1

UMH & BOW are the de facto authorities and sources for UM worship by virtue of use.
- UMH is cited as being used by 96% of congregations

A & B

2

UMH is increasingly supplemented as resource for UM worship as time passes.

A & B

3

UM worship practices involve increasing types of technology as time passes.

D

4

UM worship practice today (other than African American) is 1st Traditional; 2nd Blended, and 3rd Contemporary.

A

4A

African American congregations often self-designate their worship practice as contemporary or traditional (in nearly equal percentages), and then blended.

A

5

A majority of UM churches use lectionary to plan worship.

A

5A

Planning non-lectionary based worship is not uncommon.

A

6

Planners gravitate to free or low-cost downloadable resources when these supplemental resources are used.
- Churches underestimate how much they spend for downloadable resources

D

7

Use of Wesley hymns is infrequent.

E

8

Use of global songs and secondary language is low.

C

9

Use of ethnic music is moderate.

C

10

The most frequent use of the Psalter is as responsive readings.

B

11

Use of rituals of baptism and Holy Communion is high.
Use of marriage rituals & death and resurrection rituals is measurably lower.
Use of daily prayer is very low.

B
B
B

12

Use of projection/technology is increasing across the church but is noticeably lower in African American congregations.

D

12A

Of those using projection, most prepare their own presentations.

D

13

There is increasing use of ethnic, global, praise, and contemporary music.

A

14

There is increasing diversity in music in worship:

1. musical style: hymns, choruses, praise music, Gospel (traditional and contemporary), Spirituals, jazz, folk, traditional, classical, contemplative, chant
2. in the liturgical use of music
3. in instrumentation, including accompaniment of congregational singing
4. in what a congregation identifies as its own "heart-warming" music

A

15

Some congregations continue a strong singing tradition while others have or are giving it up to performers.

A

16

Use of multiple languages in singing is important for: hospitality, expressing solidarity with the whole Church, reinforcing the nature of the global Church, and drawing worshippers out of their cultural captivity.

C

17

While the hymnal has always served as a source of congregational unity in identity, theology, and practice of worship music, the desire for increasingly diverse styles and sources for worship music has worked against this.

A

18

While it remains important to sing the Psalms, liturgy, and service music, the congregational practice is declining.

B

19

The issues of inclusive and expansive language and imagery for God and humanity are important and must be approached artfully and theologically.

C

20

The general issue of cultural impact on or relationship to worship (and the specific issue of the appropriateness of the use of non-sacred texts and tunes) contain both value and danger.

C

21

The use of technology in worship is rising.

D

22

Technology has the potential or ability to both: 1)promote and 2)inhibit community and corporate worship.

D

23

In the face of rising and evolving technology, the physical presence of a print hymnal in the pew and in the hands of worshippers is an important source of identity, theology, and practice.

D

24

Wesley texts are an important theological and historical touchstone for United Methodism.

E

25

For some, it is important to preserve the traditional music and tunes for Wesley texts.

E

26

For others, it is important to adapt Wesley texts to contemporary style and rhythm.

E

27

The use of MP3 players, podcasting, and videocasting appears to be heading toward at least 50%. It would be wise for us to consider this as we plan future development and delivery of resources and training for worship and congregational singing.

D

28

There are frequent requests for service music, including: communion, baptism, Psalm settings, and other general service music. Requests are for additional music as well as music in newer, contemporary styles.

B

29

A number of other denominations have recently published or are now in the process of publishing new hymnals. Our current hymnal is 18 years old, during which time worship and music style has changed measurably.

A

30

Many churches have expressed a need for help in learning how to sing the diversity of congregational song available today.

A

31

Many churches have expressed a need for help in knowing about and implementing new technology in worship.

D

32

There are great differences in musical style, ritual practice, use of technology, inclusive language, body movement, and expressiveness in worship among the many ethnic and cultural constituencies of the church.

C

33

There are also significant differences in musical style, ritual practice, use of technology, language, and other worship practices that stem from a variety of demographic considerations including: church size, location, class and social make-up, economic factors, age and generation.

A

1

...new UM worship and music resources

2

2

...new resources for use in traditional, blended, and contemporary contexts.

4

3

...new resources, both lectionary based and other.

5

4

...accessible, affordable, or free resources.

6

5

...continuing a core of traditional Wesley text and music, as well as contemporary musical settings.

7, 24-26

6

...resources for global songs and multiple languages, along with training in how to use them well.

8

7

...providing resources in a variety of ethnic and cultural styles.

9

8

...to provide appealing and singable music for singing the Psalter.

10, 18, 28

9

...new ritual options for Marriage, Holy Communion, and Daily Prayer.

11, 28

10

...to provide projection resources for our publications, and helpful suggestions and information for churches needing them.

12, 31

11

...new UM resources for ethnic, global, praise, and contemporary music.

2, 8, 9, 13, 16

12

...new UM music resources to reflect the increasing diversity of musical form and styles used in worship.

14

13

...congregational music in multiple and secondary languages.

16

14

...new UM music in a variety of styles that will provide for unity of denominational identity, musical practice, and theology.

14, 17

15

...new resources to approach inclusive and expansive language and imagery for God and humanity artfully and theologically.

19

16

...new and more resources designed for projection, while recognizing the importance of hand-held print resources as a source for providing denominational and congregational unity, identity, practice, and theology

21-23

17

...to develop resources in anticipation of current and future technological trends and developments.

3, 27

18

...to provide new hymns and songs for congregational singing that reflect changes in style and practice since the current hymnal was developed, and to provide opportunities and resources for training.

29

19

...to provide opportunities and resources for the differences in musical style, ritual practice, use of technology, inclusive language, body movement, expressiveness in worship that stem from the ethnic, cultural, and various demographic considerations (church size, location, class and social make-up, economic factors, age, generation).

30, 32, 33