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University of Cape Town University The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University CONTEMPORARY MUSICAL EXPRESSION IN ANGLICAN CHURCHES OF THE DIOCESE OF CAPE TOWN: DEVELOPMENTS SINCE THE LITURGICAL, THEOLOGICAL AND SOCIAL REVOLUTIONS OF THE TWENTIETH CENTURY by Town Andrew-John Bethke Cape Thesis presentedof for the degree of Doctor of Philosophy (Musicology) South African College of Music, Faculty of Humanities University of Cape Town University Supervisors: Dr Morné Bezuidenhout A/Prof. Dr Rebekka Sandmeier February 2012 The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. Town Cape of University Declaration I hereby declare that “Contemporary Musical Expression in Anglican in Churches of the Diocese of Cape Town: Developments since the Liturgical, Theological and Social Revolutions of the Twentieth Century” is my own work and that all sources that I have used or quoted have been indicated and acknowledged by means of complete references. Signed: _______________________________________ Andrew-John Bethke Date: _______________________________________ Town Cape of University iii Town Cape of University Abstract The broader purpose of this study is to investigate musical change in relation to theological and liturgical change. The particular focus of this thesis is to explore the link between liturgical revision and musical development in the Diocese of Cape Town, South Africa, between 1964 and 2010. This doctorate is situated in musicology but also embraces features of liturgical theology. Le Huray’s account of musical change during the Reformation, in Music and the Reformation in England 1549 – 1660 (Cambridge, 1978), served as a model on which to view contemporary developments. Pass’ definitions of the role of music in church (kerygmatic, koinoniac and leitourgic), contained in Music and the Church (Nashville, 1989), have also been used as a basis for the study. Additionally, the author developed a series of terms to distinguish the relationship between musical and liturgical change. Part one investigates the dialogue between Anglican theology, liturgyTown and music. The model of analysis takes theology and politics into account. Part two deals specifically with liturgical and musical developments, with reference to the Diocese of Cape Town. The historical development of the South African Anglican Eucharistic Rite and its musical tradition are discussed in detail. Part three documents the current musical situation in parish churches.Cape of The data were collected from the Anglican Archives in Johannesburg; personal interviews; a survey of liturgical music in parishes; church newspapers and parish visitations. From these sources it was clear that before the 1970’s, Anglican music was broadly homogenous from parish to parish, but the contemporary situation is markedly diverse. Liturgical change was influenced by international liturgical scholarship; ecumenism; the charismatic renewal; Afro-Anglican theology; apartheid; and the Second Vatican CouncilUniversity of the Roman Catholic Church. These trends in liturgical revision have had a marked effect on styles of music presented in individual parishes and schools. The main question posed by this thesis is: “Did theological and liturgical change directly precipitate the rich variety of musical styles found in parishes today?” The answer is a qualified “yes”. Indeed, changing theological emphases and the liturgical revolution have definitely affected music in worship. However, social factors outside of the church have played an equally important role in the church music revolution. v Town Cape of University Acknowledgements • The National Research Foundation and the University of Cape Town for funding this project. • Dr Morné Bezuidenthout and A/Prof. Dr Rebekka Sandmeier for their patient guidance. • Rev. Keith Griffiths, the wardens and congregation of Christ Church, Constantia for allowing me to take leaves of absence to complete parish visitations, and for allowing me to use their extensive library. • The staff at the William Bell Music Library (UCT), especially Shaheema Luckan and Julie Strauss. • The staff at the Cullen Library (WITS), especially Zofia Sulej. • Erica Bethke for editing the thesis with care and precision. • My parents, brother, friends and colleagues for their continuous support and encouragement. Town Cape of University vii Town Cape of University List of Abbreviations ACCM Archbishops’ Commission on Church Music ACSA Anglican Church of Southern Africa AF Proposed Alternative Forms of the Daily Offices of Morning