This blog post was originally published on the website of Pullen Memorial Baptist Church where I serve as Minister of Music. It features the creations of past and present church members and ministerial staff. I enjoy the craft of music notation and find it a valuable tool in Music Ministry. Throughout history, various systems of symbols representing musical sound were developed to help music be experienced and expressed. Interestingly, it was a medieval Italian Benedictine monk that is credited among others in establishing the western system of music notation. As a child I became intrigued with the writing of music when a visiting evangelist at my church inscribed a song on paper during the Sunday school hour and sang it the same day in worship! The tool of music notation not only allowed his song to be expressed on that day, but also to be published (and years later, sung by me in the same church for my ordination). When arriving at Oklahoma Baptist University, I found displayed in the music school the handwritten manuscripts of B.B. McKinney, a hymnwriter whose texts and music greatly influenced my childhood. I was amazed to see the original copies of his hymns, and couldn’t pass them in the hallway without stopping and studying them in wonder. One of my courses as a university composition major was on the art of music notation where I learned its intricate skills using a calligraphy pen, pencil, ruler and staff paper. I now use knowledge from that course to digitally notate music with a Microsoft pen on a computer pad, or with a Midi keyboard and notation software. Like a message sent out to sea in the proverbial bottle, music notated by hand or with computer preserves and passes down composers’ creations to many places and to future generations. Music notation has sent out meaningful music and words from Pullen, extending our ministry through time and space. Former Pullen Pastor, Edwin McNeill Poteat, Jr., is perhaps the first example of this through the writing and publishing of his hymn, “Eternal God, Whose Searching Eye Doth Scan.” Often referred to as the “Pullen Hymn,” the words and music of the hymn were created by Poteat and sung by church leaders from around the world at the first gathering of the World Council of Churches in Amsterdam in 1948. Through the communicative notation of music, the World Council of Churches was instructed and inspired by this Pullen hymn’s text as it boldly called the universal Church to be “wide as the world and broad as humankind.” [Find out more about Edwin McNeill Poteat, Jr., and his compositions on the NC PEDIA site of the State Library of North Carolina] For many years, Pullen member, Pat Long, has expressed poetic theology and harmonic music through the creation of hymns. Her tune, “PULLEN,” is paired with her text, “Beloved God,” expressing an expansive view of the Divine as it encourages care for the earth and all of its creatures. In 1995, former Pullen Minister of Music, Michael Hawn, included “Beloved God” in a book of worship resources collected from a wide stream of Baptists (For the Living of These Days: Resources for Enriching Worship, Smyth & Helwys Publishing). It was this publication that first introduced me to Pat and other Pullen folk included in the book, and in 2009, I included Pat’s hymn in Pullen’s 125th anniversary collection, In Our Own Voice. But these are not the only books in which you’ll find it. Thanks to notation and publication, the Chinese Christian Literature Council in Hong Kong discovered “Beloved God,” and printed it in both Chinese and English in their hymnal (Hymns of Universal Praise, 2006). This hymn-prayer of Pat’s, inspired by her experience at Pullen, offers worshipers in Asia important words to sing. [Pat Long’s hymn, “Beloved God” with tune name: “PULLEN,” in Chinese and English languages printed side-by-side in the Hymns of Universal Praise, 2006.] In January 2022 I received an email from hymn writer and editor, Laurence Waring, who introduced himself as the compiler of an online hymnal, “Singing the Faith Plus,” offered by United Methodists in the UK. This progressive European denomination was preparing to launch an initiative called “Walking with Micah,” and was searching for worship songs to help congregations seek and do justice. Finding Pullen’s In Our Own Voice hymnal online, he discovered Sally Buckner’s refrain, “We Shall Seek Justice,” (based on Micah 6:8), and was eager to gain permission to include it in the resource. Sally, a beloved