CROSSACCENT Vol 24, No 1 | SPRING 2016 Journal of the Association of Lutheran Church Musicians

CROSSACCENT vol 24, no 1 | SPRING 2016 journal of the association of lutheran church musicians

CrossAccent is published three times per DE PRELU year by the Association of Lutheran Church Musicians. Subscription is included with 2 Editorial Comment—Jennifer Phelps Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2016 Association of OTE TAKEN Lutheran Church Musicians. 3 The Joy of Regional Conferences—Nancy Raabe and others The views expressed on the pages of the journal are those of the authors and do not reflect official positions of the editorial board of the COUNTERPOINT journal or of the Association of Lutheran The Church’s Morning Song: Guiding Our Feet into the Way Church Musicians. 6 of Peace—Benjamin M. Stewart This periodical is indexed in the ATLA Religion Database®, a product of the American Theological Library Association, 300 S. Wacker Sacred Harp and Performance: An Introduction to Practice Dr., Suite 2100, Chicago, IL 60606, USA. e-mail: [email protected], www.atla.com. 12 and Performance Theory in Shape-Note Singing— ISSN 2151–1772 Jon Gathje Editor: Jennifer Phelps Ollikainen Music Editor: Lara West Liturgy as Creation: How Rituals Communicate, Situate, Book Editor: Paul Grime and Order Meaning—Kyle K. Schiefelbein Copy Editor: Anne-Marie Bogdan 26 Graphic Design: Kathryn Hillert Brewer Editorial Office Silence and Song: Attending to the Full Voice of the Jennifer Phelps Ollikainen, Editor 34 Assembly—Chad Fothergill 1127 Magazine Road Green Lane, PA 18054 [email protected] THANKYOU Editorial Board 23 Thank you to Our 2015 Donors Kent Burreson Paul Friesen-Carper Joseph Herl CHORUS Nancy Raabe Stephen Rosebrock Church Musician as Deacon?—Scott Weidler Advertising Office 45 Cheryl Dieter, Advertising Coordinator 810 Freeman St. Inspiring Young Musicians—Molly Maillette Valparaiso, IN 46383 49 800.624.2526 219.548.2526 EVIEWS BOOKR [email protected] Rejuvenating Senior Voices by Michael Kemp ALCM Business Office 50 More First Person Singular by Carl Schalk Cheryl Dieter, Business Manager Church Musicians Association of Lutheran Church Musicians by Paul Westermeyer 810 Freeman St. Inside the Westminster Conducting Institute Valparaiso, IN 46383 800.624.2526 219.548.2526 UND SO FEST [email protected] 56 New Music www.ALCM.org

The Association of Lutheran Church Musicians POSTLUDE is a service and professional organization that 72 From the ALCM President-Elect—Julie Potts Grindle works to strengthen the practice of worship and church music of all North American Lutherans. Cover art: “After the Storm” sun rise in the Smoky Mountains. Photo by William Britten. Membership is open to any person or institution whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Anne Krentz Organ Region 1 (Northeast) President: John Weit the ALCM Business Office. President-Elect: Julie Potts Grindle Region 2 (Southeast) President: Sarah Hawbecker Secretary/Treasurer: Kevin Barger Region 3 (Midwest) President: Linda Martin Directors at Large: Scott Hyslop, Michael Krentz Region 4 (West) President: Kim Cramer

Spring 2016 CrossAccent 1 s PRELUDE The Rev. Dr. Jennifer Phelps Ollikainen Editor, CrossAccent

hat does liturgy create? How does lit- our assembly participate in worship in Lutheran urgy create? These are the questions at congregations. W the center of this issue of CrossAccent. We lament that as human beings our cre- God grants the gift of salvation proclaimed in ation of worship is not always worthy of glory. the word and in the administration of the sacra- Chad Fothergill examines how our worship ments. And God entrusts the creation of worship practice may unintentionally create silence in services to the gifts, skills, and planning of hu- the choir of creation. We are challenged to ex- mans. We are created by God and we create with amine which voices speak the loudest and which God. voices are not heard in the music of our worship. We begin in creation. Benjamin Stewart Creation extends to the church through offers a reflection about singing the psalms, par- which we structure our ministries. In the Chorus ticularly Psalm 146, while exploring small family section, Scott Weidler lifts up a proposal being graveyards in the Appalachian mountains. Sing- made to this summer’s Churchwide Assembly of ing daily prayer in creation, Stewart reflects how the Evangelical Lutheran Church in America. It the context of the psalm sung in nature plants is a proposal to unify the three lay rosters of that the word deeper, revealing insights that may not church (associates in ministry, diaconal minis- otherwise be evident. ters, and deaconesses) into one, a new roster of We explore how meaning is created by wor- deacons. Weidler explores the questions this pro- ship through ritual. Kyle Schiefelbein explores posal creates for musicians, some of whom are how ritual makes meaning, in particular ritu- currently rostered as associates in ministry. al in worship. Schiefelbein leads us to examine Inspiring young people to explore their vo- how music accompanies, supports, and is central cation as a church musician celebrates the gifts to our worship rituals. By exploring how ritual given to the whole community and creates a new makes meaning in worship we may approach the level of engagement in creating worship. Molly craft of shaping and supporting the assembly’s Maillette describes the joys and benefits of the song as church musicians in more intentional Lutheran Summer Music Academy for young ways. people. We learn how the practice of shape-note God creates. And God invites us into this singing developed in the United States with creative process as we shape and cultivate wor- the article by Jon Gathje. Shape-note singing ship in congregations. May God guide our practice welcomes singers who participate simul- work and strengthen our witness to Jesus Christ taneously as performer and as audience and who through worship and song. gather for vastly different reasons ranging from the expression of Christian faith to participation in a folk tradition. The emphasis on full-voice participation in the group over beauty or precise execution leads us to examine how members of

2 Spring 2016 CrossAccent www.alcm.org TAKENOTE The Joy of Regional Conferences

n tournament lingo, the term “regionals” refers and The King’s Singers. An added feature of this Ito the intermediate stage of a competition. But conference is a track for children led by Kar- in the world of ALCM, the even-year regional ol Kimmell and Joshua Pedde. Make sure your conferences are prized just as much as the bi- children, grandchildren, or congregation’s chil- ennial conferences. For in the regionals, among dren will attend! like-minded peers in the same general part of Thorough descriptions of workshops and the country, we are invited to make new con- presenters, a schedule, and even a virtual tour of nections, be strengthened spiritually in worship, Fort Wayne are found on the ALCM website. Be learn from the wisdom and expertise of others, sure to come early on Wednesday, July 6, for an improve our own skills, and fortify networks of organ crawl and for choral, keyboard, and hand- support that will sustain us through all the chal- bell reading sessions. Trinity English Lutheran lenges of music ministry. Church will be our primary host, and the Hilton The 2016 ALCM regionals are almost upon Hotel offers high-quality accommodations at an us! Registration for these summer events is easy affordable price. at www.alcm.org. More information on each re- —Jennifer Baker-Trinity gion’s offerings, fees, lodging, and schedule is also available on the website. Following are con- Region 2: June 27–29 ference highlights; if you’re like me, after reading St. Andrew Lutheran Church, these you’ll probably wish you could attend them Franklin, TN all. —Nancy Raabe Soli Deo Gloria! Bach for Everyone Region 1: July 6–8 Join us in beautiful Franklin, just Trinity English Lutheran Church, outside Nashville, for an intensive Fort Wayne, IN two-and-a-half-day hands-on en- Let All the People Praise You: counter with the music of Johann Singing through the Generations Sebastian Bach. Rick Erickson, di- Our time together rector of the Houston Bach Choir, will celebrate the gift will lead the conference choir, which of song for all God’s will prepare Cantata no. 4, Christ lag people through plein Todesbanden, for a public vespers naries, workshops, service on Tuesday evening. Rehears- worship, and con- als will deal not only with musical certs. Presenters and issues but also with homiletical and artists include Bish- translation issues. Two morning prayer services op Robert Rimbo and a closing eucharist will use Bach’s music in (ELCA Metropoli- a variety of very practical ways and will be led tan New York Synod) by Bishop Julian Gordy (ELCA Southeastern and his son, Justin Synod). “Bach Breaks” offer workshops on oth- Rimbo; Sigrid John- er topics, including children’s music, copyright son; John Ferguson; law, resources for small choirs, resources for in- Kevin Hildebrand; strumentalists in worship, and more.

Spring 2016 CrossAccent 3 s TAKENOTE A “Bach for Everyone” concert will take Region 4 will have two regional place Monday evening. We encourage confer- conferences: ence registrants as well as local area musicians to apply to perform. The program planners are July 14–16 seeking diversity and creativity in terms of per- St. John’s Lutheran formers, instruments, and music. We want to Church, Sacramento, CA share the music of J. S. Bach with as many peo- For the Sake of …. ple in as many ways as possible. Please see the Worship is, first and foremost, application on the conference website. for the sake of God—that is, Registration includes all lunches and din- we worship God out of respect ners, and the hotel is only $89 per night, which and thanks for all that God has includes breakfast. The worship services, work- done. Worship is also for the shops, reading sessions, bibliographies, and sake of the assembly—God’s handouts, in addition to the invaluable hands- action in word and sacrament on experience of singing under Rick Erickson’s to build a community of dis- leadership, will send you home inspired and ciples. How does this happen armed with practical ideas. in practice? All the things we —Sarah Hawbecker, President, Region 2 do from one Sunday to the next for worship—planning Region 3: July 26–28 services and seasons; selecting Lutheran School of Theology at music and hymns; rehearsing choirs, cantors, Chicago, Chicago, IL and instrumentalists; writing sermons; working Blowin’ in the Wind … Stirred, with staff and worship committees; negotiat- Anointed, Fashioned, and Swept ing diverse expectations and needs surrounding into Service by the Holy Spirit worship and worship genres; putting Lutheran Our keynote speaker and preacher is identity into the worship equation—all these Bishop Brian Maas (ELCA Nebras- things are done for someone’s sake. The ques- ka Synod). Workshops will be led tion is: for whose sake? One of the goals of this by Mark Bangert, on Luther; Keith conference is to help worship leaders align their Hampton, on Gospel music; Jason passions and arts in ministry within the context Jaspersen, on art and worship; and of community in Christ as they ask “What is this Jonathan Kohrs, on post-traditional for the sake of?” in their own contexts. music and worship. Michael Burk- The keynote speaker, Sandra Dager, is not hardt will lead a children’s workshop, only a pastor with a degree in liturgical studies a “hands on” experience focusing on but also a certified kinesthetic energy pattern children in worship: preparing, prais- coach. As a pastor, liturgical coach, and worship ing, proclaiming, and praying. consultant, Dager draws from her musical gifts, In addition, the attendees at a two-part pastoral experience, and training in embodiment workshop will become the leadership choral and to help pastors, seminarians, and lay leaders instrumental ensemble for the conference hymn improve the quality and effectiveness of their festival. This festival, on the evening of July 27 at liturgical leadership. Fourth Presbyterian Church in downtown Chi- Dager will also lead two workshops, titled cago, will feature Burkhardt. (Transportation “The Resurrection of the Body from the Grave will be provided.) of Postural Misuse,” and “God’s Word. Your An Augsburg Fortress Summer Clin- Voice.” ic takes place at the seminary July 25–26 and —Jae Park, St. John’s Lutheran Church, overlaps with the first day of the conference. Sacramento —Linda Martin, President, Region 3

4 Spring 2016 CrossAccent www.alcm.org s TAKENOTE August 19–20 festival, “From Darkness to Light.” On August Concordia University of Edmonton, 20 he will focus on some practical aspects of the Edmonton, Alberta, Canada church choir, including repertoire and its use in the church year. Johnson will also bring to “The Church Year as Missional” light his “chestnuts” that he has used with his This annual worship and music symposium choirs, as well as repertoire that he has found gathers musicians and worship leaders from for small choir drawn from larger works. Every- Alberta and beyond to broaden their hori- thing will be considered from the viewpoint of zons, to share information and contacts, and to the church year. Saturday’s symposium will also have fun! This year’s symposium features Kyle involve other workshop presenters and will con- Johnson, from California Lutheran University sider how the church year enables our worship (CLU), Thousand Oaks, CA. He teaches organ and our mission. lessons and other music classes there and is also —Nancy Raabe the founder and director of the CLU Chapel Choir, a cross-cultural ensemble consisting of students, faculty, staff, administrators, and local residents. Johnson will be offering four workshops during the two days. On August 19 there will be a two-hour organ workshop (note the ad- ditional fee), followed by an evening hymn

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The Church’s Morning Song: Guiding Our Feet into the Way of Peace

The sun rises after a storm at Great © William Britten Smoky Mountains National Park. by Benjamin M. Stewart

A Strange and Familiar Pilgrimage backcountry cemeteries are hidden in the hills of his essay is a reflection on the liturgical ex- the national park, most of them small, remote, perience of singing morning prayer while and a century or more old. I visited dozens of T backpacking alone on a 300-mile trip in them as part of my research on the natural burial the wild. My sabbatical research focused on ques- movement. There was another reason for choos- tions of ecology and mortality, so I planned the ing the Smokies: November is gun-hunting hike for November, when the landscape seems season in the South, so even though I was inter- to die down and the lectionary turns to images ested in pondering human mortality (including of saints, harvests, and last things. The route I my own), I was drawn to the no-hunting policy chose wound through Great Smoky Mountains of the 800-square-mile national park. National Park. Besides being one of the most There are unique hazards to personal reflec- biodiverse environments in the world, over 150 tions on liturgical experience. They can turn an

6 Spring 2016 CrossAccent www.alcm.org Reflecting on this hike makes

s COUNTERPOINT me newly grateful for the musicians without whom I Psalm 148 would not have been able to 1 carry the church’s song into Hallelujah! Praise the Lord from the heavens; praise God in the heights. the wild. 2Praise the Lord, all you angels; sing praise, all you hosts of heaven. 3Praise the Lord, sun and moon; individual’s experience into spectacle. The nar- sing praise, all you shining stars. rator can become the focus. Idiosyncrasies are 4Praise the Lord, heaven of heavens, easily made exotic. The public, shared dimen- and you waters above the heavens. sions of liturgy can be obscured. And certainly, a 5Let them praise the name of the Lord, liturgical, mortuary backpacking trip may seem who commanded, and they were created, 6 foreign. The “otherness” of a national park is giv- who made them stand fast forever and ever, en legal status. Backpackers often cultivate an air giving them a law that shall not pass away. 7 of counterculture. But I hope that the park and Praise the Lord from the earth, you sea monsters and all deeps; the mode of transport described in this essay will 8 serve as doorways into some of the universal di- fire and hail, snow and fog, tempestuous wind, doing God’s will; mensions of earthly life: the cycles of the days 9mountains and all hills, and seasons, our creaturely life under sun on the fruit trees and all cedars; fragile earth, mortality and the resilience of life 10wild beasts and all cattle, by the power of the Spirit. creeping things and flying birds; If there is a countercultural element among 11sovereigns of the earth and all peoples, the experiences in this essay, it is likely the litur- princes and all rulers of the world; gical practice of daily prayer, something shared 12young men and maidens, with many readers of CrossAccent. Over the years old and young together. church musicians have so formed our communi- 13Let them praise the name of the Lord, ties in morning prayer that most of us now carry whose name only is exalted, whose splendor is the office in our hearts and bones. The open- over earth and heaven. ing sentences, the Venite, the Benedictus, the 14The Lord has raised up strength for the people and intercessions, Luther’s morning collect—I was praise for all faithful servants, formed in these songs and practices by musicians the children of Israel, a people who are near at several Lutheran seminaries. Many of us have the Lord. Hallelujah! been shaped by the leadership of musicians at the Institute of Liturgical Studies at Valparaiso Psalm Prayer (IN) and in the Association of Lutheran Church God Most High, by your Word you created a won- Musicians. Each of us likely has a community of drous universe, and through your Spirit you breathed musicians that comes to mind as our teachers in into it the breath of life. Accept creation’s hymn of daily prayer. praise from our lips, and let the praise that is sung I could have acquired most of the back- in heaven resound in the heart of every creature on packing skills I needed for my trip in a weekend earth, to the glory of the Father, and the Son, and the workshop at the REI store. The liturgical train- Holy Spirit, now and forever. ing goes deeper and takes longer: years, decades. Amen. Reflecting on this hike makes me newly grateful for the musicians without whom I would not (Evangelical Lutheran Worship [ELW ]) have been able to carry the church’s song into the wild. The work of church musicians helps make the gospel portable for the faithful: into

Spring 2016 CrossAccent 7 s COUNTERPOINT and a gorgeous menagerie of spiders rightfully felt at home where I slept, coming and going through the night out of the autumn duff. Be- cause no tent walls confined me I could open my eyes to see wonders that rivaled my dreams: a deer tiptoeing through crosshatched moon shadows under a rhododen- dron thicket, a shooting star while I rolled over. November nights in the Smokies are long so I usually woke before light. Most mornings I slipped on fleece mittens and a headlamp (set to red-light mode to preserve my night vision) and pulled out a beat-up copy of the psalms. From my bed I prayed a simple form of Lauds, the ancient early morning office anchored in the Laudate psalms, 148 –150. It would be understand- able if the church had chosen gentle, restrained psalms for early morning monas- tic prayer. In order to rouse a community day after day these psalms needed to bear the weight of repetition. One might expect steadiness and moderation. Instead, from their first downbeat, the Laudate psalms sound the Photo © Remembrance gosmokies.knoxnews.com/profile/Remembrance universe like a gong. The mounds along the the woods, yes, and also into the home, to the Within moments of beginning each day’s gravesites at Mingus hospital, maybe whispered at work or on the bus, prayer, Psalm 148 had me calling out to sea Slave Cemetery within sung in a faraway worshipping community, car- Great Smoky Mountains monsters and to the moon, to every tree, every ried to the graveside. National Park demon- creeping and flying thing, and every human be- strate respect to those ing about the splendor of God flaring through who could not afford a Psalm 148: The Cosmic Call to Prayer heaven and earth. If our current consolidated fancy headstone. At night I slept under a simple flat tarp. Sleep- form of Matins is the church’s sunrise prayer, ing in the open meant that crickets, field mice, Lauds has been its cosmic alarm clock.

