary of the visual arts in worship. This article, however, observes that modern culture presents unique challenges that were not present during the early Anabaptist opposition to the arts and that can be met by artists. Thus, the article calls for a union of art and ethics and a dual concern for both the transcendent and immanent, resulting in the intentional and imaginative use of the visual arts in worship.
A cantor or lead singer must master more than simply the music of the liturgy. For as worship leader, the cantor has an important responsibility for making worshipers feel welcome and comfortable in their role in the service. Nonverbal communication by gestures is one important aspect of the cantor’s task.
The cantor played an important role in biblical and ancient worship. The role of the cantor is being recovered in contemporary worship. This article explains how and where to use the cantor in the liturgy, with reference to Roman Catholic liturgy in particular.
A vocal soloist can function in much the same way as a choir, leading the people’s song and presenting additional music that may be required by the structure and theme of a given order of service. This article addresses several practical concerns related to this role.
Children’s choirs need not be relegated to simply providing entertainment in worship. Instead, they should function as important worship leaders. The imagination and energy that children are capable of bringing to this role will enrich the service and challenge them in their own spiritual journey.
Choirs play very different roles in various denominations and traditions. This article describes three different types of choirs based on their role in the worship service, commending an approach that integrates the choir’s contribution within the structure of the whole worship service. Although written from a Reformed perspective, the insights found here have applications for all traditions.
The choir does not participate in worship for its own sake, but rather for the sake of the whole of the worshiping people. It leads the worshiping people in their song and contributes additional music as the liturgy or pattern of worship requires. Ideally then, a choir should be a group of facilitators, not performers, a role defined in this article.
Accompanying congregational singing is an extraordinary challenge, requiring careful practice and disciplined creativity. The following article outlines many of the musical matters that every organist must consider, along with suggestions for the creative interpretation of the texts that are sung.