Pullen saint and gifted poet, asked me years ago to arrange her tune, and through this distribution her creative legacy continues to be shared with the world and among Methodists in the UK. [“We Shall Seek Justice” in print and recorded versions, along with articles about Sally, Larry, and Pullen Church are included on the Singing the Faith Plus site. It is available on this site.] Pullen’s worldwide influence through song must also highlight the instructive work and world music arrangements of Michael Hawn. Michael was part-time Minister of Music at Pullen when he was a professor at Southeastern Seminary in the 1980’s/early 90’s. Michael once told me that he was grateful to Pullen for allowing him time for a study leave to learn from and bring back a variety of global worship music. With this beginning, his scholarship and leadership as a world music student and teacher grew to inspire countless church musicians, and his global music arrangements provide worshipers around the planet with resources from many cultures. [Find out more about Michael Hawn through his bio on the site of Choristers Guild, one of many organizations and publishers in which he contributes his expertise.] I never cease to be amazed when a musical creation of mine or someone I know is transmitted through notation to the other side of the globe. Years ago, I serendipitously discovered on YouTube a Taiwanese Children’s Choir singing one of my anthems. Though I composed the piece while living in Greenwood, South Carolina, the inscribed language of music transported it to children a world away! It’s amazing to think that a child may be humming one’s tune while playing on a distant playground. And, as a Minister of Music, it’s fulfilling to provide the global Church with words and music to expand thinking and experience. A baptism hymn of mine seeks to do that as it separates harmful substitutionary atonement theology from the ritual. Informed by Pullen’s baptismal liturgy and practice, the words sing of fear being washed away in the waters of full acceptance. Several denominations have included this hymn and others inspired by Pullen in their congregational hymnals. [“With Water Freely Flowing” (published by Celebrating Grace, Inc.) is included with other Pullen-inspired hymns by Larry E. Schultz in the hymnals of the Mennonite Church, Community of Christ congregations, Reformed Churches, and progressive Baptists.]
Thanks to music symbols arranged with lyrics on a page, diverse congregations can explore the music, thoughts and theologies created by persons such as Sally Buckner, Michael Hawn, Pat Long, Edwin McNeill Poteat, and Nancy Petty, who once dictated through her singing a beautiful song I notated, added stanzas, and arranged. After being typeset, “As We Come to the Table of Love,” and its message of unrestricted inclusion has been sung by others, and is available for singing by churches the world over. [“As We Come to the Table of Love” is in included in the hymnal, Inclusive Songs for Resistance and Social Action. This collection and the hymn in single form are available on this site.] I celebrate the awareness that the written symbols of music notation can bring the global community together and minister through the expression of meaningful words and song. Thanks be to the Source of Music for lines and spaces, noteheads and stems, clefs, keys, and many other music symbols typeset on paper or in digital files – for with lyrics they preserve and pass on Pullen’s liberating message of love throughout the world. While the majority of my choral compositions have been created for church, I have also enjoyed opportunities to compose music for school and community choirs, striving to offer educators useful materials that provide enjoyable and effective teaching opportunities. This is the first blog post among several that will highlight some of these creations. ![]() One of my most widely-preformed pieces was conceived for elementary and middle school choirs. "Little Firefly" is a setting of an imaginative poem by Grace Lee Frank. It offers a number of choral technique opportunities (two-part harmony and vocal independence, staccato and legato singing, expressive diction). Because Ms. Frank's poem sings of a firefly that "carries a star," the piece also incorporates the familiar words and tune to "Twinkle, Twinkle, Little Star," (but instead of "like a star up in the sky," the children sing: "like a firefly in the sky!"). A performance suggestion invites the singers to