8 Spring 2016 CrossAccent www.alcm.org “In the tender compassion of our God,

s COUNTERPOINT the dawn from on high I had begun to learn where to find these shall break upon us, cemeteries. There were very few of them among to shine on those who dwell in darkness the highest peaks. The climb from the old farm- and the shadow of death, steads would have been too much. Cemeteries usually weren’t near the river bottoms either, and to guide our feet where floods might wash over the graves. Typ- into the way of peace.” ically they were laid out along a shoulder or carved out of a knob some distance above the old On my first morning I woke to rain falling home sites. I could see such a shoulder above me. on the tarp, an oddly tympanic accompaniment As the trail climbed through an irregular set of to my chanted psalm tones. Just eight verses into switchbacks, I was glad to see the sunlight mov- that first psalm I sang, “Praise the Lord … fire ing down the mountain, getting closer to me. and hail, snow and fog, tempestuous wind, do- The trail turned one last time and crested ing God’s will.” I smiled, delighted: the wild onto the shoulder. I slipped into the back row of weather outside my tarp was included as a min- maybe ten graves, a century old, just as the sun ister in Lauds! By the fifth straight morning of was first breaking through the bare trees across rain, however, my smile had become wry. the valley. I watched the faces of those east-fac- Verse eight, on that first morning of rain, ex- ing stones receive their first light of the day. For pressed the wonder I felt in a shining wilderness a century they had watched and waited for every charged with the grandeur of God. After many dawn. The sunrise meant that it was time to sing. days of rain, the verse felt more like a spiritual Among those stones and in that light I sang— director reminding me to honor the divine in a we sang, I believe—the Benedictus, the classic difficult and eccentric neighbor, one who always canticle of both morning prayer and Christian seemed to be loitering right outside my door. burial: “in the tender compassion of our God, There were mornings during those three the dawn from on high shall break upon us, to weeks on the trail when I woke to find frost shine on those who dwell in darkness and the crystals prismatic on every surface around me, shadow of death, and to guide our feet into the or when owls called to each other from trees on way of peace” (ELW, p. 303). either side of my little bedroom, or when Ve- As in most of the cemeteries I visited, half of nus and Jupiter rose together brightly sharp in the stones stood over the graves of children. The the dark of early morning. On those mornings Spanish flu of 1918–19 especially cratered the Psalm 148 gave me language grand enough for mountain cemeteries. I imagined parents laying the universe around me: a cosmic choir spar- a first, second, third child into the ground un- kling, hooting, crawling, and rising in the sky. der those trees. At each death they dug the lines of the grave toward sunrise. They raised stand- Latecomer to a Century of Sunrises ing stones to keep vigil for a greater dawn. “The One morning the first few miles of trail wound sun of righteousness shall rise, with healing in its through shallow creek basins, mostly keeping wings” (Malachi 4:2). low where the cold, katabatic air stayed. I could I wondered: was I standing at least partly see the sun beginning to touch some of the trees in the light for which they have been watch- higher in other basins. My blood was still moving and waiting? Certainly some of the hopes in ing slowly, and I longed to get into that sunlight which they lived and died have been fulfilled. from the shadows. I had heard the previous day Ministries of healing—including prenatal care, about a small cemetery in this area and soon I vaccinations, nutrition, hygiene and sanitation, came to a rough, unmarked side trail cutting up- antibiotics—now illuminate the daily lives of hill through the mountain laurel. This was the those who live beneath the Smokies today. type of trail that sometimes led to the Smokies’ When I sing the Benedictus these days I see backcountry cemeteries. in my mind’s eye the graves across the Smokies

Spring 2016 CrossAccent 9 s COUNTERPOINT

Photo © Jim Rigsby, The Remembrance Project, http://gosmokies.knoxnews.com/profile/Remembrance

Mingus Slave turned toward the dawn in hope. Around the clear and I was camping near the crest of the Cemetery on the world Christians have turned the bodies of their Smokies, my final morning hikes—begun in North Carolina dead toward the rising sun. For those of us who darkness—allowed me to see the day open beside of the Great still walk above the ground in the light, how do low me. When I set out on the trail in darkness Smoky Moun- we relate to the hopes of our ancestors in faith? I sang to warn off the boars and the bears. I sang tains National Park is tended In what hope will we eventually lay our own almost any set of songs I could string togeth- by descendants bodies down? er, loudly. But as soon as the faint, thin band of of those interred light began to appear in the east, liturgical song there. From the Shadows into the Way of Peace seemed most fitting. I watched the world appear When the nighttime darkness stretched beyond and become pieced together in beauty by the ten hours, I sometimes began walking before sunrise. The dangers of the night receded. The dawn. I never hiked longer than an hour be- Benedictus even drew my hiking feet into the fore first light, but every step in that tunnel of thanksgiving: the dawn was breaking to “shine darkness felt weighty. It was a challenge to land on those who dwell in darkness … and to guide footsteps by the relatively dim light of my head- our feet into the way of peace.” lamp. And I wasn’t concentrating only on the Singing the Benedictus in the wild after trail. My thoughts strained out against the dark. coming out of the dark of early morning gave In addition to the bears I encountered most me a renewed sense of my dependence on the days, I had been warned about the self-sharpen- sun and on God. As our creaturely neediness and ing tusks of the wild boars who were legendarily vulnerability before God is met by the rising sun, stingy about sharing their nighttime personal the liturgical setting of the wild does not shame space. us creatures. Rather we are held in the beauty of Because the last few nights on the trail were the dawn.

10 Spring 2016 CrossAccent www.alcm.org The Benedictus of morning

s COUNTERPOINT prayer repeatedly calls us to be the Benedictus and turning the bodies of the liv- students of the hopes of the ing and the dead in prayer toward the dawn. ancestors whose graves face The final cemetery I visited, near the edge of the park as I hiked out on my last morning, east and of the hopes of all of us was bluntly labeled the “slave cemetery.” The mortals who dwell in the gravestones here, like some of those I had seen shadow of death. elsewhere in the park, were uncut and unen- graved standing fieldstones. It was an unsettling experience at the very end of my hike to find my- Guided by the Graves self feeling more than ever the neophyte as I sang I remember the clumsiness of getting oriented the Benedictus a final time with the company of to the first cemetery I discovered on the hike. It enslaved ancestors in faith, across the troubled was my first full day of hiking. I was at the edge boundary of race, shakily learning again to sing of the cemetery, hunched over with my back to God’s promise “to set us free from the hands of it, digging through my backpack until I finally our enemies, free to worship you without fear, found my compass, stowed at the bottom of my holy and righteous before you all the days of our pack. I reacquainted myself with it. (I’ve rare- life.” ly used one, and even my little experience was I stood in the morning light among the rusty.) I held it flat, got the needle to float, and stones still looking east. In what hope had then watched it spin toward north. I turned the these saints lived and died and turned toward dial with the four directions stamped on it until the dawn? Some of those hopes seemed to have the letter N came around to the tip of the nee- dawned brilliantly in recent years. Some still dle. Then I looked (yes, I had to look for it—I seemed not yet on the horizon. was that out of practice) for the E on the dial. The Benedictus of morning prayer repeat- In this first cemetery I wondered if what I had edly calls us to be students of the hopes of the read would be true: would these graves point to- ancestors whose graves face east and of the hopes ward the rising sun, toward east? Still hunched of all of us mortals who dwell in the shadow of over facing away from the cemetery, I extended death. Appropriately, morning prayer gives us an my arm in line with the E axis on the compass. opportunity to recommit to this solidarity ev- I pointed my finger to hold the direction. Keep- ery morning, founded on the solidarity of God ing my arm as still as I could, I craned my neck with us even in the shadow of death. On that fi- to look over my shoulder. When I saw the graves, nal morning of the hike, as I walked out of the the shock of our alignment registered in my cemetery to head home to Chicago, the Benedic- body. They had been pointing east all along. For tus summoned me into yet another sun-dawning a century. They seemed patient. song: “Sing a song full of the faith that the dark I was an awkward compass user, so after past has taught us; sing a song full of the hope confirming the orientation of a few more cem- that the present has brought us; facing the ris- eteries, I was relieved to return the compass to ing sun of our new day begun, let us march on the bottom of my pack. The division of labor till victory is won” (ELW 841, Lutheran Service was unusual but felt appropriate: in getting di- Book 964). rections on my hike, I was relying on regular assistance from the dead. Benjamin M. Stewart is In that first cemetery I had only begun to be associate professor of worship at aware of how the dead would be my guides. Part utheran School of Theology at of what was guiding them—so that I, in turn, Chicago. He is the organiz- could follow—was a practice that extended from er for the conference “Earth those Appalachian hills across centuries and an to Earth: Natural Burial as ocean to early Christian communities singing Spiritual Practice,” Nov. 5–6, 2016, at that seminary.

Spring 2016 CrossAccent 11 s COUNTERPOINT

Sacred Harp and Performance: An Introduction to Practice and Performance Theory in Shape-Note Singing

by Jon Gathje n any given Sunday, hidden on a back road deep in the southern United States, Introduction O a small, sparingly designed, cinder-block “Man can’t do good enough to deserve a reward building sits with its doors and windows thrown as good as this.”1 open for the sake of fresh air to enter and the beckoning of song to exit. The walk toward the Brethren, we have met to worship door gives an ever-greater sense of urgency as the And adore the Lord our God. sound does not waft over the hearers but rather plows through them. The sound is as physical- Will you pray with all your power, ly palpable as it is piercingly audible. It is the While we try to preach the word? sound of voices, the only instruments on hand in All is vain unless the Spirit Dayle Dryer leads a this packed church house, singing no mild-man- tune from the Sacred Of the Holy One comes down; nered church hymn but a full-voiced shout of Harp at the All-Day Brethren, pray, and holy manna praise, lament, and adoration to God and to Shape Note Sing in those around them. “They’re there to fellowship, Will be showered all around.2 Lawrence, Kansas, and they’re there to sing, and the majority of ’em November 2015. is there to sing praise to the Lord.”3

12 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT Among the words being sung are the ver- nacular of Isaac Watts and Charles Wesley, 19th-century farmer-poets, words of death and of salvation, of unbridled joy and of unspeakable pain. The music sung is the tonal language of the earliest truly American music, of William Bill- ings’ fuging tunes and the hymns of revival and country preachers. Those gathered will pray and they will eat, but mostly they will sing. For hours on end they will sing. They will sing in their new dress- es bought especially for this occasion. They will sing the fa-sol-la. They will sing any of the hundred-or-so songs called out by the leaders who stand in the middle of them. No one in this gathered congregation will merely sit and listen. This is not the place for spectating. As one writer opines, they have “not been willing to exchange their birthright of singing for the meager mess of ‘listening’ pottage.”4 Above all, their voices ring out to God. As one of the singers speaks proud- ly: “it’s hard to separate, the way I was raised, the host. The little building contains old chairs, From Original Sacred Harp singing, from a type of a worship a workbench, and a collection of boxes, and one Sacred Harp, service” (“Awake, My Soul”). might be comfortable calling this location a August 1921 edition, page 3. Two thousand miles away, across the street “shed.” The songs are led through, part-by-part, from the Santa Monica Airport in Los Angeles, until they are put together into the tradition- CA, the entrance is different. The walk toward al, four-part harmony. This is a learner’s group, the singing is no longer surrounded by trees welcoming Holly, an early music expert and but by the fences of the next-door neighbors. songwriter, as well as Ryan, a filmmaker who has The cinder block church has been replaced by a no previous experience reading music and who is small, wood-frame building in the back yard of only in attendance for the sake of research for an upcoming project. vy e L

These two brief examples reveal the variety K of events that may be called “Sacred Harp” or “shape-note” singing.5 Individuals come to numerous places throughout the United States to © Bradford take part in these singing events, often for vastly different reasons. As the first illustration points out, shape-note singing, with its textual reliance on Scripture and Christian subjects, can be a po- tently worship-filled Christian event. The second illustration also shows that the Christian nature and origin of the texts and practices do not necessarily require a firm commitment to those texts and practices. Shape-note singing, although beginning in the colonial northeast, maintains its primary tradition in the southern United States,

Spring 2016 CrossAccent 13 s COUNTERPOINT especially among Baptist congregations in rural Shape Notes and the Singing Schools areas. However, the tradition has moved both Shape-note singing and The Sacred Harp both north and west since the 1960s and 1970s, espe- have their roots in Puritanism and Calvin- cially in academic circles and among folk music ism, stemming directly from the edicts against aficionados.6 While the arrival (or perhaps the particular forms of congregational singing. return) of shape-note singing to the north has Congregations were allowed to sing hymns with taken a different path than has the tradition in texts either directly from biblical sources (with the southern parts of the United States, the sim- a heavy, if not total, reliance on the book of ilarities are readily visible. Psalms) or closely paraphrased. Calvinists and While the paths to shape-note singing may Puritans were concerned nearly completely with not be the same, the arrival point often looks tre- the Scriptural text, as both a theological doctrine mendously similar. The order of a singing event, and a practical matter, with music’s sole purpose or a “singing convention” in shape-note parlance, being a vehicle for that text.12 is a primary tradition for singers that general- Besides the reliance solely on Scripture for ly occurs uncontested. Singing conventions are text, instrumental music was also removed in the “central agencies of the movement.”7 The the early Calvinist tradition. Congregations order is singing–meal–singing punctuated by were therefore left with little musical leadership prayers, and traditionally song #59, “Holy Man- for the hymns they sang, resulting in a practice na,” is used to open the convention prior to the known as “lining out,” where each line of the opening prayer. The closing and farewell song is hymn was sung by a minister or song leader and also traditionally prescribed as song #62, “Part- repeated back by the congregation. With these ing Hand.”8 combined factors exerting their influence—a With the understanding that vastly different limited repertoire of texts and a lack of instru- shape-note singing individuals (and shape-note mentation—congregations were left with only singing communities) are joining together a handful of well-known tunes or hymns they around a common framework, this article looks could consistently sing together as a congrega- to suggest how those in this community might tion (Mark and Gary, 63). understand their own participation in these The response by ministers and community singing events. leaders, concerned with the lack of congrega- This article will argue, primarily through tional and individual musicality, was to initiate the practice theory of Catherine Bell9 and the an educational format where congregation mem- performance theory of Richard Schechner,10 bers would learn how to read musical notation, that shape-note singing is neither a completely with the hopes that they would then be able to Christian ritual nor an entirely musical-academ- participate more fully in the worship of the con- ic entertainment.11 Furthermore, these events gregation. These “singing schools,” beginning in do not exist as either ritual/liturgy or theater/ the northeastern United States at the beginning play solely but rather on a continuum between of the 19th century, revolutionized congre- those two poles, with a location that is unique- gational singing and stirred an awakening in ly situated by each individual’s performance and musical development and music education.13 understanding. Finally, this article will suggest Singing schools started appearing through- that congregational singing and the individu- out the northeast and eventually appeared als in any given worship service of the Christian throughout the southern states as well. Each faith might also recognize a variety of reasons for teacher or school master would create his or her and understandings of participation. By examin- own book of tunes, remain in one church, school, ing this practice and tradition outside traditional or tavern for a matter of weeks, and provide a Lutheran singing circles, we ourselves discover rudimentary musical education for those who new ways to understand participation in and were enrolled. These singers would then return through song.

14 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT to their congregations prepared to read music (in the manner one could acquire after two weeks of instruction) and, hopefully, improve the level of congregational singing. Soon “the widespread popularity of folk hymns coincided with two other developments in American culture: the rise of the religious camp meeting, with its distinctive body of spiritual song, and the invention of shaped notation.”14 In this system of notation, the five-line staff and the rhythmic stemming of traditional notation remained. Instead of the oval note head, though, these notes were arranged with a triangle, a circle, a square, and a diamond, corre- sponding to particular notes in the musical key and named “fa,” “sol,” “la,” and “mi.”15 What began as a musical education format in New England travelled through the entire country, into the Appalachian hills and further south. As the 19th century moved forward, though, the musical style in the northern states began to change. Music education historians The Sacred Harpand From Original Mark and Gary express some of the nature of Shape-Note Singing Sacred Harp, this change: August 1921 The Sacred Harp, first published in Georgia in edition, page As the cities absorbed more European im- 1844 by Elisha King and Benjamin Franklin 232. migrants throughout the eighteenth and White, is one in a long line of song books pub- nineteenth centuries, urbanites developed appreciation for European music. Interest lished by teachers for use in their singing schools. in psalmody and church hymns not only be- It is, arguably, the most influential simply began to decline, but urban Americans came cause of the length of time it has survived. The to disdain it and to regard singing school current edition of The Sacred Harp is a revision music as that of the unsophisticated and un- completed in 1991, the primary text of singing refined country people. … [Singing schools] conventions today. continued longer in the South because pub- Six aspects of shape-note singing commonly lic schools in the North eventually usurped recognized by shape-note singers must be noted their functions. (Mark and Gary, 94) prior to a discussion of the ritual and performa- The southern states, especially Georgia, tive aspects of the practice. These are Alabama, and Mississippi, remained quite ded- 1. a gathered community; icated to the song books introduced to them by 2. a particular sound and style; the singing school teachers, especially The Sacred 3. a democratic nature of leadership; Harp. Mark and Gary note that, “for a large part 4. diversity of singers’ beliefs and practices; of the rural South, shape notes entirely replaced 5. a Christian and religious origin; and conventional notation in the nineteenth cen- 6. a standardized order for the singing tury” (80). With the movement of the singing convention. school teachers, the songbooks often became the Of course, shape-note singing is not the only very hymnals of the gathered church congrega- musical practice that includes these aspects, but tion they sought to educate. the unique blend of these creates an atmosphere and a singing event unlike any other.

