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The Plight of Anglican Church Music in the Western Cape: Three Case Studies

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The Plight of Anglican Church Music in the Western Cape: Three Case Studies THE PLIGHT OF ANGLICAN CHURCH MUSIC IN THE WESTERN CAPE: THREE CASE STUDIES Levi Eudo Alexander Thesis presented in partial fulfilment of the requirements for the degree of Master of Music (Choral Conducting) in the Faculty of Arts and Social Sciences at Stellenbosch University. Supervisor: Martin Berger March 2021 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Levi Alexander March 2021 Copyright © 2021 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za ABSTRACT Music ministries still providing Anglican church congregations with traditional Anglican church music find themselves clutching onto a musical tradition in a church plagued by the increasing secularisation of society. This thesis, in three case studies, investigates the musical output and general daily function of three Anglican churches in the Western Cape by interviewing the rector and music director of each parish. Each parish was selected as it presented a varied historical, musical, liturgical and churchmanship culture. The aim of the thesis is to ascertain, primarily, whether traditional music is under threat of falling into disuse in the church and secondly, if traditional music is indeed under threat, the possible measures which could be implemented to preserve the heritage for future generations of Anglican worshippers. The literature review presents a body of information to define traditional Anglican music and contextualise its practices by tracing its historical development through the centuries, and in so doing, creates a contextual framework on which the findings of the three case studies are based. This research presents the challenges endured by music ministries by: (1) defining the role of church music in the service and the Anglican liturgy; (2) identifying Anglican music history in South Africa by ascertaining styles of worship; and (3) contextualising the function of the music ministry in the church by discussing the role of the music director and the working dynamic with clergy, education and development, youth participation, future planning and finance. 2 Stellenbosch University https://scholar.sun.ac.za OPSOMMING Die musiekbedienings, wat steeds aan Anglikaanse kerkgemeentes tradisionele kerkmusiek verskaf, vind dat hulle vaskleef aan ‘n musiektradisie in ‘n kerk wat al hoe meer deur sekularisasie van die gemeenskap beïnvloed word. Deur drie gevallestudies, ondersoek hierdie tesis die musikale uitset and algemene daaglikse funksionering van drie Anglikaanse kerke in die Wes-Kaap deur middel van onderhoude met die rektor en musiekdirekteur van elke gemeente. Die gemeentes is elk gekies omdat hulle ‘n gevarieerde historiese, musikale, liturgiese en kerkmanskap kultuur bied. Die doel van die tesis is, hoofsaaklik, om vas te stel of tradisionele musiek dreig om in onbruik in die kerk te verval, en tweedens, in geval tradisionele musiek wel onder bedreiging is, watter moontlike maatreëls in plek gestel kan word om die erfnis vir toekomstige geslagte van Anglikaanse kergangers te behou. Die literatuurnavorsing bied deurgronde inligting aan om tradisionele Anglikaanse musiek te definieer en ook die praktyke daavan te kontekstualiseer deur die historiese ontwikkeling deur die eeue na te spoor, en daardeur ‘n kontekstuele raamwerk te skep waarop die bevindinge van die drie gevallestudies gebaseer is. Hierdie navorsing toon die uitdagings aan wat musiekbedienings ondervind deur 1) die rol van kerkmusiek in die diens en die Anglikaanse liturgie te definieer; (2) die Anglikaanse musiekgeskiedenis in Suid-Afrika te identifiseer deur verskillende diensstyle vas te stel; en (3) die funksie van die musiekbediening in die kerk te kontekstualiseer deur die rol van die musiekdirekteur, asook die werkende dinamiek met priesters, opvoeding en ontwikkeling, jeugdeelname, vooruitbeplanning en finansiering te bespreek. 3 Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS This thesis is the product of my experiences and participation in many an Anglican music ministry. Therefore, I acknowledge all my music educators in my primary, high school and tertiary education. I am grateful to all the church musicians, conductors, choristers, organists and clergy who have welcomed me in the Anglican music circles and who have educated, inspired and encouraged me. I would like to extend my gratitude to my supervisor, Professor Martin Berger, for the time and effort contributed to this thesis and for the patience, utmost support, encouragement, confidence and wonderful friendship he has displayed towards me. He has inspired a passion and drive in my career and a new enjoyment of, and fulfilment in, music. I would like to express my deepest appreciation to my wife, Mrs Janine Alexander, for the many hours of assistance in proofreading and editing, sharing her opinion and her dedicated and unwavering love and support. I am extremely honoured to have completed my postgraduate studies beside my colleague and close friend, Warren Patientia, who encouraged me to embark on the study of a Masters in Music degree and was a major source of energy and inspiration when the journey presented challenges. I am also grateful for the support of my family and friends and for their interest shown in my studies. I very much appreciate the editing assistance of Diane Abrahams and the Afrikaans translation assistance of Sonja Brasler. Thank you for your generous offering. A special word of gratitude to all the clergy, Reverends Michael Weeder, Timothy Lowes and Leslie Adriaanse and music directors, Mr Grant Brasler, Adv. Deon Irish and Dr Ashley Petersen, who completed substantial questionnaires and interviews and calmly and unreservedly engaged in this study. Without their generous effort, this thesis would not be possible and I am immensely appreciative. I am humbled by their tireless endeavours and dedication to Anglican church music. I salute their constant goal to provide their church parish with music of the highest quality. Deo gratias 4 Stellenbosch University https://scholar.sun.ac.za Table of Contents List of Tables .............................................................................................................................. 7 Chapter 1 Introduction ......................................................................................................... 8 Chapter 2 Literature Study ................................................................................................. 10 2.1 Liturgy and Music ..................................................................................................... 10 2.2 Anglicanism and Church Music in South Africa....................................................... 14 2.2.1 Establishment of the Anglican Church in England ............................................ 14 2.2.2 The Role of Church Music in the Anglican Liturgy .......................................... 18 2.2.2.1 Forms of Music in the Anglican Church ....................................................... 19 2.2.2.2 Music Performance Practice in the Anglican Church .................................... 25 2.2.3 Anglicanism in South Africa .............................................................................. 27 2.2.3.1 History ........................................................................................................... 27 2.2.3.2 Church Music and Liturgical Practice ........................................................... 28 2.2.3.3 Catholic and Anglican Ecumenical Relations ............................................... 32 2.2.3.4 Styles of Worship .......................................................................................... 33 2.3 Role of the Music Director in Anglican Church Music ............................................. 36 2.3.1 Conducting ......................................................................................................... 37 2.3.2 Teaching ............................................................................................................. 38 2.3.3 Leadership Skills ................................................................................................ 40 2.3.4 Relation to Clergy .............................................................................................. 44 2.3.5 Financial Management ....................................................................................... 45 2.4 Education and Development within the Anglican Church ........................................ 46 2.4.1 The Royal School of Church Music (RSCM) .................................................... 46 2.4.2 Religious Music within School .......................................................................... 47 2.5 Future Prospects of Anglican Church Music ............................................................. 48 Chapter 3 Research Methodology and Design ................................................................... 51 5 Stellenbosch University https://scholar.sun.ac.za 3.1 Research Question ....................................................................................................
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