use penlights during the performance to simulate fireflies that dance among the choir. The piece is dedicated to my daughter, Kelly, and we've been grateful to hear many expressive performances of this piece in concerts and festivals. It has even been creatively performed as a piece for two woodwinds and piano by music education majors in recital at Shenandoah University. Beyond the USA and Canada, it has also been presented by children's choirs in Europe, Asia, and Africa. It gives me joy to think a child on a playground in a far-away land may be humming a tune I composed. There's something deeply fulfilling about such a thought, reminding how the publication, distribution, and teaching of music can provide meaningful global connections. performance of "Little Firefly" with penlights by Cantabile, Young Voices Toronto ![]() Speaking of playgrounds, the "sequel" to "Little Firefly" was largely created while playing on a playground with my two children years ago. This was appropriate because, "Have You Ever Seen a House Fly?" is a playful piece for elementary and middle-schoolers. At the playground we brainstormed some of the play-on-words lyrics that ended up in the composition. Dedicated in "smiling memory" of my maternal grandfather who enjoyed joke telling, "Have You Ever Seen a House Fly?" is also dedicated to the Wake County Elementary Honors Chorus that premiered it the year I was its guest conductor. The piece sings of "horseflies" and "horses that fly," "houseflies" and "houses that fly," and so on. In trying to imagine "fruits that fly," my son, Ryan, came up with the idea of a "banana half-moon" and instantly became co-lyricist. Even the names printed on the publication are "play-on-words." My composer name listed is "Larry E. Schultz," but I used my full name as lyricist: "Lawrence E. Schultz." I did that because my son's middle name is also "Lawrence," so his lyricist credit underneath mine is: "Ryan Lawrence Schultz." To top it off, the dedication line identifies my grandfather: "Lawrence M. Yarbrough!" I imagine all of the various "Lawrences" give those who see the printed page cause to scratch their heads in wonder! I decided to replicate ideas from the creation of "Little Firefly" in this piece by combining a familiar folk song, "Shoo Fly! Don't Bother Me!" with the song's tune and by providing a performance idea. This idea involves placards on poles designed to picture the various "flies" in the song. At the appropriate time, the placards are lifted high to fly over the choir, allowing the audience to visualize the fun text. Along with the placards, a literal shoe attached to a tall pole is also suggested to represent the "shoe fly." One of the best laughs I've received from a song I've composed is seeing a community children's choir sing this piece in a magnificent cathedral where a young boy was waving a shoe on a tall stick in front of the ornate high altar! I doubt anything of the sort had ever been experienced in that space! Perhaps music-making like this reminds us to put life in perspective and remember to laugh. performance of "Have You Ever Seen a House Fly?" with placards (and shoe) by West Choir, South Hadley, MA, Children's Chorus Both "Little Firefly" and "Have You Ever Seen a House Fly?" are published by Alliance Music Publications. I hope both pieces offer educational opportunities along with some fun with flies!
As a Music Theory and Composition major in the Warren M. Angell College of Fine Arts at Oklahoma Baptist University I was privileged to study composition with gifted composers, Nancy Hill Cobb and Michael Cox. They significantly expanded my musical horizons along with professors: Kathryne Timberlake, Bill Horton, Andre Lash, Wiff Rudd, Dan Hodges, and Bob Wood, who taught courses in Music Theory, Music History, Counterpoint, Orchestration, 20th Century and Electronic Music. Piano professor, Charlotte Martin, also focused my private instruction on my interest in composition and composers. Once, when I asked her to tell me about composer, Camille Saint-Saëns, she replied: "Well...he was my Godfather!" (Martin lived a fascinating life, and at one time was the youngest student of famous French pedagogue, Nadia Boulanger.) I received a magnificent education in Music Theory and Composition from these exceptional educators. Though my undergraduate degree was unusual for my career goal of church music ministry, its coursework has been invaluable to my creative and ministerial work. In a 20th Century Music