and Evening Prayer and the Holy Communion (1969) AM Hymns Ancient and Modern 1860 AMNS Hymns Ancient and Modern (New Standard) AMR Hymns Ancient and Modern (Revised) APB An Anglican Prayer Book 1989 AWF Anglican Women’s Fellowship BCP 1549 Book of Common Prayer 1549 BCP 1552 Book of Common Prayer 1552 BCP 1559 Book of Common Prayer 1559 BCP 1662 Book of Common Prayer 1662 Town CMS Christian Men’s Society CPSA Church of the Province of Southern Africa CSI Church of South India, Liturgy of CSL Constitution of the Sacred Liturgy Cape ELLC English Language Liturgical Consultation HIV/AIDS Human Immunodeficiency Virusof / Acquired Immune Deficiency Syndrome IALC International Anglican Liturgical Consultation ICET International Consultation on English Texts L75 Liturgy 1975 LA A Liturgy for Africa RSCM Royal School of Church Music SACC South African Council of Churches SACLA South African Christian Leadership Assembly SAPB Book of Common Prayer - South Africa 1954 SOF SongsUniversity of Fellowship SPCK Societies for the Promotion of Christian Knowledge SPG Society for the Propagation of the Gospel in Foreign Parts TRC Truth and Reconciliation Commission USA United States of America WCC World Council of Churches ix Town Cape of University List of Musial Examples Chapter Five Example 1: Extract from the opening of the Exultet 132 Example 2: Kyrie from Liturgy 1975 by Sister Mary Christine 135 Example 3: Kyrie from Liturgy 1975 by Canon Jenkins 135 Example 4: Extract from Kyrie from Liturgy 1975 by Swanson 137 Example 5: Kyrie from A Mass for the Saints by Moir 137 Example 6: Franklin’s setting of the Preces and Responses 141 Chapter Six Example 1: The Proper Preface for Epiphany and seven days after 151 Chapter Eight Example 1: Two hymns from Hymns Ancient and Modern (New Standard) 187 Example 2: Ntsikana’s Hymn 188 Example 3: Niyabizwa, bantu nonke by Mjokozeli 189 Example 4: Tune THABA NCHU from Birkett’s Ingoma 1871 189 Example 5: Tune ST CYPRIAN by Rev. Chope (1862) 190 Example 6: Tunes for At the name of Jesus in Songs of Fellowship 191 Example 7: Be still for the presence of the Lord 191 Example 8: From heaven You came Town 192 Example 9: We are marching in the light of God (Siyahamba) 192 Example 10: Christ Enough by Gardiner 194 Example 11: Two harmonisations of NKOSI YAM by Smith and Bethke 195 Example 12: A Hymn of Love by Wiggett Cape 196 Example 13: South African version of All things bright and beautiful 196 Example 14: When Jesus came of Mary byof Rev. Cook and Bethke 197 Example 15: Masithi Amen by Molefe 198 Example 16: Ukuthula (trad.) 199 Example 17: Kyrie from St George’s Mass by Smith 200 Example 18: Kyrie from Die Heilige Eucharistie by Franklin 201 Example 19: Kyrie from Constantia Setting by Howard 201 Example 20: Extract of Kyrie from St Stephen’s Setting by Bethke 202 Example 21: First verse of Uzuko kuThixo by Kolisi 203 Example 22: Opening phrase of Mvana ka Thixo 203 Example 23: OpeningUniversity of Magnificat from the set of Evening Canticles by Klatzow 206 Example 24: Extract from Magnificat from the African Canticles by Carletti 206 Example 25: Opening of Nunc Dimittis from the African Canticles by Carletti 207 Example 26: Mayenziwe and the first few bars of Magnificat by Chivers 207 Example 27: Extract from the Gloria from Nunc Dimittis in two-parts by Bethke 208 Example 28: “God Bless Africa” by Smith 209 Example 29: “God Bless Africa” by Bethke 209 Example 30: Extract from Ek slaan my oë by Carletti 212 Example 31: Extract from the vocal parts of Come colours rise by McLachlan 212 Example 32: Text for Come colours rise by Barry 212 Example 33: Opening of Glory to Thee, my God, this night by Orr 213 Example 34: Verses 1 - 3 of Psalm 89 with congregational response and psalm tone 214 Chapter Nine Example 1: Extract from “Our Blessed Lady’s Dream” by Irish 225 xi Town Cape of University Contents Declaration ................................................................................................................................. iii Abstract ....................................................................................................................................... v Acknowledgements.................................................................................................................... vii List of Abbreviations ................................................................................................................... ix List of Musial Examples ..............................................................................................................
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