A History of the Mennonite Brethren Church, Ja Toews

which they called jubilations and groanings. . . ."' Another new element introduced into the milieu of musical experiences was the use of musical instruments. Undoubtedly their musical experiences were enriched by the use of instruments as noted in the description of a worship service in the home of A. Peters: 239 240 HISTORY OF THE MENNONITE BRETHREN CHURCH Their first song was accompanied by a harmonica and violin, but not in an unrestrained manner. The verses of the songs were first read (a line at a time — they had no song books) from the Glaubensstimme. Hiller's Lieder- kaestlein, and Gossner's Schatzkaestlein (in the possession of the leader) and then sung according to the tunes found in the Glaubenstimme. - After attending a worship service, another visiting committee related that "while we were leaving and conversing outside the building with Bekker and others about one thing and another, several verses of a song were sung by the assembly accompanied by a flute." 5 The use of musical instruments, however, brought considerable tensions to the brotherhood. An account is given concerning a drum maker, Herman Peters, who in a worship service, played his drum so loudly, accompanying the organs, flutes, violins, guitars and musical triangles, that the noise was heard over the entire village. When the mayor appeared and took away the drum, Peters simply made another. The fact that he later disassociated himself from the Mennonite Brethren movement* probably indicates that most members endorsed more subdued music for worship. These accounts clearly indicate that a new song had entered the worship life of the Mennonite Brethren. By design they shortened their sermons, gave opportunity for personal testimony, and prayed and sang alternately in order to bring a more lively and joyful spirit into the worship service. Even though excesses were a part of the early move- ment, the main thrust was a genuine new spirit in worship supported by a new type of music. The musical practices in Mennonite Brethren circles developed more as an outgrowth of its needs rather than by a prescribed pattern directed by personalities. Eventually music settled into serving the following general needs: (1) fostering a lively but meaningful spirit of worship, (2) lending reverence and spiritual feeling to the service, (3) undergirding the biblical emphasis in terms of doctrine, (4) assisting in the spiritual development of the believer, (5) giving expression to Christian fellowship and joy, (6) relating to all facets of the church and family life, and (7) promoting the missionary and evangelistic outreach of the church. 5 From the very beginning Mennonite Brethren religious music was as vital in the home as it was in the church. Singing took place at meal- time with table graces, during family worship and at family visitation. Later, music lessons on violins, pianos, reed organs, etc., brought much music into t