course I was introduced to "aleatoric" or "indeterminate" music. This music results from compositions structured to utilize chance, randomness, improvisation, choices made by the performers, and other interactive factors. The outcome is that every performance of an indeterminate composition is unique. Often the musical score uses non-traditional notation to communicate the composer's creative desires. An assignment in this class was the composing of a simple piece incorporating aleatoric techniques. For this composition I borrowed an idea from my young niece, Carrie, after witnessing her do an interesting thing at the piano. She would locate the manufacturer's name on the inside of a piano's keyboard cover and trace her finger from each letter of the name downward toward the keyboard, playing a consistent rhythmic pattern on whatever black or white key was directly below each letter or symbol. I envisioned how playing in this way on pianos of different manufacturers would create a different result each time. For example, "Yamaha" would produce a different set of pitches than "Steinway." I was grateful to Carrie whose imagination provided this idea that helped me meet the indeterminate requirements of my assignment. I called the resulting piece: "Nomenclature." Fascinated by indeterminate music, I wondered how I might one day make use of it in my work as a Minister of Music. When the 2020 pandemic silenced worshipers from singing and playing wind instruments in person, it was necessary to provide new and safe modes of music-making for congregational worship. During the pandemic, I led my gathered congregation to drum on the wood of pews, play body and rhythm instruments, hum in masks, and express worship through sign language. Remembering the indeterminate and electronic music I was exposed to in college, I created a congregational “Digital Gathering Song” with parts played by worshipers through their mobile phones. Offering the song in worship during the pandemic provided a safe way for worshipers to make music together. It also offers a means of congregational music-making for individuals reluctant to sing or who do not play an instrument. Five different music files form the Digital Gathering Song and tonally complement each other. Fragments of the pentatonic tune, “HOLY MANNA,” associated with the text: “Brethren We Have Met to Worship,” are heard in a few of the files. As individual worshipers select specific files and play them simultaneously (pressing “play” at close yet random intervals), a unique indeterminate musical composition is heard resulting from various choices and chance as well as the particular acoustic environment. The digital music files can be placed on a page of the church or other website and accessed via Wi-Fi in the worship space. The webpage's URL and/or a QR code printed in a worship guide will provide worshipers easy connection to the files. A time of preparation is helpful to assist each congregant in pre-selecting a file with a title and mood that most closely represents how they are entering worship: with "joy," "concern," or a "mixture of feelings." Preceding the playing of the Digital Gathering Song, a Call to Worship exclaims that many different individuals from a variety of life-experiences gather to form one congregation. The Digital Gathering Song responds and musically expresses this reality as it combines the diverse sounds into one unique musical offering. As the digital song is played, individual worshipers hear how the music of others around them is either the same or different from their music, raising an important awareness that can provide an empathic and meaningful worship experience. Who Has Gathered? includes the Call to Worship and the five music files that create the Digital Gathering Song. It is available from LarryESchultz.com and may be effectively experienced in worship spaces, retreat settings, concert halls, and anywhere Wi-Fi is accessible. Demonstration Video:On a late evening in 2022 when my cellphone’s caller ID displayed: “New Zealand,” I decided to answer, wondering if it could possibly be my new Facebook friend, William Livingstone Wallace. “’Hello, Larry?’ this is Bill Wallace" (It was!). I had recently written Bill a note expressing my appreciation for his prolific and progressive hymn writing, and he was calling to ask a favor. After discovering my similar creative work, he asked if I would be interested in harmonizing “a hymn tune or two” for some of his texts. Bill quickly revealed: “I have Stage 4 Cancer, and along with finishing a book, I am trying to complete my body of hymns.” He was a gifted poet and tune writer but needed a composer to harmonize and typeset his work. With gratitude for what his thought-provoking words offered the world, I was honored to assist. When his first hymn arrived by email, the time constraint of our project was evident as I emotionally read his hymn text: “As Life Approaches Ending.” In the months that followed, other late-night phone calls arrived from “New Zealand,” with the familiar “Hello, Larry?,” and my initial assistance with “one or two” hymns turned into ten. The hymns poems of William Livingstone Wallace are cutting-edge, exploring themes of justice and peace, science and the cosmos, art and spirituality, the ecosystem, human society and more. A Methodist Pastor, charged with the responsibility of weekly sermons, Bill felt that hymns were the best way to present his radical thoughts as they allowed new ideas to “slide into the mind on the back of music!” Bill joins other hymn writers who embrace the wonders and reality of science. At a time when science is revealing the significance of dark matter/energy, Bill’s hymn below expresses darkness as the place where truth, wisdom and the oneness of all reside. In a society whose metaphors harmfully inform our psyche that darkness is “bad” and light is “good,” Bill’s words instruct otherwise: In the darkness lies the whole For the parts all disappear. In the darkness dwells the truth Of the wisdom all can share. All the lines merge into one, All the colours quickly fade, All the sounds to silence change, All the dreams can be remade. When the light and darkness join We find all the parts belong In the fullness myst’ry holds Till our hearts are filled with song. If in darkness we abide With a heart devoid of fear Each of us discovers then God is present everywhere. -Words © 2022 William Livingstone Wallace. Used by permission. Permission is granted by the author to freely reproduce and use (citing copyright information). The calls from Bill eventually ended and, exploring the internet, I read of his death on February 26, 2024. His lifetime of work will continue to inspire, engage, and expand the minds of worshipers for years to come. Free Hymn Downloads:
Two of our hymn collaborations, “As Life Approaches Ending” and “In the Darkness Lies the Whole,” are available as free downloads from LarryESchultz.com. Permission is granted for their use with congregations. Bill’s work is found in numerous published collections, and the large catalog of his hymns are housed and offered for free use at In 2005 I was asked by the choral editor at Choristers Guild to provide two anthems based on particular scripture passages. Perusing a list of possible choices, I quickly found interest in setting the ideas from the 25th chapter of Matthew’s Gospel: “for I was hungry and you gave me food, I was thirsty and you gave me something to drink, I was a stranger and you welcomed me, I was naked and you gave me clothing, I was sick and you took care of me, I was in prison and you visited me” and “just as you did it to one of the least of these, you did it to me.” Inspiration from these passages resulted in: Whoever Welcomes You Welcomes Me – a composition consisting of four questions and a theological statement. Question #1: Where will we find you? Where will we find you, Christ, who is coming? Where will we welcome you? Where will you be? Will you be feasting with friends at a banquet, or will you hunger alone in the street? Where will we find you? Where will we welcome you? While writing this piece, I was cognizant of scriptural and experiential paradoxes related to how Christ is encountered. On one hand, the Gospels depict Jesus attending celebratory meals with friends, from the wedding banquet at Cana to breakfast by the Sea of Galilee. On the other hand, the Christ figure is portrayed in scripture as a stranger who is hungry and thirsty. For many years the congregation I serve as minister of music has fed the hungry and those experiencing homelessness. Witnessing the lines of people who come weekly for food and fellowship gave further instruction for this stanza and the next. Question #2: What will you look like? What will you look like, Christ, who is coming? What will we recognize? What will we see? Will you be wearing the finest apparel, or will we see you in rags and in need? What will you look like? What will we recognize? I sometimes