Spring 2016 CrossAccent 15 s COUNTERPOINT A Gathered Community and unprepared and unresolved dissonances all Shape-note singing, above all else, is partici- point toward a compositional style that was not patory music (Clawson, 140). All who attend trained but rather grew out of the folk music sur- singing conventions are encouraged, perhaps rounding the composers. even expected, to sing—no formal “audience” is present. It is this emphasis on inclusion and Democratic Nature gathering that creates an ensemble that “relent- As mentioned previously, the leader of an indi- lessly focuses the community and its discourse vidual song stands in the middle of the “hollow on the act of singing itself” (Clawson, 9). The square,” waving his or her arms in an upward gathering of the singing community is visible and downward motion to propel the music for- most readily in the seating format of the singing ward. These leaders rotate through, and all who convention. Referred to as “the hollow square,” are willing to lead a song are welcomed, even the four voice parts are all seated in rows in a cen- novices. There are elected leaders at each conven- ter-facing square—altos facing tenors and trebles tion, and they primarily hold roles in title only, facing basses. In the center stands the leader of keeping track of the songs sung and keeping a each particular song, surrounded on all sides by list of which leaders have stood to teach their the singers. “lesson” (Miller, 56). Although the democratic nature of shape- Sound and Style note singing is often touted, issues of expertise A perhaps-apocryphal quote has been attribut- do exist that give rise to a core group of insiders ed to the dean of shape-note singing, Hugh (although outsiders are freely welcomed as that McGraw: “I wouldn’t cross the street to listen expertise is acquired). Sight-reading demands to Sacred Harp singing, but I’d travel five hun- practice, especially with the shape notation; dred miles to sing it myself.”16 Not only is the leading demands understanding of tempi and participatory nature of shape-note singing refer- song selection; and “keying” (the practice of giv- enced but also the aesthetic value placed within ing starting pitches) demands awareness of the it. In the words of a hearer of shape-note singing, group’s individual voices. Shape-note singing, “each individual sings as loudly as possible, pre- while democratic in its leadership within the senting a solo to God, and him deaf. One outside practice, “requires sustained effort and practice admirer has called it ‘Napoleonic Warfare’ with to achieve fluency” (Miller, 94). notes.’”17 From a third person, a lifelong singer of shape-note music, the point of the sound is “to Diversity be able to achieve a tone quality through volume While maintaining its heavily Christian order, that burns out the chaff” (“Awake, My Soul”). practice, and song choices, shape-note singing Simply put, the aesthetic value of shape-note encompasses a variety of participants: music does not follow the path of Western choral Today the singers who gather at annual Sacred and classical music. To judge the high volume, Harp conventions include young children strident tone, and leniency toward pitch with the born into rural Southern “singing families”; Southern urbanites in search of regional cul- same values will certainly lead to “unhappy and tural heritage; American folk music fans impertinent conclusions” (Jackson, 126). from college-age to graying; Christian and Closely related, the compositional style of Jewish singers who have grown dissatisfied shape-note music dwells in a style that does not with their institutional religious experience; follow the common practice of Western classi- early-music lovers who think the open har- cal music. After all, the primary occupation of monies and straight-tone singing have a a majority of the earliest musically uneducated medieval sound; and young punk musicians composers was farming! (Steel, 33). The parallel who appreciate the volume, “rawness,” and do-it-yourself anticommercial ethos of Sa- fifths and octaves, unexpected voice crossings, cred Harp. Generational, religious, political,

16 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT and geographical differences would ordinari- one of tradition and practice and is an ly prevent these people from crossing paths agreed-upon set of expectations for each singing at all, let alone forming a tight-knit commu- convention, continuing in the tradition by the nity. Their ideas of just what “the tradition” very practice of those engaged in singing.21 The is are as diverse as the singers themselves. (Miller, 4) singing conventions have largely carried the tradition of shape-note singing into the present day with a consistent order, a relied-upon song book, Christian Origin and individuals dedicated to shape-note singing The origin of singing conventions is the sing- (Miller, 16). ing school flowing out of the congregational life The practice of singing–meal–singing of a church community. From the particular- punctuated by prayer provides the framework ly Christian song text to the group’s practice of for singing conventions. Whether for worship prayer, shape-note singing is a historically Chris- or for musical experience, historical tradition 18 tian event. While it is not public worship in the or political choice, nostalgia or entertainment, form that traditional churches have weekly relied shape-note singing continues to build on a on nor does it have a set congregation, the con- framework that remains consistently Christian tent of the music, the attitudes of some singers, in its practice. It is here that we turn to practice Joe Casad and David and the nature of the conventions mark shape- and performance theory to seek to understand Yoe lead a tune at the note singing as religiously potent (Marini, 86). the ways in which participants might under- All-day Shape Note For some, shape-note singing holds not only stand their involvement in shape-note singing. Sing gathered in a Christian ideal but is also a location for con- Lawrence, Kansas, version and witness (especially directed toward Practice and Ritualization November 2015. non-Christians within the singing convention). People take turns At the center of both practice theory and perfor- Ruth Denson Edwards, lifelong shape-note sing- picking and leading mance theory lies an individual—an embodied er and author of the preface to the 1991 edition tunes. A novice may individual engaged in creative, ritualized ac- have a more experi- of The Sacred Harp, has written the following: tion. Practice and performance theories deftly enced singer join them “Music is a God-given faculty that by sounding recognize that ritualized action begins with an in leading the tune. its melody and harmony opens the doors to hu-

man hearts and souls and brings man back to vy e L

19 his first relationship with God.” Terry Woot- K ten, another lifelong shape-note singer, makes a less-poetic reference to “bringing man back to

God”: referring to the Christian ideals expressed © Bradford by some participants (as opposed to those without Christian beliefs), “eventually some of it’ll rub off on them” (“Awake, My Soul”). For others who do not participate in shape- note singing as Christians, their tolerance and respect for the Christian practices within shape- note singing is a matter of courtesy for the tradition and for those who do practice with a Christian belief system (Clawson, 80; Miller, 53). Nonetheless, Christian influence runs firm- ly throughout shape-note singing’s history and current practice.20

Standardized Order The order for a shape-note singing convention is

Spring 2016 CrossAccent 17 s COUNTERPOINT ord f w a r C Pleasance

Waterville Shape individual embedded within an environment creators of rituals that fashion the world (Bell, Note Singing occurs and one contributing to the creation of the en- Ritual, 23). Ronald Grimes, in Deeply into the on the second Sun- vironment around it as well (Bell, Ritual Theory, Bone, speaks about these repeated actions with day of each month 93). These theories invite focus on people and a truly embodied image of ritualization, allud- in Waterville, Maine. The singing is done their actions, rather than overarching frame- ing to the book title: these rites are now “driven for the joy of singing, works or schemes (Bell, Ritual, 82). deeply, by repeated practice and performance, rather than perfor- Bell moves forward to call this individu- into the marrow.”22 mance, with one part al action “ritualization.” To simplify her own Shape-note singing and the vast diversity seated on each side definition of ritualization as “a strategic way of of motivations for participation underscore the of the square. acting in specific social situations” Ritual( The- importance of the individual in creating ritu- ory, 67), she proclaims ritualization to be “used al events, particularly as those ritual events are somewhat more simply to emphasize ritual as experienced and understood by the individ- activity” (ibid., 89). It is this simplified defini- uals who have helped create them. Singers are tion that will be used for the remainder of this engaged as ritualized bodies, constantly creat- discussion. ing meaning for themselves and for each other. Ritualization requires activity, performance, Indeed, part of that creative movement is the and action—ritualization relies on performance creation of a ritualized community, but shape- for its very existence (Rappaport, 37). Through note singing is ultimately a community built these performances and actions, ritualization around individual action and conviction rather achieves its goal: the creation and production than well-defined doctrine (Bealle, 24). of a ritualized body (Bell, Ritual Theory, 98). As noted earlier, shape-note singing is above Ritualized bodies—those who have engaged all a participatory, active, and performed event. themselves in repeated ritual actions—are the Each individual is expected to participate and in

18 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT so doing create their own ritual understanding that we might unlock what Schechner means by of the action in which they participate. As one “efficacy.”26 For Bell, the efficacy is the creation singer noted: “We learn through osmosis.” It is of a ritualized being, not only through ritual but the active engagement with the music, the com- also through theater. For Grimes, the efficacy is munity, and one’s own action that gives meaning in the individual understanding of “necessity”— to the event. the doing of something that must be done—and the liturgical direction toward an “ultimate” Performance other. The ritual is not “efficacious” based on its “Performance is an inclusive term” (Schechner, outcome but rather on the cosmic audience and xvii). When we speak of performance and of the necessity of its existence. The ritual is litur- activity we speak of ritual and ritualization, of gically necessary because it is divinely oriented play and celebration, of theater and dance.23 Un- as well as ultimately being an activity that, by derstanding, therefore, that all of our ritualized its and our own natures, can’t not be performed. action creates a ritual body that interacts with Many musicians and artists would recognize the and forms the environment around it, we can “necessity” of performance as nothing short of therefore define a performance broadly “as all demanding their complicity in the work. the activity of a given participant on a given oc- Schechner and Grimes have given profound casion which serves to influence in any way any insight into the performed actions of shape-note of the other participants.”24 singing. While some singers are quite at home It is with this understanding of “perform- in their ritual/liturgical understanding of the ance” that we turn toward the foundational work singing convention with the Christian God as of Richard Schechner. Schechner and his back- referential frame, others are comfortable viewing ground of theater and anthropology have given the performed activities in other theatrical/cele- rise to the field of performance theory, which bratory ways (secular, historical, nostalgic, and holds many commonalities with practice theory. so on). The tradition of the singing convention is First and foremost, the central location of per- a curious blend of sacred and secular, ritual and formance theory is in the individual actions and theater, liturgy and celebration. The continuum practices of an embodied individual. is wide and so are the locations on it of each indi- In his work Introduction to Performance The- vidual who engages in the performed actions of ory, Schechner introduces ritual and theater and a shape-note singing. Miller asks, ”What is be- reminds the reader, “If the performance’s purpose ing performed? Is it religious faith? Patriotism? is to effect transformations—to be efficacious— Fascination with the past? An idea of the ru- … the performance is a ritual” (Schechner, 130). ral South?” (Miller, 188). The response, located What Schechner might mean by efficacy will be within each individual participant in a conven- taken up at a later point. In contrast, at the oth- tion, can only be “yes.” For those who work er end of the polarity is theater—that which is regularly with shape-note singing’s close cous- entertainment. in, congregational singing, the understanding of For Schechner, although he has identified what is being performed by each of the partici- ritual as efficacious and theater as entertaining, pants in worship might well be as diverse. the split between ritual and theater is not nearly as neat as one might imagine: “No performance Issues of “Performance” is pure efficacy or pure entertainment.”25 While When one encounters the word “performance,” Schechner points to both ends of the spectrum, one can be immediately thrust into the mindset efficacious ritual or entertaining theater, it seems of theater, performing arts, or athletic contest. much more appropriate, then, that each indi- Certainly these are all performed events, but the vidual performance finds its place somewhere in word implies much more, as stated in the previ- between the two on a continuum. ous section. Two issues related to performance Perhaps it is within Bell’s and Grimes’s works must be discussed to form a more cohesive

Spring 2016 CrossAccent 19 s COUNTERPOINT view of the theory, especially as it plays out in language of ritualization, also makes it clear that shape-note singing: the presence (or lack) of an the process is inherently circular: “the purpose of audience and the concept of performance as a fi- ritualization is to ritualize persons, who deploy nal product. schemes of ritualization” (Ritual Theory, 128). Many views exist of the relationship between To Bell, the “process is the performance” (Rit- performer (the embodied individual engaging in ual, 324). a performance) and audience. For Rappaport, So it is with shape-note singing. Individuals the audience is wholly other—they do not partic- are ushered into their performance through the ipate in the action (Rappaport, 41). Schechner’s rehearsal of shape-notes and melodic lines from a view lands quite close to Rappaport’s, at least in book that has been in use for nearly two hundred terms of entertainment/theater: the audience re- years. The tunes that are carried by the voice one mains separate from the performer (Schechner, week are carried over to the next singing, each 152). Schechner, although giving some impres- one becoming a more ritualized and rehearsed sions that the audience and performer often blur part of the individual singer and the communi- together (especially in some of his own theatrical ty. In each case, no final performance exists, for work), does not provide as helpful an approach each leans forward into the next rehearsal. in this case for shape-note singing. Shape-note singing, as we have seen, emerg- Conclusion es as a performance that is decidedly lacking any Shape-note singing and The Sacred Harp exist traditional version of an audience. The singers, as historical traditions, as worship services, as located in the hollow square, are not faced out- community gatherings, as musicological nov- ward toward a listening audience, but rather elty, and as familial requirements. The reasons toward each other as listening performers. For and motivations for participating are vast, but those to whom this performance falls nearer to the nature and order of the singing convention the “efficacious ritual” end of the spectrum, their remain. Each event remains largely religious, at performance may indeed have an audience out- least insofar as the sung text, prayers, and order side the square as well. It is in Grimes’s definition are concerned. But even though the event looks of liturgy that we see the ritual directed outward much the same across geography and time, we toward a receiving Christian God. are unable to locate a consistent or universal mo- Grimes is also quick to note that all per- tivation for participation. formed activity “must be received by others, It is here that practice theory and per- perhaps the wholly other, perhaps the ancestors, formance theory are most helpful. While the perhaps the powers that be, perhaps a therapist, community of singers is tremendously import- or perhaps only the tourists and anthropologists” ant, it is the performances of individuals that (Grimes, 59). In the case of shape-note singing, give rise to that community. It is in the doing the performed activity is also directed to the fel- and the performance of the music rather than in 27 low performers themselves. Shape-note singing is a singular group understanding of the event that telling stories to one another, often conflicting the individuals create the community to which in their understanding, but nonetheless singing they belong (Clawson, 4). to and for one another. The performers are the The works of Bell, Schechner, and Grimes audience. have given us new lenses through which we might The second issue is that of rehearsal and per- view the action and performance of a shape-note formance. No traditional notion of performance singing. The dichotomies made between ritual exists in shape-note singing. A final or finished and theater, efficacy and entertainment, liturgy product is never available. This is quite similar to and celebration, audience and performer, finali- Schechner’s view of his theatrical work as a re- ty and rehearsal simply do not exist. Rather, each hearsal being performed in preparation for the individual performance finds itself on a contin- next rehearsal (Schechner, 202ff). Bell, in the uum between two extended polarities. Seated

20 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT next to each other may be singers sensing their 3. Many individuals in congregations believe performance as efficacious ritual with God as -au they are unable to carry a tune—or have dience and singers sensing their performance as even been asked by wrong-headed teachers, historical theater with an eye toward novelty. The friends, or family to refrain from singing! group performance covers all of these individual Recognizing the importance of participa- locations on each performative continuum. tion over product in shape-note singing (as Finally, this article appears in a journal for well as participation over the performer/au- those who are practicing church musicians. It is dience divide), how might we reconsider certainly grossly simplistic to replace the words musical participation more broadly for the ”shape-note singing” with ”congregational sing- sake of those who might well participate, ing” throughout, but the similarities do seem were it not for our regular focus on prod- too close to avoid notice. The practices of group uct and performance? How might all of the noises and cries, songs and melodies be en- singing (a cappella or accompanied), an ordered couraged and welcomed into the one voice form, and a connection to both efficacious ritual of the body of Christ? and playful theater are similarly present in both Dwelling with these questions as musicians, settings. Individuals gathering (or gathered) to- as Christians, as worshippers ourselves, how gether in worship are often as varied in their blessed we will be to sing with that one voice: understandings as are the participants in singing conventions. We would certainly be wise to re- O glorious day! O blessed hope! member that while some sing to a listening God and hear the word of God proclaimed through My soul leaps forward at the thought song, others may well join in for the love of sing- When, on that happy, happy land, ing, for the desire of a community to which to We’ll no more take the parting hand. belong, or as an obligatory ritual. But with our blessed holy Lord For those in a Lutheran worship context (or We’ll shout and sing with one accord, those in any closely related liturgical or theo- And there we’ll all with Jesus dwell, logical setting), a few questions can be raised in 28 consideration of our own practice: So, loving Christians, fare you well. 1. Many church musicians may recognize a decrease in the musical literacy of their congregations: might shape-note singing lift up Jon Gathje is pastor of St. the idea that musical participation and musi- Paul’s Lutheran Church of cal literacy may not always go hand in hand? Palos Verdes (CA) and received Moreover, might shape-note singing provide his master’s in music from the a template for how to reintegrate musical lit- University of Nebraska– eracy in the congregation? As an example, Lincoln. He is currently a shape-note practice always begins by sing- PhD candidate in Christian ing the note names (fa-so-la-mi) through the worship at Fuller Seminary. entire song prior to the singing of the hymn text as a way of teaching pitch relationships. Notes Could this example be a possible addition to 1. “Awake, My Soul: The Story of the Sacred Harp,” congregational practice? DVD, 2 discs, directed by Matt and Erica Hinton 2. Individuals regularly come to worship with (Atlanta: Awake Productions, 2006). Quote from varying expectations about and understand- Terry Wooten. ings of how and why they participate. Might 2. “Holy Manna,” #59 in Hugh McGraw et al., eds., shape-note singing offer us an image of an The Sacred Harp (Bremen, GA: Sacred Harp Pub- lishing Company, 1991). open-armed welcome into the worship of God for all who participate, no matter how 3. Folkstreams, “Sweet Is the Day: A Sacred Harp Family Portrait’” (2001), accessed November 1, or why they come? 2012, http://www.folkstreams.net/film,44.

Spring 2016 CrossAccent 21 s COUNTERPOINT 4. George Pullen Jackson, White Spirituals in the 15. These shapes continue to be used in The Sacred Southern Uplands: The Story of the Fasola Folk, Their Harp and other song books (including some Songs, Singings, and “Buckwheat Notes” (Chapel Hill: denominational hymnals, such as in the Churches Univ. of North Carolina Press, 1933; reprinted, of Christ). Hatboro, PA: Folklore Associates, 1964), 114–15. 16. Kiri Miller. Traveling Home: Sacred Harp Singing 5. “Shape-note” singing is perhaps the most general and American Pluralism (Urbana: Univ. of Illinois term to describe this style. Often it is also referred Press, 2008), 45. to as “Sacred Harp” singing because of the most 17. Jeffrey Bryan, Bucket of Hooves and Other Old Worn common songbook used, The Sacred Harp. For the Out Stories (Chicago: Shook Foil Books, 2012), purposes of this study, italics will be used when re- Kindle edition, 1480–94. ferring to the book. “Sacred Harp” singing, as a generalization, will use The Sacred Harp, but that is 18. John Bealle, Public Worship, Private Faith: certainly not a hard-and-fast rule. Among the best- Sacred Harp and American Folksong (Athens: Univ. known tunes from the shape-note tradition in our of Georgia Press, 1997), xiii. hymnbooks are Foundation (ELW 796, LSB 728, 19. Ruth Denson Edwards, “Music,” in Hugh McGraw, CW Supp. 768), Holy Manna (ELW 771, LSB et al., eds., The Sacred Harp (Carrolton, GA: Sacred 540, CW Supp. 750), and Land of Rest (ELW Harp Publishing Company, 1991). 628, LSB 673, CW 215). 20. Duncan Vinson, “‘As Far from Secular, Operatic, 6. Stephen A. Marini, Sacred Song in America: Religion, Rag-time, and Jig Melodies As Is Possible’: Religion Music, and Public Culture (Urbana: Univ. of Illinois and the Resurgence of Interest in The Sacred Harp, Press, 2003), 83. 1895–1911,” Journal of American Folklore 119, no. 7. Buell E. Cobb, Jr., The Sacred Harp: A Tradition and 474 (Fall 2006): 413–43. Vinson argues that the Its Music (Athens: Univ. of Georgia Press, 1978), tradition has begun to quietly move away from an 128. explicit Christian understanding. I find this to be largely, if not unequivocally, untrue, judging by the 8. The Scred Harp, 25. Readers can find a more words of current participants and by the inclusion in-depth list for organizing the conventions here, of prayer, as well as by the very preface to the song- as well as a thorough method for learning for book so often used in the singing conventions. beginning musicians. 21. Roy Rappaport, Ritual and Religion in the Making 9. Catherine Bell, Ritual Theory, Ritual Practice (Ox- of Humanity (Cambridge: Cambridge Univ. Press, ford: Oxford Univ. Press, 1992), and Ritual: Per- 1999), 368. spectives and Dimensions (New York: Oxford Univ. Press, 1997). 22. Ronald L. Grimes, Deeply into the Bone: Re-Invent- ing Rites of Passage (Berkeley: Univ. of California 10. Richard Schechner, Performance Theory, rev. ed. Press, 2000), 5. (New York: Routledge, 1988). 23. Victor Turner, From Ritual to Theatre: The Human 11. Laura Clawson, I Belong to This Band, Hallelujah!: Seriousness of Play (New York: PAJ, 1982), 102. Community, Spirituality, and Tradition among Sacred Harp Singers (Chicago: Univ. of Chicago 24. Erving Goffman, The Presentation of Self in Every- Press, 2011). Clawson reminds the reader that some day Life (Garden City, NY: Doubleday, 1959), 15. individuals do view shape-note singing as an 25. Schechner, 130. Turner also expresses issues of the entirely Christian and religious ritual (xii–xiii). “liminal” between ritual and art (90–91). What cannot be claimed is that it is a Christian or 26. Schechner is never quite clear what he means by religious ritual for all involved. “efficacious” in his own writings. 12. Michael L. Mark and Charles L. Gary, A History of 27. Bell might refer to this as a form of “reflexivity”— American Music Education, 2nd ed. (Reston, VA: a sense of “mirroring that enables the community MENC, 1999), 65. to stand back and reflect upon their actions and 13. Several famous names in early American music and identity” (Ritual, 75). It is certainly not only the early American music education are known from community that gazes reflexively but also the this system of singing schools: William Billings and individual performers as well, reflecting on their Lowell Mason were both prominent singing school actions and their identity within the group. masters, as was the church leader John Tufts. 28. “Parting Hand,” #62 in The Sacred Harp. 14. David Warren Steel and Richard H. Hulan, The Makers of the Sacred Harp (Urbana: Univ. of Illinois Press, 2010), 46.

