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The Influence of Music on the Development of the Church of God (Cleveland, Tennessee)

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The Influence of Music on the Development of the Church of God (Cleveland, Tennessee) The Influence of Music on the Development of the Church of God (Cleveland, Tennessee) by STEPHEN BENSON VAUGHAN A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Philosophy, Theology and Religion College of Arts and Law University of Birmingham, UK May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines the influence of music on the development of the Church of God (Cleveland, Tennessee). The dissertation is historically driven, but relies upon an interdisciplinary approach to draw on the insights of ecclesiology, theology, liturgiology, church development, and music. This thesis utilizes a chronological and systematic approach to the relationship between music and the Church of God in the United States during the first 125 years of the denomination’s history, from 1886 – 2011. The study focuses upon eight major themes: historical roots, education, publishing, evangelism, transition, nurturing, liturgiology, and worship, to show that music had a widespread influence on the development of the denomination. The musical underpinnings for these broad themes include: Spirited-singing and exuberant worship; traveling music groups for the purpose of promotion; the shaped-note tradition; technological advancements (i.e., radio, television, and Internet endeavors featuring key people and events); the amalgamation of both music (Teen Talent) and the youth of the Church of God; the establishment of a leadership structure encompassing national, state, and local churches; the music styles used in the Church of God (i.e., liturgical, traditional, contemporary, blended, and emerging); and finally highlighting worship as a lifestyle. For over a century music has been an often neglected dialogue partner at the table of academic discussion and literature, and this thesis argues for recognition and a proper place in Pentecostal history. Along with primary and secondary sources, the important element of “living archives” is investigated; these are interviews with people who participated in historical music events in the Church of God. The thesis also relies upon musical examples to explore the influence of music that shaped the denomination’s history and theology. iii DEDICATION This dissertation is dedicated to my parents and my wife who constantly encourage my dreams. Charles and Myra Vaughan Cathy Lynn Mason Vaughan Thank you for your unconditional love and belief in me. I love you more than words can express. iv ACKNOWLEDGEMENTS First, I would like to thank my family for their patience as I completed this dissertation, especially my wife Cathy. She was a constant supporter and dialogue partner, who helped me to see other perspectives. Also I wish to give special thanks to my parents, Charles and Myra Vaughan, who were constant encouragers and motivators. I remember when I received my first master’s degree; they gave me a card that said in part, “we look forward to the day when we will see you walking on the stage with your chevron stripes.” I have much appreciation for my wife, parents, children, and precious grandchildren for their tolerance in being without their son, husband, father, and grandfather. I hope one day they will look back and understand the importance of my absence. Second, I wish to thank my colleagues at European Theological Seminary where I have ministered for the past fifteen years, especially to the ETS Board, the administration, faculty, staff, and students. These people were supportive of my endeavors, and understanding as I immersed myself in countless hours of research. Also worthy of special mention, my friends and mentors: Mary and Philip Morris, Grant McClung, and Delton Alford, who constantly encouraged me throughout this entire process, offering constructive comments in moments when their positive attitude was most needed. Third, the author benefited from the assistance of the staffs at the following libraries where the research was undertaken: the James P. Boyce Centennial Library at The Southern Baptist Theological Seminary; the library at University of Bangor, Wales, the Music Library and Squires Library at Lee University, the Dixon Pentecostal Research Center in Squires Library at Lee University, the main library at the University of Birmingham, UK, and the library at European Theological Seminary, Kniebis, Germany. v Finally, special thanks to my supervisor, Andrew Davies; he was always an encourager and a motivator. His constructive suggestions and insightful supervision enabled me to successfully complete this dissertation, and for that I will always be grateful. European Theological Seminary vi TABLE OF CONTENTS E-Thesis Repository.............................................................................. ii Abstract................................................................................................. iii Dedication............................................................................................. iv Acknowledgments................................................................................. v Table of Contents.................................................................................. vii List of Figures....................................................................................... xiv Appendices............................................................................................ xvi Abbreviations........................................................................................ xvii 1. OVERTURE – AN INTRODUCTION: ................................. 1 1.1 Introduction – the Gift of Music .......................................................... 1 1.1.1 Two Styles of Church Music ................................................... 3 1.1.2 Music of the Gilded Age .......................................................... 3 1.2 Statement of the Problem ..................................................................... 6 1.2.1 Ecclesiology ............................................................................. 8 1.2.2 Theology ................................................................................... 10 1.2.3 Liturgiology .............................................................................. 11 1.2.4 Church Development ............................................................... 11 1.2.5 Research Questions................................................................... 12 1.3 Purpose, Delimitations, and Time Frame ............................................ 12 1.3.1 Purpose of the Study ................................................................ 13 1.3.2 Delimitations of the Study ....................................................... 15 1.3.3 The Time Frame ....................................................................... 15 1.4 Definition of Terms .............................................................................. 16 1.5 Historiography and Methodology......................................................... 17 1.5.1 Mixed Methods ........................................................................ 19 1.5.1.1 Interviews ................................................................................. 19 1.5.1.2 Data (observation, collection, analysis) ................................... 20 1.5.1.3 Primary and Secondary Documents ......................................... 21 1.6 Literature Review ................................................................................. 21 1.6.1 Primary Sources ....................................................................... 21 1.6.2 Secondary Sources ................................................................... 23 1.6.2.1 Historical Development ........................................................... 23 vii 1.6.2.2 Musical Development .............................................................. 26 1.6.3 Dissertations ............................................................................. 29 1.6.3.1 Historical Development Dissertations related ......................... 29 1.6.3.2 Historical Development Dissertations not related ................... 29 1.6.3.3 Education Dissertations related to the Church of God ............. 30 1.6.3.4 Music Dissertations related to the Church of God ................... 31 1.6.3.5 Music Dissertations not related to the Church of God ............. 32 1.7 Overview of the Study ......................................................................... 32 1.8 Chapter Conclusion .............................................................................. 33 2. MUSICOLOGY – A STUDY OF MUSIC HISTORY: ........ 35 2.1 Introduction........................................................................................... 35 2.2 Mountain People .................................................................................. 36 2.3 Mountain Religion ................................................................................ 37 2.3.1 Shearer Schoolhouse Revival .................................................
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