Hudson Valley United Reformed Church
1. The Music of the Church should be appropriate for worship
a. The music of the church should be liturgical–in spirit, form, and content it must be a positive expression of scripturally
religious thought and feeling. It should serve the ministry of the Word.
b. The music of the Church should be beautiful–its religious thought or spirit should be embodied appropriately in the
poetry as poetry, in the music as music, and in the blending of these in song. It should satisfy the aesthetic laws of
balance, unity, variety, harmony, design, rhythm, restraint, and fitness which are the conditions of all art (Implications of
these Principles in Psalter Hymnal V).
2. The music of the Church should be an integral part of the worship.
a. As a dialogue between God and man, worship can take place without music. God may be glorified and the
congregation enriched by spoken words and symbolic sacraments alone. However, scripture shows (Psalm 13:6) that
music offers a rich opportunity for God’s people to respond in praise and thanks. When music is a part of worship it must
always be remembered that music is a means to and end and never an end in itself. A man worshiping God is essentially
a worshiper, and only incidentally a musician.
b. To be an integral part of the worship service, music must fit closely into the total act of worship. Songs, hymns, or
anthems, for example, by the congregation or the choir, must have a reason for existence in the worship service and
reason for their placement in the total worship service. Musical moments may enhance, build upon, or bring to fitting
conclusion that which precedes, or they may prepare the heart of the worshiper for what is to follow. They should not be
introduced to help the service go smoothly, create atmosphere, cover up noisiness, provide variety, or present beautiful
art. These by themselves are unworthy of music in worship.
c. The term “special music” should not be used in the bulletin or worship service. By suggesting an interlude or attitude of
performance, the term “special music” contradicts the very idea of music being a vital and integral part of the worship
service.
3. The music of the Church belongs to the congregation.
a. If we are to have music in a worship service, the expression and participation of everyone is important. Normally this is
achieved through the congregations’s active participation, as in congregational singing. But even when the congregation
is not overtly involved, as when the organ is heard alone or the choir sings, the congregation is passively participating in
heart and mind. As, for example, the whole congregation participates in the congregational prayer through an appointed
representative, the minister, so may the whole congregation participate in praise, thanksgiving, consecration, etc, through
the representative musician. Any suggestion of an audience or an audience-performer violates the definition of worship.
b. Participation by all implies that the music of the Church is the expression of everyone, not just a few. The music should
so reflect the congregation that they respond and become involved. Music should not isolate potential worshipers or
cause a negative reaction. Since the music must unite a wide variety of personalities and backgrounds, the use of music
in worship calls for charity and open-mindedness by all.
4. Words sung in worship should be meaningful to the worshiper.
a. Words should be understandable and meaningful to those who sing them. It is difficult to give glory to God in a song
when words are confusing and vague. Nor should ambiguous words confuse children and non-Christian visitors.
Twentieth century Christians should be encouraged to express their praise and devotion in words relevant to today, not in
words unrelated to contemporary Christian life and experience.
5. The music of the Church should meet the highest standard of excellence.
a. These standards include appropriateness, genuine expression of religious experience or biblical truth, freedom from
distracting associations, freedom from sentimentality or artificiality, artistic defensibility, and enrichment of a life of a
worshiper. Above all, the intent of those who sing or play must be that of bringing honor to God and enrichment to those
present.
b. Music used in worship should include the best of the past and present. In each era, Christians have used living
musical idioms to praise God. While the contemporary Church necessarily leans heavily on the past, it may also give
consideration to contemporary music suitable for public worship.
c. A discouraging trend in today’s hymns is an undue preoccupation with the subjective or the “I and me” aspect of
religious expression. Church music that majors in such minors seldom rises above the horizontal cannot possibly afford
a foretaste of the magnificent and mighty songs of heaven.
6. The bulletin should be used to help make music vital to the worshiper.
a. For example, the words of the choirs anthems, titles of offertories, preludes, postludes, or appropriate comment of
specific music in worship are some of the ways the bulletin could be used. Individual musicians should not be mentioned
by name to avoid the objection to a “performer” as singer, organist, or other musician.
7. The music of the Church should be supervised by the elders according to synodical regulations.
a. Article 39 of the Church Order provides that each Council shall see to it that synodically approved songs and hymns be
used in worship. In the churches only the 150 Psalms and the collection of hymns for church use, approved and adopted
by the synod, shall be sung. However, although the singing of the Psalms in divine worship is a requirement, the use of
the approved hymns is left to the freedom of the churches.
8. The Elders may admit visitors and guests of the congregation to the Lord’s Table provided that, as much as possible,
the elders are assured of their biblical church membership, of their proper profession of faith, and of their godly walk (C.O.