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Liturgy as Creation: How Rituals Communicate, toro an S h p Situate, and Order Meaning o J oh J n se

by Kyle K. Schiefelbein

usicians, pastors, liturgical leaders, Liturgy proclaims the gospel in a and worship committees—those who multisensory and incarnational way M are charged with the public worship of the congregation—have an important task. It through the use of gestures, music, is more than supplementing the well-crafted spoken and sung texts. sermon with beautiful music and good chore- ography. The task is one of shaping meaning through words and actions by which the com- to be efficacious (have an effect) if certain -cri munity communicates messages about the life of teria are met, usually with regard to form (e.g., faith and organizes meaning about God and the specific words spoken), matter (e.g., specific ele- human condition. Every part of the liturgy, from ments used), and minister (e.g., specific persons the prayer texts to the music to the way in which presiding).2 leaders move throughout the space, helps create But apart from sacramental efficacy, how a situation in which the worshipper participates does the liturgy work? This question appears in in word and sacrament, in which God speaks to my dissertation about healing rites and anointing the worshippers through the word and the wor- with oil.3 Since healing, or more specifically the shippers respond “through prayer and praise.”1 anointing of the sick, does not have sacramental If liturgy is more than just an opportuni- status in Lutheran theology or practice, its ex- ty to fill up time before and after the sermon, amination highlights the question. How do we then one must assume that liturgy actually does determine that healing and anointing works (or something. Liturgy proclaims the gospel in a does not work)? It was in trying to answer that multisensory and incarnational way through the question that I articulated a multilayered under- use of gestures, music, spoken and sung texts, standing of ritual efficacy, which I explore more and the like. Even more, the sacraments are said generally in relation to liturgy in this article.

26 Spring 2016 CrossAccent www.alcm.org When we carefully observe the

s COUNTERPOINT ways in which ritual works in enactment of that ritual. our worship, we more carefully Distinguishing between doctrinal and op- shape worship in ways that erational efficacy provides worship leaders and planners the opportunity to explore the how of support proclamation, faith liturgy, to see what it does, and to make it an formation, and meaning. efficacious event. The next task is to better identity what is meant by “efficacy.” In the recent collection of essays titled The Problem of Ritual Ritual Efficacy Efficacy, anthropologist William Sax introduc- In the late 1970s Sally Moore and Barbara My- es the so-called problem by claiming that most erhoff posed the question of efficacy, using the people operate with a representational under- example of “secular” rituals. Efficacy is usually standing of ritual.6 He notes that in the current outwardly defined for sacred rituals, but Moore post-Enlightenment context, which is character- and Myerhoff wondered if a similar question ized by rationalism, a majority of people assume could be answered for rituals that have no theo- that rituals are ineffective (or inefficacious) be- logical or religious underpinnings. An example cause people believe that rituals are not meant to of such rituals include political or communi- “do” anything. Instead, a ritual is meant to rep- ty rituals, some of which we see in the current resent something outside of itself. Such a belief election season. They proposed a distinction be- allows ritual participants and leaders to bypass tween doctrinal and operational efficacy, the or avoid the question of efficacy altogether. latter also being applicable to secular rituals.4 In If this understanding of efficacy can be their paradigm, doctrinal efficacy can easily be viewed as being on the over-rationalized side of determined through the definitions provided by the scale, a consequentialist7 sphere can be seen at the theological tradition. If certain conditions the opposite end. Some might claim that this is are met (form, matter, minister, proper recep- the main pre-Enlightenment understanding of tion, and so forth), then the sacrament is said to efficacy, which has somewhat of a “magic” feel be efficacious or that it “worked” in terms of the to it—simply enacting the ritual causes the in- doctrinal definition. On the other hand, opera- tended outcome to happen. Some of the earliest tional efficacy deals with the psychological and theories of ritual efficacy follow from an under- social effectiveness of a ritual. Investigations of standing of causality, even if such understanding this kind of efficacy focus on outcome and con- is implicit.8 This makes sense since it would be sequence, and efficacy is measured in terms of the simplest form of arguing for ritual efficacy: if successes and failures. a then b. Such an argument is as linear as it gets. Moore and Myerhoff’s separation of doctri- Rather than seeing efficacy as being on the nal and operational efficacy is important since extreme sides of the representational/consequen- it provides a point of departure for ritual criti- tialist scale, I suggest “spheres of efficacy” that cism. Ritual criticism provides tools for assessing speak to the multiple ways that ritual can be rituals in terms of performance and communi- operationally effective. In this article, I extend cation. Some may think that religious rituals are ritual efficacy to encompass the liturgy in its -en beyond such criticism, but ritual scholar Ronald tirety, since rituals are normally components Grimes notes that although rites “may be re- of liturgy. Liturgy9 is a careful arrangement of vealed by the gods, [they] are also constructed by constitutive parts that themselves can be under- human beings and therefore imperfect and sub- stood as discrete rites, sometimes referred to as ject to political manipulation.”5 An adherent to a “building blocks.”10 For example, the Prayers of particular doctrine might not be able to critique Intercession in the Sunday liturgy serve as a rite or evaluate the doctrine itself, but by separating that happens within the liturgy. Just as liturgy the doctrinal from the operational, the adher- is made up of various constituent parts, so also ent can critique and evaluate the structure and is the purpose and efficacy of these various rites

Spring 2016 CrossAccent 27 s COUNTERPOINT downplay the importance of language in ritual. Wheelock refers to it as “informative speech” or “ordinary speech,” which he separates from “ritual language” or “situating speech” (59). The latter will be considered in the next section. The characteristics of the former are quite simple: a ritual leader (addresser) sending a message to a ritual participant (addressee), and the message itself (55). The message includes information that would help the addressee understand what the addresser wants, along with some mechani- cal devices that help in communication, which include the context to which the message refers,

toro any sort of common reference point with which an

S the two can connect, and the physical motion

h p and psychological connection. o J Ritual is more than a supplement to the ver-

oh bal communication of a particular tradition; it J n se is a form of communication that conveys infor- Ritual is a form of communication that mation and transmits symbols.12 Bell notes that conveys information and transmits symbols. church rituals in the Reformation, especially the Mass, saw ritual as communicating religious meaning to separate the sacred from the profane (and liturgy in its entirety) multifaceted and thus (Ritual, 217). Thus those Christian traditions can be interpreted through the various spheres that derive from the work of the Protestant Ref- of efficacy. When we carefully observe the ways ormation continue to exhibit the communicative in which ritual works in our worship, we more power of ritual. carefully shape worship in ways that support How is ritual as communication efficacious? proclamation, faith formation, and meaning. Communications scholar Edward Fischer notes that communicative ritual is only efficacious if Ritual as Communication “it fits its times” and is thus contextual.13 If a This first alternative sphere of ritual/liturgi- ritual tries to function in a way that is no lon- cal efficacy states that ritual action does not do ger recognizable or comprehensible, then it will anything except illustrate the “preaching” or not be able to communicate what it intends. “communicating” of the text. Thus, in a way The problem also comes in interpreting such similar to the representational model, the ques- communication even if the mechanics of com- tion of efficacy can be circumvented. Rituals municating are fully functional. The process of communicate the identity of the group perform- interpreting can also create a problem in the rit- ing said ritual, and thus ritual helps maintain ual’s efficacy; the communication of meaning as the structure present in the group. The texts that a purpose of ritual is discussed in a later section. are being communicated are the embodiment of An example of this problem is the Offerto- the group’s system of belief, how that particular ry. Historically, the presentation of gifts to the group is to think and act.11 altar-table was utilitarian: the bread and wine On a superficial level, this sphere assumes that people had brought to church as offering that the ritual actions themselves are unneces- had to be brought forward to use in the Lord’s sary since the primary mode of communication Supper; the bread and wine not selected for the is verbal; the ritual gestures reinforce what is Lord’s Supper would be given to the community being said and heard. This is not to negate or and the poor. Eventually, sacrificial allegory was

28 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT attached to the meaning of the Offertory, which performative aspect, even if the ritual (i.e., ges- caused the rite to be omitted in the Reforma- tures or movement or both) are minimal or even tion traditions. When the practice of collecting missing. the offering and bringing it forward was rein- This approach to efficacy can be expanded troduced, the presentation of the gifts also was to ritual, since ritual itself can be seen as a “sym- reintroduced. Yet since people are not bringing bolic language” (Bell, Ritual, 69). In Austin’s bread and wine as offering, the procession with paradigm, a speech-act always has three compo- the bread and wine may miscommunicate this nents (Wheelock, 52): original intention. The addition of various ele- 1. locutionary act: the biological and linguistic vations, such as holding up the offering plates production of an utterance (sound, pronun- in front of the altar—a possible attempt to fur- ciation, syntax, saying something); ther ritualize the Offertory—causes greater 2. illocutionary act: the intended effect of the confusion. speaker for the hearer; and Theologically faith comes by hearing, and 3. perlocutionary act: the actual effect of the the oral/aural nature of post-Reformation rituals speaker for the hearer. lifts up the necessity of ritual as being a means It is in the illocutionary act where the ef- of communicating. The suspicion by some that ficacy originates, “since the act they [intend ritual has power in itself often forces ritual to to] perform is brought to pass in speech (Lat- be coupled with language that “discloses some- in: in locutione)” (Sørensen, 525). Such an act thing about God and something about the is intentional, intended by the speaker and re- participants.”14 Thus one of the purposes of rit- ceived by the hearer—that is, if the speech-act ual is to communicate, but as the remainder of is efficacious. The issue of efficacy is located in this article notes, ritual can draw simultaneous- the sameness/difference between the illocution- ly on multiple spheres in order to fully paint the ary and perlocutionary acts. When these are the purpose and efficacy of liturgy. same, the performance is labeled as felicitous: it has “worked” somehow and something has Ritual as Performative Speech happened (Wheelock, 53). The performance is infelicitous (“Speech-Act”) when the two acts are different; thus it is infelicitous when the speaker intends some- The approach above dealt specifically with ritu- thing different than what the hearer received. al as communication. The performative speech Just as conversations themselves are gov- sphere shares some of the characteristics of the erned by rules of grammar and etiquette (or at communicative model, except the object of the least they are supposed to be), so too are speech- communication actually “does” something be- acts. Wheelock, quoting J. R. Searle, lays out yond communicate messages. This speech goes particular rules in this regard; in actuality they beyond just simply paraphrasing a ritual taking are more of a framework for a particular speech- place (Sørensen, 526). act (Wheelock, 53): This concept is associated with J. L. Aus- 1. propositional content of the utterance: de- tin and John R. Searle, philosophers of language scribes what is actually being said; whose understanding of how language does 2. preparatory conditions: describes what the things has been appropriated by students of context is; and ritual. Austin described what he called “perfor- 3. sincerity of the speaker’s intention: describes mative utterances” in which saying something whether or not the speaker actually wants to does something (Bell, Ritual, 68). For example, create a felicitous speech-act. a liturgical leader saying “I bless you” causes a The first rule deals with the act itself—its blessing to happen. Unlike the communicative content. What is at issue here is both the mes- model, speech-acts do not convey simple state- sage and the performance of that message. These ments of fact, but they actually “do” something two components together create the situation in (Wheelock, 52). As such, every utterance has a which something is or is not efficacious.

Spring 2016 CrossAccent 29 s COUNTERPOINT Rituals not only transmit the ideas particular culture but they also help shape those ideas and construct/create reality. of a particular culture but they The rules and skills of speech-acts place ac- also help shape those ideas and tion on the lips of the ritual leader, who speaks construct/create reality. the action into existence. This often occurs through using first-person indicative verbs. Historically and theologically this can be seen The second rule deals with the already- in two main places in the Lutheran liturgy: “I present situation in which the speech-act is oc- therefore declare to you the entire forgiveness of curring. If such an act’s purpose is to create a all your sins, in the name of the Father …” at the situation (which I am arguing here), the situa- absolution, and “I baptize you in the name of the 17 tion that is already present can assist or hinder Father …” for baptism with water. The former the act. This is similar to the potential difference has quasi-sacramental status (see Luther’s evolu- 18 between the locutionary and illocutionary acts, tion in his Babylonian Captivity of the Church ), as described above. The third rule deals with the and the latter is explicitly sacramental. motivation of the act’s performer(s). One who Ritual speech-acts go beyond Austin’s does not intend to create a felicitous speech-act characteristics because they do not necessarily will certainly (and rightly) hinder the perfor- require a “speaker” and a “hearer”; rather, such mative or situational speech. Here is a major ritualized speech can be said to or by oneself, or difference between doctrinal and operational ef- both—that is, outside of community worship. ficacy: doctrine would state that the efficacy of An example of this would be reciting the Creed, a liturgical act is not dependent on the disposi- which begins with “I believe” (Wheelock, 58). tion of the performer. (For sacramental acts, this A more expansive understanding of speech-acts understanding came about early in Christian would interpret this as the speaker, speaking to history with the Donatist controversy.) Yet from the self in the context of many people, acting out an operational or ritual perspective, the act can the individual’s belief. fail if the performer intends it to do so or does One of the main differences between the not care what it intends to do.15 “ritual as communication” sphere and the “ritual This sphere of ritual efficacy, when applied as performative speech” sphere is that the latter to Christian liturgy, requires a particular “gram- conveys little or no information, if one under- mar,” which is “a set of rules or criteria involving stands information as being facts for constructing the whole speech event which makes it possible knowledge in regular conversations. Wheelock for a performance to accomplish what is intend- notes that “practically every utterance of a ritual ed” (Ware, 31). Such grammar, derived from a is superfluous from the perspective of ordinary ritual tradition, is utilized for the sake or purpose conversational principles” (56). The maxims that of a ritual to actually accomplish something that he identifies as part of ordinary speech—quality, expresses a particular understanding of “ultimate quantity, relation, shared codes—are not present concern” (Ware, 70). For example, a speech-act in speech-acts. Yet by using Gregory Bateson’s constituted by prayer is different than one in the definition of “information” as “a difference realm of government or law: praying “through which makes a difference,” liturgical language Christ our Lord” requires the performer to deal and speech are certainly quite informative, such 19 with the central tenets of the Christian tradition, as texts that describe God’s activity.

especially the Christological emphases of the Lu- theran tradition. Christ-centered speech-acts do Ritual as Situating Speech bring in the added question of doctrinal efficacy Because ritual speech goes beyond the giver/re- that other types of speech-acts do not have, es- cipient needed in Austin’s speech-act paradigm, pecially around the issue of Christ’s work in the Wheelock proposes that ritual speech (and by ex- liturgy.16 Rituals not only transmit the ideas of a tension, action) be seen as situating speech (59).

30 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT Both models, speech-act and situating, are illo- it. The example that Bell gives is that of kneel- cutionary types of speech, but situating speech ing: “Kneeling does not so much communicate presents the actual situation through the speak- a message about subordination as it generates a 21 ing of the text (or doing of the ritual). As such body identified with subordination.” Thus the this type of speech does not necessarily represent ritualized body in such a situation actually pro- the immediate context of the speaker, since the duces that particular body—in essence, this is speech itself partially creates the context. its efficacy. The speaking of the text “presents” the situation (Wheelock, 60). This approach to Ritual as Communicating Meaning ritual efficacy is similar to what Bell calls “per- and Ordering Experience formance,” in that the doing of the ritual shapes Sociocultural anthropologist F. Allan Hanson the person’s experience and brings order to the proposes what he labeled a semiotic approach: rit- world (Ritual, 61). The operative acts (declara- uals are about “messages” and, in this instance, tions/performatives) are produced by being said messages having to do with the relationships be- to be produced. The efficacy of ritual in this -par tween ritual and social life, relationships that are ticular sphere is evaluated in terms of the ritual’s significant or meaningful. ability to create a particular situation; thus this Hanson argues that the purpose is to com- model is separated from the beliefs of ritual par- municate meaning, but this communication ticipants. Since situating speech and action are is different from the communicative type out- different from ordinary communicative speech lined earlier in this article. As noted previously, and action—representing being and acting the communicative type is more didactic, like rather than just knowing—the situations them- teaching or exhortation. The semiotic sphere put selves are newly formed each time the speech is forward by Hanson pertains to meanings that performed. are “largely about the world and the human con- The Trinitarian invocation at the beginning dition as these are culturally constructed” (177). of some liturgies is an example of the text that What rituals do from this semiotic point of view expresses an already existing reality to which at- is to communicate messages about the world and tention needs to be called; after the presiding the human condition. At times these messages minister says the text, the space and time are des- need to change the “subjective” orientation of ignated as being part of God’s time. The same the participants when their situations become can be said about the reciprocal greetings that problematic (178). Thus Hanson argues that occur at the beginning of worship (Apostolic rituals can “solve” problems by ordering expe- Greeting) or in the preface of the Great Thanks- rience in a less problematic way. The ordering of giving. One can correctly assume that the Lord this experience allows rites to tell us “something is already with those in attendance, so the greetings do not need to cause that to happen. Rather, the text expresses an already-existing reality that demarcates the particularity of this time for The Trinitarian invocation at the worship. When these words are accompanied by beginning of some liturgies is an gesture or ritual music or both, they may express or create the situation in a different way than example of the text that expresses with just spoken text without gesture. an already existing reality to which Thus one can speak of ritual as transform- attention needs to be called; after the ative. The situational approach also creates a ritualized body, which Bell calls a “body in- presiding minister says the text, the vested with a ‘sense’ of ritual.”20 The process of space and time are designated as ritualization produces this particular body as being part of God’s time. the body interacts with the situation around

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2016 CHURCH MUSIC INSTITUTE at Shenandoah Conservatory J. Thomas Mitts, Director Sing to the Lord ...with Understanding A study of the history and repertoire of Congregational Song and its role in choral and organ settings.

