A History of the Mennonite Brethren Church, Ja Toews

rd Conservatory of Music. He was particularly influential in setting a high standard for choral music and oratorio performances. Later he taught at Bob Jones University and Grace Bible Institute. Herbert C. Richert (1900- ), originally from Buhler, Kansas, emerged as the foremost leader of church music among United States Mennonite Brethren, having studied at Tabor College, Bible Institute of Los Angeles, University of Southern California, Sterling College, University of Colorado, Colorado College, and Kansas State Teachers College (Emporia). He achieved a high standard of excellence in choir performance as well as in solo singing. For twenty-five years (1935-1960) he served as chairman of the music department of Tabor College. His major conference activity came as Music Editor of the Mennonite Brethren Church Hymnal (1953). As composer, arranger, and publisher he produced many songs in addition to three publications: Young People's Sacred Songs (English, 1935), Choral Compositions (Male Chorus, German), and Songs for Men (English, 1960). Without doubt he has been the most important musical figure among the United States Mennonite Brethren. Major contributions to music leadership in the contemporary M.B. Church have been made by brethren like Ben Horch, Dietrich Friesen, Peter Klassen, Victor Martens, Paul Wohlgemuth, and Larry Warken- tin In addition a host of conductors, teachers, and performers could be listed. SINCINt; THE NEW SONH 253 Significance of Music As a rural people, Mennonite Brethren did not have the opportunity Lo learn the more sophisticated music embodied in the cultural art of the western world, but they did appreciate and enjoy music at the level of folk art. The spontaneity of singing at Bible studies, prayer meetings, worship services, home visitations and mealtimes greatly aided in making these moments spiritually wholesome and meaningful. Fortunately, the simple, hard-surfaced walls of their church sanctuaries provided a natural, built-in, live acoustical aid for enjoyable, uninhibited congregational singing. Since participation in "worldly amusements" was frowned upon, music served a vital social function along with its spiritual ministry. It seemed to act as an important catalyst for the experience of togetherness and fellowship. It was not uncommon for young people to gather in a home for an evening of singing. The place of music in Mennonite Brethren life has, however, changed somewhat during the last two decades. Many forces and activities have bid for the attention of the church. The excellent tradition of choir and congregational sing- ing may be lost in future generations if the current trend continues. Another deterrent factor which in recent years has caused problems in singing has been the adverse acoustics in newly-built Mennonite Breth- ren churches. In many cases the extensive use of acoustical tile, rugs, and covered pews deadens the sound reverbe