compose texts or music in my head while driving. One day while driving and thinking on the words for this second stanza, I turned a corner into a McDonald’s drive-through. At that corner was a shabbily dressed woman inviting donations of money or food. Waiting in the car line for my own breakfast, I thought of the how her experience paralleled the teaching from Matthew 25, that she was the embodiment of Christ in need. Conversely, I also knew I had experienced the Christ-presence in persons of wealth and resources. These contrasting thoughts converged in this stanza. Question #3: When will you get here? When will you get here, Christ, who is coming? When will your advent be? Will you arrive when we're least expecting, or with fanfare and pageantry? When will it be? This crying out of “When (and how) will you get here?!” is expressed with a sudden change in the mood and music of the anthem. This portion of the piece takes on a frustrated tone as it continues to respond to scriptural discrepancies. The stories of Jesus riding into town with great pageantry, and the coming of Christ announced with celestial trumpets are found in the same Bible that reveals a Christ who arrives unexpectedly without preparation or fanfare. Question #4: Who will you visit? Who will you visit, Christ, who is coming? Who will you visit here? Who will you see? Will you be laughing and playing with children, or stay with prisoners who long to be free? Who will you visit? Who will you visit here? The beloved story of Jesus welcoming children and the teaching of the Christ being known in prisoners are both alluded to in this stanza describing diverse people in whom the divine is known. Another influence was the knowledge that my congregation includes persons who fight against the death penalty. Through the years this has included picketing outside of the state prison, visiting with death row inmates and holding congregational vigils before an execution. A line from this stanza originally expressed: “Will you be laughing and playing with children, or be a prisoner who longs to be free? Though I think this original line more closely communicates the teaching from Matthew of Christ being the prisoner, the publisher’s editors conversed with me about altering this line to the one above that is perhaps more poetic to sing. A Theological Statement And Jesus says: "Whoever welcomes you welcomes me, so, wherever you will go, I will be; and, whatever you look like, I will look like, too; I will speak in your words and in everything you do. Whenever – my advent is whenever – my advent is whenever you discover I am in you; when you discover I AM in you!" The beauty and strength of the Gospels is that they present different and even contradictory descriptions of Jesus. This understanding supports the anthem’s paradoxical questions: Does Christ feast at banquets or starve in the streets? Is Christ wealthy or in need? Does Christ visit children on the playground or prisoners in jail? The concluding theological statement seeks to affirm the Christ-presence in all of these and more. Taking Jesus’ statement from Matthew 10:40 (“Whoever welcomes you welcomes me”) to its ultimate conclusion, the final section exclaims that every person of every description speaks and acts as Christ. This reveals that the coming (advent) of Christ happens whenever humankind discovers their divinity within. A theological play-on-words in the last few lines reinforces this concept. It occurs when Jesus’ proclamation: “I am in you” is repeated but transformed into “I AM in you.” In all caps, “I AM” is a name for the divine found in the Hebrew Scriptures and expresses the divine in all. Whoever Welcomes You Welcomes Me is dedicated to my mother, Opal Lee Schultz, who was active in Woman’s Missionary Union, and involved me in missions education from an early age. That formative experience taught me that I was part of a global community and engaged my thinking on “who” was my neighbor, “what” they might look like, “when” I would encounter them, and “where” they might be. This anthem published by Choristers Guild (CGA1067) for unison or two-part voices with piano and optional flute accompaniment has been presented by choirs of all ages as well as vocal duets. The piece is meaningfully sung in the season of Advent or on any occasion when the divine is discovered. Whoever Welcomes You Welcomes Me is expressed by alto and tenor duet, piano and flute in worship at First Presbyterian Church, Ann Arbor, Michigan.