JUNE 26 – JULY 1 with DONALD MCCULLOUGH JULY 3–8 with EILEEN GUENTHER and JOHN WALKER Psalmody, Traditional and Folk Hymnody, Global Music In Their Own Words: The Power of Spirituals Hymn Festivals and Choral Services Sacred Harp Sing & Dinner on the Grounds World Music Service, Spirituals Concert, Lutheran HymnVespers Roundtable Discussions – Perspectives in Church Music Church Leadership: Rivals or a Team? Vocal and Choral Technique Hymn Playing and Elementary Improvisation Reading Sessions of Choral and Organ Music

Church Music Institute is a program of Visit www.su.edu/cmi or email Shenandoah University in Winchester, VA and may be taken for credit. [email protected] for more information. 32 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT one to do certain things, and evoke certain feel- ings.”24 Meanings are not solely representational, just as ritual efficacy is not solely in the representational sphere.

Ritual/Liturgical Efficacy and the Congregation Why might all of this matter in the worship life of the congregation? If it is true that ritual not only communicates but also acts, situates, and helps organize meaning, then our work as worship leaders and planners is even more important than we first thought. As I stated in the opening paragraphs of this article, I view this from an operational or ritual perspective, not a theological one. I am not advocating an ex opere operato (“by the mere performance of the act”) understanding of ritual, in which the correctly performed rite is efficacious just by its performance; such an understanding has always been rejected by Lu- 25

toro therans. Rather, I am proposing the necessity an S of attending to detail because ritual, in the so- h p ciopsychological realm, has the power to create. o J The examples noted above are all major oh

J parts n se of liturgy, from the opening greetings to the Offertory to the first-person sacramental lan- about God, Christ, church, sacraments, and liv- guage. All these building blocks of liturgy have ing a life of faith or as referring to these realities the option for musical accompaniment. What in some way,”22 not just by communicating that would it mean to apply the same framework information but rather by organizing that infor- about ritual efficacy to the music that is select- mation to bring meaning to one’s experience of ed to accompany these rituals? In terms of style, those things. many musicians intuitively know when a musi- The question must be raised, though, cal selection does not “fit,” but how could our whether it is actually possible to communicate selection criteria be better informed by a concern “meaning,” since it is always “meaning-to-some- about communicating, situating, and ordering one,” as Grimes has noted (42). As such, Grimes experience? How does this question change if and others have concluded that “the” supposed music itself is thought of as ritual and embodies meaning of “the” liturgy is a fiction. Liturgi- these various spheres? cal scholar Michael Aune agrees: “it is evident, In the end, it may not be possible to fully however, that worshipers/participants do not al- know if Lutheran worship “works” or “does not ways find these basic symbols [of the liturgy] to work” apart from the objectivity of the sacra- be clear. Nor do they always interpret them in ments. Since a component of meaning is always the same way. Thus, it is difficult to say that ritu- “meaning-to-someone,” it may require worship als have to do with the communication of shared leaders to do some investigating in the congre- ideas, values, and assumptions that are funda- gation to figure out if worship is effective in the mental to a society.”23 Meanings themselves sociopsychological (operational) realm. Since actually “do” things as well. “Meanings repre- Lutherans have always confessed that God sent the world, create cultural entities, direct works through “means” or “instruments,”26 the

Spring 2016 CrossAccent 33 s COUNTERPOINT incarnational embodied aspects of worship are “liturgy” is to be understood as a genre of activity of important for our work. Such investigation must the church, not a prescribed order in which worship be done in conjunction with stated theological occurs. and doctrinal claims. In the final analysis, the 10. For example, see Michael B. Aune, “Liturgy and Theology: Rethinking the Relationship,” part 2, doctrinal and operational must come together to Worship 81, no. 2 (March 2007): 143. paint the entire picture of worship. 11. Wade T. Wheelock, “The Problem of Ritual Lan- guage: From Information to Situation,” Journal of Kyle K. Schiefelbein is co- the American Academy of Religion 50, no. 1 (March ordinator of online and con- 1982): 49. tinuing education and adjunct 12. Catherine Bell, Ritual: Perspectives and Dimensions professor of liturgical and theo- (New York: Oxford Univ. Press, 1997), 44. logical studies at Pacific Lu- 13. Edward Fischer, “Ritual as Communication,” in theran Theological Seminary of The Roots of Ritual, ed. James D. Shaughnessy California Lutheran University in Berkeley, CA. (Grand Rapids: Eerdmans, 1973), 165. 14. George S. Worgul, From Magic to Metaphor: A Val- Notes idation of Christian Sacraments (New York: Paulist 1. This Wort–Antwort (“word–answer”) definition of Press, 1980), 75. worship comes from Luther’s sermon at the first 15. James H. Ware, Jr., Not with Words of Wisdom: Per- newly built Lutheran church in Saxony: Martin formative Language and Liturgy (Washington, DC: Luther, “Sermon at the Dedication of the Castle Univ. Press of America, 1981), 127. Church, Torgau” (1544), in Luther’s Works, Ameri- can edition, vol. 51, Sermons I, ed. and trans. John 16. A. P. Martinich, “Sacraments and Speech Acts, I,” W. Doberstein (Philadelphia: Fortress, 1959), 333. The Heythrop Journal 16, no. 3 (July 1975): 295. 2. An example of this theological concern for Luther- 17. Evangelical Lutheran Worship, pp. 96 and 230. Sim- ans is in regard to the criteria for the entire action of ilar language can be found in LSB, pp. 151 and 270, the Lord’s Supper; see Formula of Concord, and in CW, pp. 16 and 14. Solid Declaration VII, in The Book of Concord: 18. Martin Luther, Luther’s Works, American edition, The Confessions of the Evangelical Lutheran Church vol. 36, Word and Sacrament II, ed. Abdel Ross [hereafter BC], ed. Robert Kolb and Timothy J. Wentz (Philadelphia: Fortress, 1959), 11–126. Near Wengert (Minneapolis: Fortress, 2000), 607.83–84. the beginning of the treatise, Luther writes that 3. Kyle K. Schiefelbein, “Sin and Brokenness, the three sacraments are baptism, penance, and the Passage and Purpose: Reforms in Recent American Lord’s Supper (18); at the end, he states that “strictly Lutheran Rites for the Pastoral Care of the Sick” speaking” only baptism and the Lord’s Supper are (PhD diss., Graduate Theological Union, 2015), sacraments, since sacraments require “signs” (124). specifically chapter 5. 19. Gregory Bateson, Steps to an Ecology of Mind (New 4. Sally F. Moore and Barbara G. Myerhoff, “Introduc- York: Ballantine, 1972), 459. tion,” in Secular Rituals (Assen, The Netherlands: 20. Catherine Bell, Ritual Theory, Ritual Practice (New Van Gorcum, 1977), 12. York: Oxford Univ. Press, 1992), 98. 5. Ronald L. Grimes, Ritual Criticism: Case Studies in 21. Ibid., 99–100. Its Practice, Essays on Its Theory (Columbia: Univ. of South Carolina Press, 1990), 9. 22. Michael B. Aune, “The Subject of Ritual: Ideology and Experience in Action,” in Religious and Social 6. William S. Sax, “Ritual and the Problem of Effica- Ritual: Interdisciplinary Explorations, ed. Michael cy,” in The Problem of Ritual Efficacy, ed. William B. Aune and Valerie M. DeMarinis (Albany: State S. Sax, Johannes Quack, and Jan Weinhold (New Univ. of New York Press, 1996), 163. York: Oxford Univ. Press, 2010), 5–6. 23. Aune, “The Subject of Ritual,” 163; emphasis in 7. F. Allan Hanson, “The Semiotics of Ritual,” original. Semiotica 33, nos. 1–2 (1981): 175. 24. Roy G. D’Andrade, “Cultural Meaning Systems,” in 8. Jørgen Podemann Sørensen, “Efficacy,” in Theoriz- Culture Theory: Essays on Mind, Self, and Emotion, ing Ritual, ed. Jens Kreinath, Jan Snoek, and ed. Richard A. Shweder and Robert A. LeVine (New Michael Stausberg, vol. 1 (Leiden: Brill, 2008), 524. York: Cambridge Univ. Press, 1984), 96. 9. Note the absence of the definite article “the” 25. Augsburg Confession XIII, BC, 46.3 and 46n75. in front of this word. Throughout this article, 26. Augsburg Confession V, BC, 40.2 and 41.2.

34 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT Silence and Song: Attending to the Full Voice of the Assembly

by Chad Fothergill

n considering the diversity of ways that church musicians nurture the collective voice I of God’s people, equal and opposite attention must also be directed toward ways in which voices are hindered or fully silenced. This happens in several ways, often unthinkingly: • the volume of an instrument or an overly amplified leader obscures the assembly’s voice; • poor teaching or poor introduction of a new hymn causes singers to give up in frustration; • an organist’s affinity for her or his instrument and its repertoire excludes the gifts of several fine instrumentalists and percussion- ists capable of leading assembly song; • poorly placed page turns in the bulletin cause the assembly to stumble through the creed and other spoken texts; • the music for an entire month—hymn texts, melodies, service music, anthems—is only of male authorship and Eurocentric origin. Such scenarios may seem improbable or outrageous, prompting scoffs or dismissals that echo the incredulity of the disciples: Surely, not I?1 Surely, not my assembly? Surely not! Yet the history of the church—within and beyond music and liturgy—is filled with damaging silences, sins of omission, and episodes of malicious censorship, a reality made plain by historian Diarmaid MacCulloch: rk Wilson The history of Christianity is full of things a M casually or deliberately forgotten, or left un- t

said, in order to shape the future of a Church S © i ock/

Spring 2016 CrossAccent 35 s COUNTERPOINT or Churches. Institutions religious or secular do we participate in (or perpetuate) the silenc- create their own silences, by exclusions and ing of voices in our communities? Do we focus by shared assumptions, which change over so much on meeting the expectations of super- time. Such silences are often at the expense visors, colleagues, and assemblies that we simply of many of the people who could be thought of as actually constituting the Church; insti- forget to listen? Do we give verbal or printed ac- tutional needs outweigh individual needs. knowledgment where acknowledgment is due? Some are conscious silences of shame and How might we become better listeners? In his fear at the institution of the Church not 2015 book Church Musicians: Reflections on Their living up to its own standards of truth and Call, Craft, History, and Challenges (see review compassion; and there has often been a par- on page 53), Paul Westermeyer poses this ques- ticular pain meted out to those who make the tion another way: how might we best “attend silences end. Life is rarely comfortable for the to ethnic, linguistic, sociological, psychologi- little boy who says that the emperor has no clothes.2 cal, musicological, [and] ethnomusicological” characteristics of our respective communities?3 While I can’t imagine that any of us would Here Westermeyer invokes the discipline of eth- seek to intentionally mute the voice of a sister nomusicology, a field of study centered around or brother, silencing may happen more than a researcher’s immersion in a geographically or we realize or are willing to admit. Too many linguistically defined area. Virtually all ethno- of us know stories—firsthand or overheard— musicologists are tasked with assembling an of intentional silencing enacted by musicians, ethnography, a description of the host commu- congregational committees, and clergy alike in nity or region with special emphasis on musical order to preserve power, influence, or the sta- customs and repertoires. Ethnographies, in turn, tus quo. But more often the silencing of voices are founded on fieldwork, an all-encompassing is inadvertent: a byproduct of inattentiveness; of term for the variety of techniques used to gath- not listening deeply enough; of letting perfec- er descriptive material; these techniques may tion, showmanship, and fervor for rubrics get in include observing, recording, reflecting, revisit- the way of proclamation and prayer; of letting ing, re-evaluation, establishing and maintaining “Good morning, it’s great to have you in wor- relationships, and navigating the personal and ship today” or some other flummery stand in professional ethics that arise from the paradox for “The Lord be with you.” Or, as Zophar the of being a simultaneous outsider (visitor) and Naamathite said to Job, be watchful that “your insider (member). As Westermeyer implies, a babble” does not “put others to Zophar the church musician attending to the needs of her silence” (Job 11:3). These others or his community utilizes similar approaches Naamathite said to comprise not only voices phys- and methodologies throughout the cycles and Job, be watchful that ically present in our respective rhythms of the church year: observations and communities but the Spirit-filled “your babble” does experiences yield reflections; relationships are voices, hearts, and hands that cultivated; and balances are struck between ser- not “put others to have given us the songs we sing vant and leader, between the performative and silence” (Job 11:3). and the materials we use; hid- participatory, between sense of call and ful- den hands that provide strings, fillment of contract. Accordingly, techniques paper, pipes, mallets, hammers, ink, picks, clap- from the ethnomusicologist’s fieldwork tool- pers, leather, oil, and electricity that also support kit might help us think critically about the way the voice of the gathered assembly. we hear and respond to the voices of our respec- All of this leads to two threads of inqui- tive communities, helping to amplify or unmute ry that intertwine throughout the following otherwise silenced voices and truly attend (more paragraphs, one concerned with developing an about this word shortly) to the unity and diversi- awareness of silencing behaviors and the other ty of Christ’s body that sings together in worship focused on deep and attentive listening. How with thousand tongues and one voice.

36 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT Ethnomusicology, Fieldwork, porous, enabling scholars of both persuasions to and the Church Musician: focus more broadly on the shared human act of Congruence and Divergence musicking rather than music as an object in and of itself.5 For much of the 20th century, the work of eth- Whether aware of it or not, many church nomusicologists was largely equated with the musicians intuitively practice ethnomusicologi- study of “global musics,” a multipurpose syn- cal work by way of their engagement with the onym for regional repertories usually excluded musical traditions of a localized community that from the large body of so-called Western art has a unique demographic profile: observations music. Though some early ethnomusicological are made and recorded, conversations occur, studies sought to “colonize” these “exotic” mu- music is made, joys and challenges are expressed, sics by ordering them into Western scale and ethical and professional concerns are weighed. rhythmic patterns, most ethnomusicologists Some have also practiced the ethnomusicolo- have understood their work as a means of rec- gist’s craft of documentation and transcription: onciliation across cultures, of bridge-building examples that come to mind include Howard between diverse peoples who share a common Olson’s collections of African hymns; the work humanity. For some, their sense of vocation is of I-to Loh with Asian genres and styles; transla- guided by concerns for social and economic tions of Spanish texts by Gerhard Cartford; and justice, of giving voice to repertoires and peo- the work of ALCM member Mark Sedio, can- ples overlooked or subsumed by the privileged tor at Central Lutheran in Minneapolis, whose and dominant West. As explained by ethno- transcription of the melody of “Enviado soy de musicologist Philip Bohlman, “the history of Dios” (“The Lord Now Sends Us Forth”; ELW ethnomusicology has unfolded as a response to 538) is familiar to many assemblies.6 Their work the dilemma posed by the fissure between the and that of many more have enriched the trea- West and others, by attempting to close it and sury of the church’s song, as descriptions in even to heal the human devastation that it some- hymnal companions can attest. times causes,” further stressing that “closing the Like ethnomusicologists, church musicians fissure was not simply an intellectual advantage also perform their work in liminal spaces between but also a moral imperative.”4 Today the con- leader and participant, doer and observer, insider cepts and practices of ethnomusicology have and outsider—poles that ethnomusicologists re- taken root and grown beyond the discipline’s fer to as “etic” (objective) and “emic” (subjective) early ancillary treatment, engaging with an array approaches. Ethnomusicologists are usually aca- of disciplines from sociology and psychology (as demics and, accordingly, carry professional and noted by Westermeyer) to neurology and biolo- institutional obligations to maintain objectivity, gy, anthropology, and political science. In short, neutrality, and transparency inasmuch as this is the distinction between so-called historical mu- possible for their research. Their goal (usually) sicology and ethnomusicology has become more is to report and add to the body of knowledge, not to exert influence on social, political, trib- Whether aware of it or not, al, or religious issues in their host communities. many church musicians In comparison, church musicians are decidedly more involved in the life of their communities, intuitively practice ethno- their hiring predicated on the ability to assim- musicological work by way of ilate to the community’s musical and liturgical their engagement with the culture, to be a visible representative in the assembly, and to communicate on its behalf. Yet musical traditions of a localized church musicians must also navigate the gulf be- community that has a unique tween the emic and etic approaches previously demographic profile. mentioned, such as servant and leader, doer and

Spring 2016 CrossAccent 37 s COUNTERPOINT The one who possesses power does not impress with that power, but gives it away, shares it so that others have life.

observer, or community member and congregational employee. How one listens from a position of power and influence as a leader-doer-employee is quite different from how one listens as a servant-observer-member, or as a baptized child of God. But rather than searching for easy solutions

that balance these nodes and poles, church mu- rk Wilson a

sicians must be willing to give themselves over to M the complexities of such a paradoxical existence. t S

Such is the charge given by Gordon Lathrop to © i ock/ pastors, advice that is equally applicable to musicians: “a responsible pastor will be learning how act of attending to time, place, and community: to value his own wisdom, while also knowing “I try to pay attention,” he wrote, and “attend to what a fool he is, how to value her own kindness, the texts that are going to be read, to the people while also knowing that she cannot be the All- who are going to gather and to the purpose of friend.” Lathrop concludes, “a competent pastor their gathering, and to the world in which they will be learning to live a way of paradox.”7 Like- gather.”9 This ethnographic approach is mir- wise, Samuel Torvend has pointed to a paradox rored in advice for church musicians, too, such of Martin Luther—that music is both queen and as in the Musicians Guide to Evangelical Luther- servant—as a vocational guide for church musi- an Worship. Almost immediately the editors cians. Of Luther’s analogy, Torvend writes: stress that knowledge of one’s community is es- The key, of course, is that the ruler becomes sential: “know the worshiping community you the servant for the good of his people; the ce- serve. Familiarize yourself with their existing lebrity shakes off the need to hear the crowd’s repertoire, their cultural heritage, their likes and adulation and pours out his or her charisma dislikes.”10 Finally, attending is not just a private for those in need; the one who possesses pow- preparatory or observational practice of worship er does not impress with that power, but gives leaders, but is visually communicated as well. it away, shares it so that others have life … or To be fair, inattentiveness is more noticeable singing.8 than attentiveness: musicians, pastors, assist- Though they write for different audiences, ing ministers, choir members, instrumentalists, Lathrop and Torvend both imagine how pastors and other worship leaders must remember that and musicians attend to the needs of their assemblies, a sustained and heartfelt engagement “I try to pay attention,” Lathrop that reaches far beyond plain hearing or passive listening. The Latin roots of the word “attend,” wrote, and “attend to the ad and tendere, mean “to stretch toward”—thus, texts that are going to be read, to truly attend means to consistently look be- to the people who are going yond one’s own perspective or interest, to try and catch as many glimpses of the “big picture” to gather and to the purpose as possible. When once asked how he prepared of their gathering, and to the to preach, Lathrop’s response was rooted in the world in which they gather.”

