Eastern European Baptist History: New Perspectives, 2007

been prepared by hand.** These were reproduced by simple methods such as photographing the notes. The hymnal had its limits: some words had been changed because of the censor, children’s and youth songs were not allowed, and there were fewer songs than originally planned. Furthermore, because of the small number of printed copies, in some churches only half of the members were able to buy the hymnal.*’ In spite of this, the role of the hymnal as a contributor to identity should not be underestimated. Congregational singing deepened the worship experi- ence of church members, and songs in contemporary Estonian brought this experience into the present-day world. In addition, the hymnal was a visible sign of the vitality of the UECBE: the book had been printed at last. * Ants Rebane, “Piibellik pihitsus” [Biblical Sanctification], Logos, no. 1 (1981) - no. 5 (1982). *> Peeter Roosimaa, “Apokaliipsis - Ilmutusraamatu eksegeetilisi probleeme” [Apocalypsis - Exegetical Problems of the Book of Revelation], Logos, no. 2 (1982) - no. 5 (1983). 4 Osvald Tark, “Meie vendluse p6him6tted” [Principles of our Brotherhood], Logos, no. 1 (1981) - no. 2 (1983). *° Minutes of the presbyters’ council meeting, no. 44 (12 September 1976). PNProt1969- 1985, Archive of the UECBE. * Minutes of the presbyters’ council meeting, no. 56 (16 February 1979). PNProt1969-1985, Archive of the UECBE. *” Kaaskirjad koguduste 1976. a. aruandele (Explanatory letters attached to churches’ 1976 reports], Archive of the UECBE. 151 Congregational singing was supported by choir activities. Approximately 50% of ECB churches in Estonia had at least one choir. The total number of choir members in the Union was approximately one thousand, and in all the churches together, there were approximately four hundred musicians* playing various musical instruments, including mandolins, violins and brass instruments. As the Union had a total membership of 7,963 in 1973, these statistical estimations demonstrate a living tradition of choir music. Estonian ECB believers were “singing people”: they not only preached, but also sang their theology and convictions. Many Baptist parents suggested that their children study music, hoping that these skills would benefit the church later. It was also more difficult for state authorities to control the effect and impact of music and singing.*° By the 1970s it had become clear that the authorities’ attempts in the early 1960s to forbid solo songs and instrumental music in churches, other than organ and piano, had failed. Some people felt that music was too dominant. Aita Dahl commented that in these times some younger people who did not sing felt useless and excluded,*' as choirs functioned often as fellowship groups where friend- ships developed. Gradually, young people became more and more involved in music. For example, towards the end of 1967 a youth choir was secretly formed at Oleviste Church in Tallinn