Before I knew it was one of the most historic and identifying characteristics of Baptists, my parents taught me what it meant to be a Separatist. In the mid-1970’s my family separated from our local Baptist church after it was strategically overtaken and controlled by a large group of new members who enforced outlandish theologies and unreasonable practices. This separation was not done lightly nor without grief as my parents had invested 30 years of their lives in this congregation. They made the decision to move from Tulsa’s Phoenix Avenue Baptist Church, to nearby Red Fork Baptist Church, in order to provide a positive experience for me as I entered junior high school. This change impacted my life for the better and demonstrated there would be occasions when being a Separatist was the best choice. As I grew and prepared for ministry, this understanding continued to guide my church and denominational life. The Southern Baptist Convention taught me what it meant to be Fundamentalist. In the 1980’s the SBC (a denomination whose history includes the endorsement of slavery) shamefully pronounced the inequality of women, the depravity of homosexuals and a disregard for Biblical scholarship. During this time, I was receiving excellent training for music ministry at Oklahoma Baptist University where I experienced the exact opposite: gifted women who were professors and church ministers, upstanding gay friends, and a responsible, thoughtful approach to the Bible. While continuing my education at The Southern Baptist Theological Seminary, I witnessed the Convention’s fundamentalist takeover that resulted in hurtful actions bombarded upon professors and students. In response, I wrote a hymn in 1988 that was published in The Baptist Hymnal, 1991: “O God, We Ask for Strength.” At best, the hymn was my protest; naively, I thought the SBC might sing its words and repent. But it didn’t work, and I became a Separatist again, not wanting to be associated with a denominational group that weaponized the Bible to harm and abuse others. The national Cooperative Baptist Fellowship taught me what it meant to be Moderate. In the year 2000, the national CBF Coordinating Council voted to affirm policies that would communicate a position of being “Welcoming but Not Affirming” of LGBTQIA+ people. (If that’s not a moderate stance, I don’ t know what is.) At the time I was the youngest member of the national CBF Coordinating Council, and after standing with those who opposed this position, I immediately resigned from the council, becoming a Separatist once again. Having lived through the exclusionary trauma of the SBC, and after giving much time and energy to both state and national CBF bodies, I was physically sick to experience the national CBF’s acts of oppression. (Because of Baptist polity I make a distinction between the actions of the “national” and “state” CBF organizations, as each body is autonomous). It was not lost to me that the CBF, an organization whose membership was comprised of outcasts from the SBC, was now continuing the same cycle of exclusion. I knew that some members would remain in an effort to bring about change from within, but I also knew that individual and institutional advancement would take time. After personally witnessing the deeply injurious actions of the SBC, I didn’t want to spend my time in ministry trying to convince another ecclesiastical organization that it should be inclusive. I simply did not have the patience or desire. The Alliance of Baptists, my church congregation and others are teaching me what it means to be Liberal and “beyond.” During my seminary years I heard about the formation of the Alliance of Baptists, and the first two churches I served were minimally associated with this fledgling Baptist network. After my resignation from CBF, I became much more involved in the Alliance and read in its newsletter about the search for a Minister of Music at Pullen Memorial Baptist Church, Raleigh, NC (which I became in 2001). I had previously learned about Pullen through national news articles that revealed the church’s commitment to fully include LGBTQUIA+ people. Because of this stance, in 1992 the SBC ousted Pullen from its membership, but a supportive community was already in place as five years earlier members of Pullen joined others in forming the Alliance. After becoming Pullen’s Minister of Music, I learned that the church never connected to the moderate CBF because it suspected from the beginning that the CBF would not be as open and inclusive as the Alliance. From my experience, this prediction was accurate. While no congregation or denominational organization is perfect, the liberalism expressed through Pullen and the Alliance of Baptists resonates with me and seems to have put an end to my Separatist ways. A liberalism that continues to progress encourages life-long learning, the willingness to venture out, and the equal willingness to change course as new wisdom emerges. Compared to the mental restraints of fundamentalism, progressive liberalism allows the freedom of inquiry essential for this post-theistic century. But liberalism also has limits. There are times when liberalism is inadequate and invites the search for what is “beyond." Perhaps even more descriptive for me than the term, “Liberal,” are words I suggested for a sanctuary art installation at Pullen: “Ever Embracing” and “Ever Becoming.” These active phrases express how I desire to be identified – “Ever Embracing,” as I participate with my church and other groups in welcoming and including all, and “Ever Becoming” as I evolve, explore new insights, and discover who continues to be excluded. Interestingly, it is by being a Separatist that I have been able in good conscience to remain both Christian and Baptist – two worlds in which I was born, have grown, was educated, and continue to offer my ministry of music. Songs Born Out of |
The Name We Have Begun to Know - LOVE-SONG | |
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We Are Your People - SPIRIT-PRAYER | |
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Larry E. Schultz is a Minister of Music, Composer, Hymn Writer, and Music Teacher.
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