38 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT their bodies are still communicating in between Have you ever taken time to discuss their respective tasks. What message is sent to why some hymns or songs were not the assembly when the assisting minister fidgets with or pages through the bulletin during the selected for a given service? sermon, when the pastor takes a selfie with the congregation during the hymn of the day, when that happen in our respective assemblies. They the organist habitually rearranges items on the are a snapshot of a philosophy, not a series of console during the lessons, or when the cantor rubrics, and are meant to be broken down, reas- leaves during the sermon? All of these have ac- sembled, and cast into new questions that help tually happened in worship, and Kimberly Long us—individually and collectively as an organi- reminds us of the dangers of such mindless ac- zation—attend to the array of voices that sound tivity: “when those who lead worship persist in in worship. doing something other than attending whatev- • Does your assembly have a means of comer the action is, we convey to anyone who may municating with you in a way that you do 11 be watching that the action is unimportant.” not necessarily initiate? Is there an active I would expand Long’s remark here to suggest worship committee or forum for hymn plan- that visible inattentiveness or detachment— ning where, for example, members can offer whether displayed in worship, conversations, or suggestions after reading and studying the meetings—not only conveys a message of insig- lectionary for a given season? What might nificance about the action but is also dismissive comments from such a group show you of the assembly itself, distracting or silencing about your own assumptions, preferences, those whom the Spirit has called and gathered or biases when it comes to hymn planning together. Attending to the assembly is a self-emp- or repertoire selection? If such a group does tying act of which deep, heartfelt listening is a exist in your setting, does it have a rotating key component, of using one’s gifts to enflesh membership? Or is there a concentration of and empower the voices that come together in power and influence? How important are worship. Even the first chapter in a recent hand- “term limits” for such a group in your set- book for lectors begins not with their principal ting, so that a diversity of experiences are task of reading, but with this repeated refrain: brought to bear on worship planning? “listen carefully”!12 • Do you communicate with your assembly in ways other than musical utterances? Do Unpacking the Fieldwork Toolkit: you write for the bulletin, newsletter, or other publications? If it is your practice to offer Prompts for Reflection and Conversation an annual report, does this document read What are the marks, then, of a church musi- like a string of statistics or an award-accep- cian who is also an effective listener? There is of tance speech (“I’d like to thank … ”) or does course no single answer or magic formula, nor it convey a sense of mission or purpose to the can the techniques that work for one individu- assembly? How transparent is your planning al, an extrovert, in his rural setting be subjected process, and is that important in your com- to a simple copy and paste for another musician, munity? Have you ever taken time to discuss an introvert, in her urban context. What fol- why some hymns or songs were not selected lows are a series of short reflections that place for a given service? Does your language in the empirical techniques of fieldwork along- spoken or written remarks show that your side pastoral concerns of the church musician. point of departure is the assembly’s voice Some ideas may resonate strongly depending on (or congregational mission statement) and your context, some dimly, still more not at all. not your own whims, training, tastes, or They are offered only as a starting place to think interests? more intentionally about the listening, teach- • Where in the service does the placement ing, communicating, observing, and silencing of music communicate its function to the

Spring 2016 CrossAccent 39 s COUNTERPOINT Listen for clues assembly and, by extension, to the assembly’s of your as- that point to- voice? If your setting has a lot of “travelling” sembly notice ward how others music—for example, an instrumental in- this? How do may be silenced terlude instead of an assembly acclamation you introduce after the gospel reading—does that rein- and honor by your choices or force the notion that music is an ancillary the voices of leadership. rather than primary form of expression in varying com- worship? What does this suggest about the posers from many times and places? The role of silence in worship or of attending to temptation will be strong in 2017 to sing the signs and symbols of ritual action? a disproportionate amount of 16th- and • Does your planning or leadership circum- 17th-century German chorales at the ex- vent memory? Week in and week out, how pense of other voices that have advocated much of the assembly’s song is con- reform and reconciliation. Consider intro- What will members tingent upon their reading material ducing or teaching Spanish translations of of your community from a bulletin, hymnal, or screen such famous chorales as “A Mighty Fortress Is Our God” (LSB 657) or “Soul, Adorn sing when they can rather than singing or speaking “by heart”? Do you and other leaders in Yourself with Gladness” (ELW 489); honor no longer see? your setting give thought to how the contributions of Catherine Winkworth texts—spoken or sung—are tak- as a translator of hymns (dozens each in en from worship and into the daily life of ELW, LSB, and CW); and sing Elisabeth community members? What will members Cruciger’s (ca. 1500–35), “The Only Son of your community sing when they can no from Heaven” (ELW 309, LSB 402, CW longer see, when they lack the strength to 86) during the time after Epiphany. Cru- hold a hymnal, or as they lie dying? ciger was a personal acquaintance of Luther (he presided at her wedding), and her text • How do you respond when someone thanks appeared in the first two Lutheran hymnals you for “your” music? Many of us have prob- of 1524 but was wrongly credited through- ably been the recipient of a remark along the out the 17th and 18th centuries to Andreas lines of “thank you for your music today.” Knoepken (1493–1539).13 While such a comment is thoughtful and well intentioned, the musician’s response • Does musical or liturgical complexity silence here is critical: a simple “you’re welcome” or hinder? On one hand, complex music in lays claim to ownership rather than ac- the assembly is a delight and welcome chal- knowledging the roles of composers, other lenge. For some it can be uncomfortable performers, or the assembly’s voice. Instead, and foreign to their experience. For oth- honor the voice of the assembly in your re- ers, simple music invites quick participation sponse: search for ways to describe how the and, at times, repetition that offers time for day’s music was shaped by text, by what reflection and meditation. For yet others you’ve heard and learned through attending it produces boredom or seems to lack the to the community. In similar fashion, when depth worthy of honoring or proclaiming criticism is offered, honor the experience of the grace of God. How do you account for the person offering the critique rather than the diversity of tastes and opinions when it defend your choices from a combative pos- comes to these matters? ture. Listen for clues that point toward how • When does poor design silence? The mi- others may be silenced by your choices or nutiae of details that surround the support leadership. of the assembly’s song is worthy of careful • Do hymn and music choices tend to include planning. Are there page turns in the mid- or exclude? How many authors and compos- dle of canticles? Are the typefaces clear and ers of hymns, anthems, and service music on not too cutesy so as to support the word of a given Sunday are white males? Do members God? Are musical graphics too compressed

40 Spring 2016 CrossAccent www.alcm.org s COUNTERPOINT

Catherine Wink- Elisabeth Cruciger worth (1827-1878) (ca. 1500–35) was the brought the first female poet and German chorale hymnwriter of the tradition to English Protestant Reformation speakers with and a friend of Luther. her numerous Her text appeared in translations of the first two Lutheran church hymns. hymnals of 1524.

and hard to read? Does the lack of a printed Sharing across ecumenical or cultural lines melody in a bulletin create confusion and calls for care, integrity, and respect, moti- anxiety about participation in the song? Does the choir rehearse spoken assembly re- vated by a desire to welcome and enter into sponses or are they left to chance? Are those partnership with people of other cultures responses clearly printed for visitors? and traditions rather than merely to add a • What do dates such as “Youth Music Sun- day” or “World Communion Sunday” imply superficial variety to worship. to your assembly or to first-time visitors? Does the presence of a single Sunday for ecumenical or cultural lines calls for care, all-youth leadership suggest that their role integrity, and respect, motivated by a de- in worship is an anomaly, something to be sire to welcome and enter into partnership cherished only once per year? Do such de- with people of other cultures and tradi- signs put young people “on display” rather tions rather than merely to add a superficial 14 than integrate their gifts into the full as- variety to worship. sembly week in and week out? And what • Is leadership given over to the assembly’s might a “World Communion” or a “World voice? At times a cantor may inadvertent- Music” service suggest about the other Sun- ly communicate a hierarchical or autocratic days and liturgies of the church year? Do model of musical leadership by never “let- these designs “otherize” sisters and brothers ting go” and letting the assembly find its throughout the world, lifting them up as a voice and rhythm. Such decisions might type of exotic they-are-not-us? What would stem from a fear that the harmony or it look like if each assembly gathering in rhythm will fall apart, that the tempo will your community embraced and reflected change, that the pitch will drop, or that the the cross-cultural nature of Christian wor- result may not sound as “good” as usual. ship as explained in these words from the But notice that these fears are motivated by Renewing Worship project: an ideal sound quality, a measure of perfor- The cross-cultural dimension of worship mance, a reflection of the leader’s musical [one of four ways that worship relates to power to teach, lead, and support. In fact, culture] recognizes that Christians from the common denominator at work through- various cultures share worship elements out the preceding paragraphs is the leader’s with one another across cultural bar- transfer—“gives it away, shares it” writes riers, enriching the whole church and Torvend—of this power to the assembly. strengthening its awareness of the uni- Mark Mummert reminds us in no uncer- ty that is God’s gift. Such sharing across tain terms that like Christ’s body, broken

Spring 2016 CrossAccent 41 s COUNTERPOINT Like Christ’s body, and shared, musical power broken and shared, must also be broken and shared in order to nourish and sustain musical power must the community: “like the pow- also be broken and ers of privilege that come from class, rank, gender, wealth, or shared in order to status, musical power must also nourish and sustain always yield to the purpose of 15 the community. the assembly.”

Postlude Though silence and silencing have been critiqued in the preceding paragraphs especially when we, as leaders, unintentionally devalue other voices by our actions, we do well to remember that God rk Wilson a

is present in both sound and the “sound of sheer M silence,” as the psalmists’ meteorological analo- t gies and the prophet Elijah affirm.16 The point, as S © i ock/ we practice in musicianship, is to recognize that silence frames sound and sound frames silence: like fieldwork, is a skill-set honed gradually over they are interdependent, and we must practice time. They assume that conversations among hearing the in-between spaces where one stops groups and committees arrive at more thought- and the other begins. Likewise, better listening, ful consensus than is possible by individual better awareness, and better attending to the decision-makers. They assume heightened sens- needs of our respective assemblies are not willed es of conscientiousness, openness, humility, into being but are developed through practice of and even a little self-deprecation. They assume skills that serve these intentions. Such practice a mindfulness of the hidden economics behind extends in many directions and into many rela- our worship materials, of not conscripting the tionships, networks whose structures and shapes music of another in order to manufacture di- may become more clear and focused through versity. They assume that our assemblies can tell ethnographic techniques. Consider making us—directly or surreptitiously through words, fieldwork a regular practice, part of one’s annu- sounds, silences, or actions—more than we can al Advent or Lenten discipline or part of group ever claim to know about them on our own. Fi- worship planning. Some may have multiple nally they assume an unwavering value placed communities to observe: a contemplative eve- on the diverse voices of the full body of Christ, ning service during the week, “traditional” and “contemporary” services on Sunday morning (their problematic labels notwithstanding), or a Silence frames sound spoken gathering. It may even behoove you to and sound frames hire a substitute and attend the service—seated in the assembly—so that you can observe more silence: they are fully the particular characteristics of your assem- interdependent, and bly’s body and voice as it moves together from we must practice gathering to sending. The questions posed throughout the preced- hearing the in-between ing paragraphs are predicated on a number of spaces where one stops assumptions that should be acknowledged here and the other begins. at the close. They assume that deep listening,

42 Spring 2016 CrossAccent www.alcm.org It may even behoove you to

s COUNTERPOINT hire a substitute and attend (Minneapolis: Augsburg Fortress, 1993). Paul Wes- the service —seated in the termeyer, Hymnal Companion to Evangelical Lutheran Worship (Minneapolis: Augsburg Fortress, assembly—so that you can 2010) describes how, for ELW 538, “Sedio heard the tune and put it on paper in its style. The result is observe more fully the par- music for the swirling dance of the text—syncopat- ticular characteristics of your ed with delight and congregational welcome” (421). For descriptions of various styles and considerations assembly’s body and voice as for their use, see Robert Buckley Farlee and Eric Vollen, eds., Leading the Church’s Song (Minneapo- it moves together from lis: Augsburg Fortress, 1998). gathering to sending. 7. Gordon W. Lathrop, The Pastor: A Spirituality (Minneapolis: Fortress, 2006), 13. 8. Samuel Torvend, “The Musician as Artist, Pastor, voices that speak to us all at once from past gen- and Prophet: Rethinking Vocation in Troubled erations, from faraway lands, from down the Times,” CrossAccent 11, no. 1 (Spring 2003), 12. street, from the here and now. God has given 9. Lathrop, 55. us diverse forms of expression—facial, gestural, 10. Musicians Guide to Evangelical Lutheran Worship vocal—and church musicians have responsibil- (Minneapolis: Augsburg Fortress, 2007), 3. ity to recognize, celebrate, and attend to these 11. Kimberly Bracken Long, The Worshiping Body: The signs so that praise, thanks, prayer, lament, and Art of Leading Worship (Louisville: Westminster calls for justice may resound with full and vi- John Knox Press, 2009), 46. brant voice. 12. Christopher George Hoyer, Getting the Word Out: A Handbook for Readers (Minneapolis: Augsburg Fortress, 2013), 15. Chad Fothergill holds a University Fellowship in the 13. Gracia Grindal, Preaching from Home: The Stories of Seven Lutheran Hymn Writers (Grand Rapids: Boyer College of Music and Eerdmans, 2011), 1–13, passim. Dance at Temple University, 14. Evangelical Lutheran Church in America, Principles Philadelphia, PA, where he for Worship (Minneapolis: Augsburg Fortress, 2002), is completing a doctoral de- ix–x; emphasis mine. gree in musicology. His research centers on the 15. Mark Mummert, “Musical Power: Broken to the Lutheran cantor tradition in both its Refor- Center,” in Centripetal Worship: The Evangelical mation-era and present-day contexts. He has Heart of Lutheran Worship, edited by Timothy J. served congregations in Minnesota, Iowa, and Wengert (Minneapolis: Augsburg Fortress, 2007), Pennsylvania. 39. The questions for reflection and discussion at the chapter’s conclusion (p. 45) also provide helpful starting places for conversations about listening and Notes silencing in your community. 1. Matthew 26:22 and Mark 14:19 (NRSV). 16. See Psalm 18:12–14, 29:3, 68:8, 77:18, 135:7, 148:8, 2. Diarmaid MacCulloch, Silence: A Christian History and 1 Kings 19:12. (New York: Viking, 2013), 191. 3. (St. Louis: MorningStar, 2015), 9. 4. Philip V. Bohlman, World Music: A Very Short Intro- duction (Oxford: Oxford Univ. Press, 2002), 37–38. 5. Christopher Small, Musicking: The Meanings of Performing and Listening (Middletown, CN: Wesleyan Univ. Press, 1998). 6. In chronological order: Howard S. Olson, Lead Us, Lord: A Collection of African Hymns (Minneapolis: Augsburg, 1977); I-to Loh, ed., Sound the Bamboo (Quezon City, Philippines: Yan, 1990); and How- ard S. Olson, Set Free: A Collection of African Hymns

Spring 2016 CrossAccent 43 s CHORUS Augsburg Music LEADING THE CHURCH’S SONG

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44 Spring 2016 CrossAccent www.alcm.org s CHORUS

Church Musician l e g as Deacon? a N ave D by Scott Weidler Lily Lee is organist at Messiah Lutheran he very first issue of CrossAccent (Jan- The vast majority of musicians Church, Yorba uary 1993) included a lead article by Paul Linda, CA. T Westermeyer, “Vocation and the Church who serve Lutheran Musician” (7–11). In this article Westermeyer congregations in North urged us to see our vocation as church musicians America are not rostered in as enough in itself, not requiring external valida- tion for authentication of our unique ministry. any way and need not feel like Paul was reacting, in advance of the Evangelical second-class ministers. Lutheran Church in America (ELCA) Church- wide Assembly1 that coming summer, against a proposal for an ordering of public ministries together of deacons. Members of this new roster (“roster”) that could include musicians among are described as “ministers of word and service.” diaconal ministers. Many of Westermeyer’s concerns from 1993 I was then a young parish musician (this was are still valid today. The vast majority of mu- several years before I began to serve at the ELCA sicians who serve Lutheran congregations in Churchwide Office), and I teamed up with Rob- North America are not rostered in any way and ert Rimbo (then a parish pastor, now a bishop) to need not feel like second-class ministers. We are write a dissenting response that appeared in the all called to our particular vocations through our next issue (“Vocation and the Church Musician: baptism. That is enough. A Response” [July 1993]). However, there are those who have discerned Life does indeed repeat itself. This coming an inner call to a more public form of recognized summer, at the ELCA Churchwide Assembly ministry (“rostered” in ELCA usage). Some mu- in August, a proposal will be made to simplify sicians were on a roster of a predecessor church the decisions of 1993 and bring all the lay ros- body. Many have been received onto the Asso- ters (deaconess, diaconal minister, and associates ciates in Ministry roster since the formation of in ministry) that were created in 1993 when the ELCA in 1988. Still others are waiting for the proposal was not approved into one roster the outcome of this summer’s assembly to move

Spring 2016 CrossAccent 45 s CHORUS pastors as “ministers of word and sacrament.” While some musicians have had a hard time trying to understand how they fit on this roster, the benefit of positioning the ministries included on this new roster, including music, side by side with the Word and Sacrament roster in the ELCA constitution is significant. Since “word” is also a part of the pastor’s description, our minds go immediately to preaching which is, of course, a significant part of a pastor’s call. For some deacons, preaching may also be a part of their ministry. However, I believe that Lutherans—perhaps more than any other Christian tradition—ought to easily understand musicians as among those who proclaim the word through song. Musicians proclaim God’s word regularly by leading congregational hymns and songs, directing the choir and instrumentalists, and often through teaching and perhaps, in some settings, an occasional sermon. The “service” half of the phrase is usually further articulated as “service to the world.” Certainly, ministries of justice—like feeding the hungry and raising up the poor—are at the heart of a biblical understanding of diakonia, being a deacon. This focus on ministries in the world, beyond the walls of the church, are an important aspect of this newly emerging roster, just as it should be for all the baptized. Anyone serving in forward with their plans to seek a place on the the church (including musicians, rostered or not) new roster. will, at their best, understand that their unique Those who are currently on a lay roster of the ministry has connections to service in the world. ELCA, or those who may be discerning a call to This can, however, start to feel a little distant public ministry as a musician, may be wondering from our actual work. A document that supports where they fit within the proposed roster of min- this proposed change includes this statement: isters of word and service, deacons. My purpose it also includes service in local congregational here is not to persuade anyone to support this and other gathered faith community set- proposal or not. Nor do I intend to insinuate that tings through the proclamation of the Word in preaching, leading public prayer, teach- church musicians really ought to move toward ing, and leading music as well as through being called to this roster. Rather, as one of the leadership in such areas as education, admin- musicians currently on the Associate in Ministry istration, and youth ministry. roster I hope to offer a few personal thoughts for The connections between worship and ser- clarification to questions that have arisen during vice are clear in our Lutheran roots, especially conversations with some of you. through the German word for worship, Gottes- dienst (literally “service of God”), which connotes Ministers of Word and Service a multidirectional understanding of service from Clearly, the phrase “ministers of word and ser- God to the worshippers, from the worshipers to vice” is parallel to the common descriptor of God, and from the assembly of worshippers to