Article 45). In order to fulfill this requirement, a committee of at least two elders shall at their discretion meet with such
visitors and guests of the congregation prior to the worship service and shall give a report of their interviews to the
consistory. The interviewed visitors and guests of the congregation will be permitted to the Lord’s table only after the
elders have voted on the matter and that vote as been announced prior to the call to worship.
a. The music of the church should be liturgical–in spirit, form, and content it must be a positive expression of scripturally
religious thought and feeling. It should serve the ministry of the Word.
b. The music of the Church should be beautiful–its religious thought or spirit should be embodied appropriately in the
poetry as poetry, in the music as music, and in the blending of these in song. It should satisfy the aesthetic laws of
balance, unity, variety, harmony, design, rhythm, restraint, and fitness which are the conditions of all art (Implications of
these Principles in Psalter Hymnal V).
2. The music of the Church should be an integral part of the worship.
a. As a dialogue between God and man, worship can take place without music. God may be glorified and the
congregation enriched by spoken words and symbolic sacraments alone. However, scripture shows (Psalm 13:6) that
music offers a rich opportunity for God’s people to respond in praise and thanks. When music is a part of worship it must
always be remembered that music is a means to and end and never an end in itself. A man worshiping God is essentially
a worshiper, and only incidentally a musician.
b. To be an integral part of the worship service, music must fit closely into the total act of worship. Songs, hymns, or
anthems, for example, by the congregation or the choir, must have a reason for existence in the worship service and
reason for their placement in the total worship service. Musical moments may enhance, build upon, or bring to fitting
conclusion that which precedes, or they may prepare the heart of the worshiper for what is to follow. They should not be
introduced to help the service go smoothly, create atmosphere, cover up noisiness, provide variety, or present beautiful
art. These by themselves are unworthy of music in worship.
c. The term “special music” should not be used in the bulletin or worship service. By suggesting an interlude or attitude of
performance, the term “special music” contradicts the very idea of music being a vital and integral part of the worship
service.
3. The music of the Church belongs to the congregation.
a. If we are to have music in a worship service, the expression and participation of everyone is important. Normally this is
achieved through the congregations’s active participation, as in congregational singing. But even when the congregation
is not overtly involved, as when the organ is heard alone or the choir sings, the congregation is passively participating in
heart and mind. As, for example, the whole congregation participates in the congregational prayer through an appointed
representative, the minister, so may the whole congregation participate in praise, thanksgiving, consecration, etc, through
the representative musician. Any suggestion of an audience or an audience-performer violates the definition of worship.
b. Participation by all implies that the music of the Church is the expression of everyone, not just a few. The music should
so reflect the congregation that they respond and become involved. Music should not isolate potential worshipers or
cause a negative reaction. Since the music must unite a wide variety of personalities and backgrounds, the use of music
in worship calls for charity and open-mindedness by all.
4. Words sung in worship should be meaningful to the worshiper.
a. Words should be understandable and meaningful to those who sing them. It is difficult to give glory to God in a song
when words are confusing and vague. Nor should ambiguous words confuse children and non-Christian visitors.
Twentieth century Christians should be encouraged to express their praise and devotion in words relevant to today, not in
words unrelated to contemporary Christian life and experience.
5. The music of the Church should meet the highest standard of excellence.
a. These standards include appropriateness, genuine expression of religious experience or biblical truth, freedom from
distracting associations, freedom from sentimentality or artificiality, artistic defensibility, and enrichment of a life of a
worshiper. Above all, the intent of those who sing or play must be that of bringing honor to God and enrichment to those
present.
b. Music used in worship should include the best of the past and present. In each era, Christians have used living
musical idioms to praise God. While the contemporary Church necessarily leans heavily on the past, it may also give
consideration to contemporary music suitable for public worship.
c. A discouraging trend in today’s hymns is an undue preoccupation with the subjective or the “I and me” aspect of
religious expression. Church music that majors in such minors seldom rises above the horizontal cannot possibly afford
a foretaste of the magnificent and mighty songs of heaven.
6. The bulletin should be used to help make music vital to the worshiper.
a. For example, the words of the choirs anthems, titles of offertories, preludes, postludes, or appropriate comment of
specific music in worship are some of the ways the bulletin could be used. Individual musicians should not be mentioned
by name to avoid the objection to a “performer” as singer, organist, or other musician.
7. The music of the Church should be supervised by the elders according to synodical regulations.
a. Article 39 of the Church Order provides that each Council shall see to it that synodically approved songs and hymns be
used in worship. In the churches only the 150 Psalms and the collection of hymns for church use, approved and adopted
by the synod, shall be sung. However, although the singing of the Psalms in divine worship is a requirement, the use of
the approved hymns is left to the freedom of the churches.
8. The Elders may admit visitors and guests of the congregation to the Lord’s Table provided that, as much as possible,
the elders are assured of their biblical church membership, of their proper profession of faith, and of their godly walk (C.O.
Article 45). In order to fulfill this requirement, a committee of at least two elders shall at their discretion meet with such
visitors and guests of the congregation prior to the worship service and shall give a report of their interviews to the
consistory. The interviewed visitors and guests of the congregation will be permitted to the Lord’s table only after the
elders have voted on the matter and that vote as been announced prior to the call to worship.
HVURC Worship Policy