46 Spring 2016 CrossAccent www.alcm.org s CHORUS the world. The ALCM statement on the role of call the rite that makes one a deacon is still un- the cantor also affirms this broad understanding der consideration. If the proposal to unify the of the musician’s ministry: “The cantor’s work current lay rosters is passed by the assembly in is a worthy service to God, God’s people, and August there will be events and resources to help the world.” I believe musicians can rightly un- interpret and ensure a healthy understanding of derstand their work as service to the church for the “word and service” roster. the sake of the world. As work continues on shaping the details of this new roster there still is time for ALCM Deacons members to have a voice in how future musicians For simplicity and for ecumenical familiarity, the who enter this public ministry may be formed term “deacon” is being proposed as the term to and recognized. I cannot say it as clearly as Paul call those on this roster. I think it’s a wise choice. Westermeyer said in 1993: People understand that deacons have a signifi- The church musician’s call is not “just a job.” cant role in the church but are different from the But such a statement is true for any of the pastor, even if there are so many varied uses of baptized. The whole community of the bap- that term. Some parishes and synods use “dea- tized is called, and the individual members of con” locally; there are diaconal ministers and it are all called to their vocations. (11) deaconesses. Other denominations use “deacon” And as Robert Rimbo and I said in our in many differing ways; some, like the United response: Methodists, include musicians among their ros- While not every musician has a sense of call- ter of deacons. It’s already a mixed bag. Perhaps ing that would lead him or her to such a it is used so often because it actually does com- vocation, there are many who do. (4) municate something to people. Of course, those If you are already on one of the rosters affect- on a churchwide roster will have very clear ex- ed by this proposal, or if you are discerning a call pectations that the whole church may or may not to a ministry of diakonia through music, I urge understand. That’s okay. you to stay informed about these developments One hopes that musicians on this roster will in our church. They may just be life-changing. come to discern their ministry from a diaconal perspective. They may, however, choose to be on Scott Weidler is the program this roster but never use the title “deacon” pub- director for worship and music of the Evangelical Lutheran licly. For example, I’m on the roster of associates Church in America. in ministry, but in the congregation I served I was known as the cantor; others are known as director of music, minister of music, and so forth. Those on the clergy roster might use some Note form of “pastor” (senior, lead, associate) or even 1. The ELCA Churchwide Assembly currently meets “chaplain” or some other title. I believe that mu- every three years and is that church body’s primary sicians can easily find themselves on a roster of decision-making body. deacons while still clearly identifying as a church musician. My colleague on the churchwide staff, the Rev. Cherlyne Beck, is happy to hear Finding a New Way Forward your input on the questions still before If approved, everyone currently on one of the the church about deacons potentially in- existing rosters, which already includes ALCM cluding musicians. You can e-mail her at members and other musicians, would automat- [email protected]. If you want to en- gage in friendly dialogue specifically about ically be included on the new roster, if desired. the role of musicians in the ELCA, you can The educational requirements for one to become e-mail me at [email protected]. a deacon are not yet fully determined. What to

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utheran Summer Music (LSM) faculty and staff members are filled with excite- L ment about the upcoming summer session. We are celebrating our 35th year of transforming the lives of young musicians in an intentional, faith-based community. LSM will be opening its doors to a new two-week program as well: Sounds of Summer Institute (SOSI). LSM hopes to provide more accessibility to today’s teenager whose involvement in co-curricular activities has been on a continued upward trend. LSM and SOSI are programs whose mission is to transform lives through faith and music. By providing quality programming we are shaping into an understanding of the For many who apply, LSM the next generation of church musicians. Stu- music. And in the final worship provides students with dents get the hands-on experience of a church service, students sing from the musician through organ studies, handbell choir, heart as one community voice. their first opportunity chapel choir, and conducting. LSM provides Lutheran Summer Mu- to play and perform at a students—many for the first time—with an op- sic takes place in Decorah, IA, pipe organ or experience portunity to play and perform at a pipe organ or from June 26 thru July 24, and to experience the calming cadence of a handbell Sounds of Summer Institute is the calming cadence of a choir. The student experience at LSM is noth- being held June 26 thru July handbell choir. ing short of a gift, an eye-opener that encourages 10. We encourage you to reach students’ talents and shows students how music out to young musicians in your can become a part of their futures. community and church about making LSM or Our faculty roster is filled with loyal col- SOSI part of their summer plans. legiate-level instructors and talented musicians Please also join us in Decorah for our month- who have performed all over the world. With long concert series. Both the SOSI concert, July such incredible musical leaders, LSM students 9, and the LSM Festival Week, July 20–24, fea- become inspired to dream big and perform big- ture student recitals and large group ensemble ger. Through weekly private lessons and personal concerts.LSM Festival Week starts with a hymn practice time, students at LSM learn the im- festival on Wednesday, July 20. portance of bringing one’s best self to the final By inspiring young musicians to take part rehearsal, concert, and solo performance. Fac- in LSM or SOSI, you are passing on the passion ulty, staff, and students celebrate their progress and joy found in celebrating the heritage of Lu- together as a music community. theran music traditions. To learn more about Morning and evening prayer offer students Sounds of Summer Institute and Lutheran Sum- two intentional moments per day to tune into mer Music, please visit us at our website, www. the LSM pulse. The community grows as stu- lutheransummermusic.org. dents learn “Luther’s Morning Prayer,” a piece written by Carl Schalk. At first, students cling to Molly Maillette is the administrative and com- their sheet music, memorizing the words, mel- munications coordinator for Lutheran Summer ody, and harmony. By week two, students relax Music Academy & Festival.

Spring 2016 CrossAccent 49 BOOKREVIEW

those aged 65 to 85, she sought advice from her Michael Kemp. son to boost morale and improve what she was Rejuvenating Senior Voices: hearing from the group. His visit at rehearsal led Enhancing the Sound and to a workshop, coaching sessions, and a dramatic Confidence of Mature Choirs and “youthful” change in the sound of the choir. (director’s edition). Michael Kemp shares insights gleaned from his Chicago: GIA, 2015. experience to help others enliven, empower, and enhance the singing of any choir, and in particu- xii, 68 pp. lar, those with aging singers. ISBN-13: 978-1-62277-151-6. Vocal difficulties experienced by senior sing- $17.95, paperback ers may include weakened breath support, poor (A singers’ edition [G-9025S] is also available projection, a narrowing range, wobbly vibrato, summarizing the techniques.) stamina, and more. These are symptoms. The author asserts that the “problems” often have de- am an AARP-card-carry- teriorating nonvocal physical habits at their root. I ing baby boomer, heading Altering those habits can, he maintains, dramat- toward that “senior” catego- ically change the sound. The solutions are found ry, who loves singing. There in building skills and habits related to posture, are also card-carrying boom- breath support, forward tone placement, and ers in a choir I direct and some open-throat singing. who are older than that, well The singers’ posture is described in narrative into their 80s. Rejuvenating Se- form, supported by photographs with step-by- nior Voices was written for me step directions that guide the director in helping and for those of you with a big the singer arch the lower back, elevate the head, heart for your singers and their lift and round the upper torso slightly, and “con- well-being who find that some nect with the floor” by leaning into the heels, are seemingly no longer capa- rather than the toes. Slight movement is en- ble of doing what they once couraged to avoid rigidity and stiffness in the did. Or are they? Do you recall body, and good, lifted posture is used to coun- conversations best summarized teract breathing that would be compromised by as “perhaps it is time to sing alto rather than so- “inefficient posture,” as the author calls it, help- prano (or bass rather than tenor),” or even “have ing to maintain vocal energy in rehearsal and you considered retiring from choir?” Have you, performance. in preparing a score, marked what you wanted A brief discussion of vocal apparatus and the and then re-marked it for what was “more ‘fea- Bernoulli Effect begins the chapter on teaching sible’ given the group”? Michael Kemp shows us breath support. Images such as “firebreathing,” another way. “trampoline effect,” and pulling on imaginary The late Helen Kemp, the author’s moth- suspenders guide the reader in coaching singers er and also director extraordinaire of children’s to produce a consistent and physically support- choirs, writes in the introduction about her ex- ed air flow resulting in good breath support and perience as director of a choral group of seniors linear singing with forward momentum. One is in a retirement community for a decade prior to warned to avoid staccato warm-ups and glottal 2015 (the year she died at age 97). Working with attacks, as these break the air flow that may be

50 Spring 2016 CrossAccent www.alcm.org s BOOKREVIEW hard to re-establish quickly in the older singer to think about your singers and how you might and could cause vocal strain. approach “problems” with easily grasped and en- The author writes that “tone placement is ergizing solutions. Michael Kemp will make you the concept or feeling of using your imagination believe that enhancing the sound and confidence to help you aim your sound to a specific place of mature choirs is not only possible but that it in your anatomy” (25). He further states that, can also reap huge benefits for the individual and for the middle 80% of the vocal range, singers the choir, benefits that are physical, emotional, should aim their sound up into the hard palate, social, likely spiritual, and most definitely mu- and he suggests several images to help one experi- sical. Not only is the book worth a read, it also ence that sensation of good tone placement. In the deserves to be kept handy for quick reference, upper range, he stresses a gentle lift, buoyancy, fresh ideas, and an enthusiastic way of approach- and weightlessness rather than powering up to a ing the art of choral singing as one seeks to bring note, as one might have done in younger years. out the best in their singers. He also addresses benefits of falsetto for male singers, ways to modify placement for the lower Cynthia Holden range, generating increased resonance, and vow- St. John’s Lutheran Church el modification related to forward placement. Sayville, NY The fourth component-skill addressed in the book is teaching open-throat singing—that which creates an unrestricted passage up and down the throat. The author provides an “echo effect exer- cise,” a narrative, and photographs to convey the concept and means by which one might teach and practice it. The concluding chapters touch on several topics. A case study is presented with solutions offered in each of the major skill areas, as one might do for a struggling singer. An approach is suggested for placing singers in correct vocal sec- tions based on quality, weight in the voice, and comfort, rather than range. Productive warm- sound INSPIRATION ups for seniors are recommended to reinforce the fundamental skills of singing in a sostenuto style. These warm-ups are all drawn from the author’s earlier books The Choral Challenge (2009; Riedel enhances the worship experience by inspiring the GIA G-6776) and Innovative Warm-ups for the dynamic expression of speech and sound. By blending art,

Volunteer Choir (2014; GIA G-8696L). science and skill, we help enrich the fullness, presence and “Body, mind, spirit, voice! It takes the whole clarity of speech and music, as well as silence unwanted noise. person to sing and rejoice!” (v) was a favorite quote heard at many of Helen Kemp’s workshops. Michael shares tips for dealing with not SCOTT R. RIEDEL & ASSOCIATES, LTD. 819 NORTH CASS STREET • MILWAUKEE, WI 53202 just the voice but also the mind, body, and spirit; (414) 771-8966 • www.riedelassociates.com addressing hearing issues; building confidence email: [email protected] hear the difference. in singers; aiding memory retention from one rehearsal to the next. He even includes a regimen Acoustical Design & Testing • Organ Consultation & Inspection • for home practice to help choristers stay in vo- Organ Maintenance & Tuning • Sound & Video System Design, cal shape. There is also a section on recruitment. Evaluation & Training Rejuvenating Senior Voices will cause you

Spring 2016 CrossAccent 51 s BOOKREVIEW Carl Schalk. from his many years of experience and of service More First Person Singular: to the church. Reflections on Worship, Liturgy, Some of my favorite topics include “Sing- Church Music, and Children ing the Church’s Song,” “To Sing or Not to Sing at Holy Communion,” and “The Beauty of in Worship Simplicity.” In “How Do Your Choir Rehears- St. Louis: MorningStar, 2015. als End?” Schalk challenges choir directors to find a choral piece appropriate for the close of 60 pp. the day and have the choir sing it every week as ISBN-13: 978-0-944529-64-5 a closing prayer, ever internalizing the text and $12.00, paperback. “growing into” the piece as the weeks go by. “Finding the Congregation’s Voice” encourages bout a year ago I shared the exploration of a capella congregational sing- Amy copy of Schalk’s First ing of psalms and liturgy. Schalk contends that, Person Singular: Worship through as the congregation becomes more comfortable Alice’s Looking Glass: And Other and confident in singing this way, discovering Reflections on Worship, Liturgy, its “own voice,” the people’s confidence in sing- and Children (St. Louis: Morn- ing accompanied will also increase. “‘Amusing ingStar, 1998) with a member Ourselves to Death’” contemplates the differ- of my church choir, the father ence between the use of music for the edification of a two-year-old, who with of the people and for enhancement of the spoken his wife was expecting an- word in the divine service versus its use for mere other child in a few months. entertainment. He read the volume in a sin- As one of the most prominent composers of gle evening, exclaiming to me church music in the 20th century, Schalk offers the following day, “This book three simple reminders for young composers of is fantastic! How do I get every the current generation in “Music as Craft: Ad- parent to read it? It should be vice for Fledgling Composers”: required reading for all Chris- • take the time and make the effort to learn tian couples.” your craft; The popularity of that collection has now • remember the discipline of your craft and al- led to the publication of this second collection. low that to be the framework around which While the first book’s contents were taken from creativity can find its outlet; and short articles that Schalk had originally written • be ruthlessly self-critical. (42) for the journal Lutheran Education more than 20 years ago, the essays contained in this new book His “Advice for Young Church Musicians” are more recently composed. This volume is not is summed up by the simple phrase, “because as heavy in its emphasis on children in particu- you can doesn’t mean you should” (36). (I per- lar; however, it offers a vast amount of invaluable sonally have known a few young organists who and thought-provoking commentary on music, should take this to heart!) worship, and liturgy for pastors, teachers, musi- The aforementioned are but a few examples cians, and other church leaders. of the jewels that can be found among the 23 Schalk delivers his commentary in a simple essays in this book. They are all short and quite and engaging manner, often including a bit of easy to read. Their content, however, is pro- dry humor, but his messages are clear and direct. found, and the reader will most certainly find In this age of political correctness, he is unafraid reason to return to them again and again. to tell it like it is. He addresses many issues and Peter Wessler concerns facing worship leaders and church mu- Trinity Lutheran Church, Pekin, IL sicians today using a unique perspective derived Academy Director, Lutheran Summer Music

52 Spring 2016 CrossAccent www.alcm.org s BOOKREVIEW Paul Westermeyer. The congregation’s music is pri- Church Musicians: Reflections on marily vocal and communal, Their Call, Craft, History, and supported by the acoustics, ar- Challenges chitecture, and character of . the space. Among the many St. Louis: MorningStar, 2015. insights provided by Wester- meyer, I believe the greatest xi, 88 pp. one is this: “congregations ISBN-13: 978-0-944529-68-3. which sing psalm tones with- $15.00, paperback. out accompaniment … seem to be able to sing all manner of any church musicians face the planning, other styles of music” (21)— Mpracticing, and presenting of church music something well worth further on a weekly basis with little time for reflection. contemplation and exploration. Often it is the outcome on Sunday morning that In working with the congre- raises the question for reflection, “What am I re- gation the church musician ally about as a church musician?” uses the factors of tempo and Westermeyer takes several related lectures he breathing to be components in has presented to form a book that helps church developing trust with the congregation. musicians define who they are in the church as Chapter 3 gives attention to the cantor’s they carry out their calling—their vocation— or church musician’s craft in working with the of working with the congregation and the choir. choir as it explores what the choir is to sing— Throughout this book the “work and craft of propers, psalms, alternation in hymn singing, church musicians are examined from a histori- cantatas and other larger works, challenging cal perspective through current practices” (back works with some dissonance. Throughout this cover). chapter Westermeyer gives encouragement as Chapter 1 reflects the call of God to a peo- well as warning. An example of this is his discus- ple, musicians, and everybody else that stands sion of Luther’s view of music as an incredible in opposition to the present-day culture with gift of God that we are not to leave in its nat- its agenda that thinks “those who came before ural state but are “to craft it responsibly” (35). us did not know very much” (2). Thus Wester- When cantors help the church—both choir and meyer begins with a people, a community of the congregation—“sing around Word, Font, and baptized, into which he places the church musi- Table in season and out of season, no matter cian: “The music a church musician makes with what,” they are freed “to be faithfully hopeful” the community of the baptized is broken to and as they build “cultures of trust” (37). “Leading contextualized by Word and Sacraments” (3). the church in song means the cantor’s craft is Among the many activities of the church is that about the breath, pulse, and pacing of the peo- it sings, not “manipulative sale jingles,” but mu- ple” (38)—the heartbeat of the church—that sic that is “for the glory of God and the good reveals its community. (edification or sanctification … ) of the neigh- Chapter 4, “Historical Perspectives,” is a bor” (3–4), as J. S. Bach often indicates in his brief history of the church’s encounter with mu- music. The first chapter ends with discussion of sic beginning with the Psalms and Colossians the vocation of the clergy and the vocation of 3:16. The chapter highlights Tertullian and La- the church musician that leads to partnership odicaea, Louis Benson and scriptural hymnody, that is “a powerful outcome of and witness to the Joseph Jungmann and Hippolytus, Calvinists, church’s being” (13). Isaac Watts, Anglicans, Wesleyans, Black spir- The craft of the church musician in working ituals, and the “hymn explosion” of the 20th with the congregation is the focus of chapter 2. century. The schools of sacred music developed

Spring 2016 CrossAccent 53 s BOOKREVIEW in connection with theological seminaries in the Inside the Westminster United States in the 20th and 21st centuries are Conducting Institute (DVD) given greater examination in part because so Chicago: GIA, 2015. many of them are disappearing at an alarming rate and in part with a concern for church musi- DVD-972. cians and clergy to sit down at the table for their $24.95. mutual edification. The challenges we as musicians and clergy Westminster Choir College (WCC) has face brings this book to a close. It is good to see been a leader in choral music and choral edu- discussion (though brief) about oratorios, re- cation for multiple generations of those who love quiems, theaters, churches, “Sunday Word and the choral art. Through summer programs of- Table sequence” (56), spectators and the chal- fered there over many years, choral music has lenges they present. Using Charles Ives as an been given a place of special prominence and at- example, Westermeyer raises the challenge of tention, most famously when Robert Shaw led contemporary music in the church. Other chal- his summer workshops at WCC. Now West- lenges focus on music as “a sales technique” that minster is offering this new DVD, featuring presents “a serious challenge because it guts the five well-known American conductors: Charles nature of the church and keeps the church from Bruffy, Bruce Chamberlin, Vance George, serving the culture” (62). This is but a small sam- James Jordan, and Weston Noble. For the work- pling of the challenges that are given in this last ing conductor who seeks fresh inspiration and chapter. The church musician is given the op- insights from conductors with whom they have portunity to serve faithfully in the face of many never worked (or who wants to enjoy again the obstacles as so many cantors have done in the wisdom of a conductor with whom you are ac- past. quainted), this DVD would be a useful addition A challenge for Westermeyer in writing this to your library. book is the definition of church musician—part- The format, as explained by the class orga- time or full-time, professional or amateur, those nizer James Jordan, allows participants to work with lesser abilities or the virtuoso. He has done with the master teachers in small classes through quite a fine job of speaking to all with his con- a week of study. This DVD captures the capstone cerns and his encouragements. The whole book of the week: class participants conducting oth- is supplemented not only with helpful footnotes er students in rehearsal and receiving real-time but also a thorough bibliography that points to critique from the five instructors. One of the the riches available for further study. strengths of the video is the fact that one receives The reader can use this book for personal a full 30 minutes of each master teacher working reflection periodically over the years. It would with various conductors. If you watch the entire be especially helpful for a group of church musi- video you will receive small gems of insight as cians and pastors to form a study group as a way they teach the class participants with uniform- of exploring the riches that Westermeyer pro- ly nurturing and warm demeanor—the mood vides. This book is well worth the read and more. is appropriately serious, but there is an obvi- ous care and sense of humor. I am guessing that Henry Gerike those who took this class left with a feeling of ac- Reformation Lutheran Church complishment, affirmation, and new energy to St. Louis, MO tackle their daily work. The general tone of this DVD reminds one of the joys of the profession we share: both instructors and students show a remarkable generosity in sharing ideas and inter- acting with warmth, humor, and a clear love of choral music.

54 Spring 2016 CrossAccent www.alcm.org s BOOKREVIEW Each 30-minute segment offers an extend- transmit idea through posture, ed chance to observe a diverse group of student breath, and gesture; and gen- conductors who offer a breadth of age, experi- uine detail and attention to ence, and technique. As noted, we are seeing the advanced rehearsal techniques. final sessions of a week of study. While the teach- The teachers had a clear and ers offer helpful insights, it is sometimes difficult strong focus on encouraging to see much in the way of change in the tech- students to listen carefully to nique of the students. A brief chance to witness the sound of the ensemble; fo- instruction that occurred earlier in the week- cus on what they were hearing; long seminar would have been very interesting and use gesture to shape, mold, and helpful to those of us seeing the final re- and encourage that sound. The sult. We also see long stretches of uninterrupted participants are offered the conducting, especially at the beginning of each clear benefit of the thoughts of chapter. Some of the teachers generously allowed experienced and beloved cho- students to conduct an entire octavo before dig- ral conductors. We have all ging into the work at hand; briefer excerpts of enjoyed the instruction of men- many works would have sufficed, and more edit- tors who have offered us the ing at this level would have allowed us to witness benefit of their knowledge and experience. For even more interaction between the teachers and the conductor who has no knowledge of some students. I also found the camera occasionally or all of these five conductors, this product will lingering with the teacher immediately after im- offer you good insight into their respective ap- portant instruction had been offered, meaning proaches to the art of conducting. we did not always see the immediate outcome. As an instructor who teaches conducting to un- Christopher Cock dergraduate students, I found myself observing Valparaiso University substantial “mirroring” and hoped that one of Valparaiso, IN the teachers would discuss and work on the in- dependence of right and left hands. It was also interesting to observe the use of both the hand and the baton, although the subject was never raised. Good hand position and the musical, vocal, and aesthetic expressions derived from the use of the hand seemed implied but were never explored in any segment. The attention of the class, as found on the DVD, is clearly related to gesture; stylistic concerns were perhaps covered in earlier classes. In terms of repertoire, you will be able to see students conduct some great classic literature (e.g., Brahms, Beethoven, Mozart). There are also a number of works by living composers. While these works offer different conducting challenges, a conductor seeking a chance to discover a volume of new choral literature will need to look elsewhere. The strengths of the format, as revealed in watching this DVD, are an attention to showing musicality through gesture; helping conductors

Spring 2016 CrossAccent 55 SOUNDFEST Seminary, St. Paul, MN. Accepting Leupold’s challenge to “write a hymn on every reading of the Revised Common Lectionary (RCL),” she tells of her “habit of writing a hymn every Sat- CONGREGATIONAL urday night”—a daunting 10-year project now SONG completed with this volume. In the hands of a master hymnist like Grin- Bryan L. Greer. dal, the results are exemplary. A Treasury of All Hail the Power Faith is a well-chosen title: these are hymns that of Jesus’ Name. express and inspire faith. Neither Scripture para- Congregation, unison phrases nor high literary productions, they are choir, brass sextet, rather concise, sermonic, poetic—above all, percussion, organ. Christ-centered—reflections on the word, mak- MorningStar ing them useful not only for singing in worship (MSM-20-719), $25.00. but also for worship planning or devotional reading. This festive congregational Consider, for example, the hymn for Holy setting of Coronation is Trinity A, p. 41, “We heard his voice / through scored for three trumpets all the noise”—which begs the question, “What (C and B-flat parts included), two trombones, noise?” Maybe the lie that the resurrection was and bass trombone, with timpani and cymbals. a hoax (Mt. 28:11–15), or perhaps noisy issues Horn in F may substitute for trombone 1. All in the Corinthian church? Into such noise, “The instrumental parts are included, with permis- Lord of all / then gave the call / ‘Go forth to sion to duplicate as many copies as needed for ev’ry nation.” Or consider “O Christ Our King,” rehearsal and performance. No text is in this set- Year A, Christ the King, Proper 29, p. 67, where ting, but two stanzas and an interlude are to be we echo Ephesians 1 when we sing, “Faith helps used at the discretion of the director. Choir and us see / your majesty / the riches we’ll inherit. congregation sing from the hymnal. Disciplined / You rule in might / we see your light / break high school brass players should be able to per- through our night / helped by your Holy Spir- form these parts, which have rhythmic interest, it.” (These two examples and also Year C Proper with lots of 16th notes and triplets; they will 21, p. 188, share the unusual meter 447 4447, need to articulate cleanly. Joyful congregational for which the tune name suggested needs correc- singing should result. JG tion—it should be the Norwegian Herre Jesu Krist, found at CW 362.) In all there are 200 hymns (texts) here for the Gracia Grindal. RCL second readings (Epistles) of all three years, A Treasury of Faith: with an occasional “import” from the gospel for Lectionary Hymn Texts, the day (as above). Meters are clearly labeled and New Testament, matching tunes suggested. Three-quarters of the Series A, B, and C. hymns fit familiar tunes and thus are more ac- Congregation. cessible to congregations; nearly all the suggested Wayne Leupold tunes are available in at least one of the books in (WL800053), $32.50. common use among us—CW, ELW, LBW, LW, or LSB. The other 50 need a newly composed Part of a series from Wayne tune, mostly because of unusual meters. Com- Leupold Editions encom- posers, take note: here is material worthy of your passing more than 1000 compositional best! There are even two “graph- new hymns, this collection is by Grindal, retired ic” hymns for Holy Week (pp. 27–29)—laid out professor of preaching and hymnody at Luther

56 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST in cruciform or “chalice-form” on the page. Robert Lehman. As with all the books in this series, this vol- Three Congregational ume is well supplied with indices to help worship Hymn Settings for planners spend this treasury in edifying ways. Brass. DS Congregation, unison choir with descant, brass quintet, timpani, organ. Robert A. MorningStar Hobby. (MSM-20-731), $40.00. Crown Him with Many Each hymn tune is treated Crowns. in the same way: a fes- Congregation, tal introduction and four unison choir, different settings for various stanzas, with repro- brass quartet, ducible parts for all brass and timpani. Trumpet percussion, or- parts are available in both C and B-flat. Vocal gan, with descants are provided for two of the tunes, with optional descant. permission to change texts to match the hymnal MorningStar (MSM-20-415), $32.00. being used. The tunes include Easter Hymn, Lasst uns erfreuen, and Unser Herrscher. Crown Him with Many Crowns is a quintessen- Each arrangement is crafted well and will find tial hymn concertato, a huge, bigger-than-life great appreciation not only among musicians but finale for any festival service. There is no cho- especially among worshippers. JG ral score, only an optional, reproducible descant part. Scoring is for two trumpets in B-flat or C, two trombones, horn in F as a substitute for the first trombone, timpani, and crash cymbal. Hobby does a good job of capturing the spirit INSTRUMENTAL | of the text, from the fanfare introduction to a ORGAN brief introspective interlude after to the words “but downward bend their burning eyes at mys- Pamela Decker. teries so bright” to the grand postscript after the Fantasy on the Name of final phrase “Thy praise and glory shall not fail Roy Andrew Johnson. throughout eternity.” Inciting God’s people to Wayne Leupold make a joyful noise with music like this is so (WL710014), $37.00. much fun. KO Dedicated to the memory of a distinguished faculty member of the Univer- sity of Arizona School of Music, this two-part work begins with a quiet, lyrical section which, accord- ing to publisher notes, is based on assignment of pitch material to alphabet letters, as was operative in Prélude et fugue sur le nom d’Alain by Maurice Duruflé. The music of the first section is underpinned by nearly constant eighth-note rhythms with prominent second, fourth. and

Spring 2016 CrossAccent 57 s SOUNDFEST seventh harmonies and changing meters. Pub- work has some interesting moments but gener- lisher notes further state that the plaintive, ally suffers from a lack of focus due to its great reaching quality of linear movement leads to a length (17 pages). The pleasing third work is primary thematic statement, effected by a reed very short, is also in five-voice texture, and has stop. This primary theme becomes a fugal sub- a plaintive character. The fourth work features ject in the second section, building in intensity an attractive, simple fugue that is followed by an as it is pitted against cross rhythms and themat- extended “Adagio Meditation,” which seems to ic patterns of transformation and diminution. this reviewer to be superfluous. It is interesting Registration calls for a three-manual organ. A that this work begins in D major for the “In- pipe organ will best serve the musical nuanc- troduction and Double Fugue,” but concludes es of this composition. Musically intellectual the “Adagio Meditation” in the key of G major. audiences will best appreciate this moderately The final work begins in a subdued manner with difficult work. CP lovely, lush harmonies, and gradually builds to a magnificent, compelling conclusion, all within four pages. While these works will require care- Marcel Dupré. ful preparation, they are not nearly as technically Marcel Dupré: demanding as Dupré’s symphonic concert works Legendary Organ for organ. The specifications of the Cavaillé-Coll Improvisations, vol. 3. organ at Saint-Sulpice are given in the notes. JB Transcribed by David A. Stech. Wayne Leupold An Easy Handel (WL600293), $24.00. Organ Album: Original Few (if any) of us have Works and heard the famed organ Arrangements. improvisations of Marcel Ed. by Daniel Dupré performed during Moult. worship services at the Church of Saint-Sulpice Bärenreiter (BA in Paris. However, thanks to the transcription 11213), €16.95 and reconstruction of some of these pieces by (approx. $15.38). David Stech, done with the reluctant permission of the composer during his life, we can get This worthwhile anthology features original some idea of the type and variety of these com- works of Handel, transcriptions by his assis- positions, now available in notation. Volume 3 tant, and arrangements by both the composer’s of the series features works improvised in Paris publisher and editor Moult. The pieces of easy in 1971, the final year of Dupré’s life. Five works to easy-medium difficulty are taken from Han- are included in this volume: a brief “Improvi- del’s oratorios, suites, concertos, operas, Water sation,” a lengthy “Introduction and Double Music, and The Musick for the Royal Fireworks. Fugue,” a brief “Offertoire,” a lengthy “Intro- An index of technical difficulty, as well as de- duction, Fugue, and Meditation,” and a brief tailed information on performance practice and “Sortie.” The opening work features consistent interpretation of individual pieces, will serve five-voice texture and beautiful flowing melodies as valuable teaching aids. While the collection adorned with rich harmonies. The second work is intended for organ, the music feasibly could might better have been titled “Introduction and be executed on a variety of keyboard instru- Fugue with Two Subjects,” as the two fugue ments. Originally designed for instruction and subjects never appear simultaneously but are introduction to baroque organ, the quality of ar- rather presented in succession. This impressive rangements will give this volume a valued place

58 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST in the repertoire of seasoned musicians as well. Walther each made their own manuscript copies The anthology is certain to be a useful tool in of Grigny’s “Organ Book,” and their corrections teaching, worship, and wedding settings, or any and alterations provide us with a valuable con- occasion where baroque music is desirable. CP temporary source for comparison with Grigny’s original edition. Editor Leupold has taken great care to make this new edition as close to Grigny’s David German. original edition as possible. Then, where ques- Trumpet Proces- tionable passages occur, both the readings in the sional in G. Bach and the Walther copies are consulted and MorningStar documented in the “Editorial and Interpretive (MSM-10-668), Commentary.” This section of the book takes $8.00. up 36 pages of single-spaced “errata.” Further contributing to its value, this edition also in- Written in ABA cludes a wealth of information on performance form, this upbeat, practices for this repertoire. Topics include the sight-readable French baroque organ and its registration, Notes composition calls inégales rhythm, fingering and articulation, and for a solo trumpet stop and full-bodied Swell, ornamentation. An interesting section on secu- Great, and Pedal divisions. Suitable as either a lar styles and dance rhythms is informative, as processional or general occasion piece, it is easily is a glossary of stop names and composite reg- adaptable to a two-manual organ. An instru- istration “recipes” (Grand jeu, Grand plein jeu, ment with good capacity for dynamic range will e.g.) which are so typical of French baroque or- best serve this music. CP gan music. Many facsimiles are reproduced, and the sources of the chants and their English trans- Nicolas lations are provided. All of these features make de Grigny. this an indispensible addition to the libraries of Premier Livre organists and scholars alike. JB d’Orgue (1699). Ed. by Wayne Robert J. Powell. Leupold. Throned in Glory: Wayne Leupold Three Hymn Settings (WL500025), for Organ. $55.00. MorningStar (MSM-10-782), $10.00. This new “performing Urtext edition with ed- Robert Powell has arranged itorial and interpretive commentary” from three hymns in this collec- Wayne Leupold Editions is a welcome resource tion, based on the hymn for today’s musicians who are exploring this tunes Judas Maccabeus; important repertoire. Grigny’s “Organ Book” Komm, o komm, du Geist des Lebens; and contains an alternatim setting of the Cunctipo- Restoration. The settings are of medium diffi- tens genitor Deus Mass Ordinary along with five culty and include active pedal parts throughout. shorter Gregorian hymn suites. It is an uncontest- The composer gives great detail in suggesting ed fact that the original 1699 edition was full of registrations. His music also reflects well the lyr- errors and that a 1711 reissue of the original print ics of the hymns by use of dynamic contrast and was no better. However, as part of their ongoing varied articulation. The selections would serve MS “musical education,” both J. S. Bach and J. G. well as preservice or postlude music.

Spring 2016 CrossAccent 59 s SOUNDFEST Margaret Vardel The settings are a refreshing collection of Easter Sandresky. preludes and range in difficulty from medium to The Organ Music of medium-difficult. MS Margaret Vardel Sandresky, vol. 9. Wayne Leupold PIANO (WL600245), $23.00. Keith Kolander. This three-part composi- Twelve Hymn Contemplations for Piano, tion of moderate difficulty Set 1 and Set 2. is a complex work for re- Marquee Publishing (ISBN 978-1-5121-1441-6; cital or special occasion. ISBN 978-1-5136-0183-0), $15.00 per set. Unmetered, it demands a three-manual instrument. Breaking with standard publishing practice, Ko- Changing key signatures and registration, as lander covers the church year from Advent to well as a range of dynamics and tempi, infuse the Pentecost within the context of each volume, music with emotional energy. Articulative nu- and also includes general-use hymn settings. ances figure prominently into the composition. Twelve settings per volume are based on such Incorporated into the “Finale” is an originally traditional hymn tunes as Regent Square, composed tune based on the hymn “Glory to the Ebenezer, Cwm Rhondda, and Ellacombe Lamb,” Psalm IX from Hymns for the Use of the (set 1) and Beach Spring, Gabriel’s Message, Methodist Episcopal Church (rev. edition, 1849). St. Columba, and Walton (set 2). Second Included in the musical score is a reproducible, and fourth harmonies with predominantly four-part reduction of Sandresky’s original hymn eighth-note rhythms add an appealing, contem- tune with text. A well-voiced pipe organ with re- plative air to each tune. Kolander has chosen sponsive key action and capacity for dynamic to self-publish these works. Audio samples and expression will best serve this music. Sandresky’s links to purchase the music may be found at work was commissioned by The Thomas S. Ke- www.keithkolander.com. CP nan III Institute for the Arts in celebration of its (Note: A third set was published in February 2016.) 20th year. CP

David Schelat. Five Preludes for Easter. MorningStar (MSM-10-431), $12.00.

The tunes represent- ed in this collection are Christ ist erstanden, Easter hymn, Gaudea- mus pariter, Gelobt sei Gott, and Lancashire. The setting of Lancashire would make an excellent postlude: it is registered for full organ with reeds and is fugal in nature with each hand and the pedal carrying the theme. Christ ist erstanden is presented as an ornamented chorale.

60 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST extend phrases in a way that feels organic. The KEYBOARD AND four-movement work utilizes traditional forms INSTRUMENT(S) and rhythms, including sonata-allegro form in the first movement, a passacaglia in the second Daniel Burton. movement, and a gigue in the fourth movement. Three Shepherd The third movement, called “Lied,” is the slow- Hymns. est and most accessible, described by Conte as Cello, organ. “a quietly expressive Andante in the sunny and MorningStar regal key of E-flat major.” Conte writes very lyri- (MSM-20-475), cal melodies, and the parts, though difficult, are $12.00. well-suited to the instruments. In the context of worship, the first or second movement could This collection serve well as a prelude, especially during Lent includes simple or for a reflective service. The third movement but appealing ar- would be appropriate during prelude, offering, rangements that or communion, and the final movement would give cellists the work well as a postlude. The publication includes opportunity to play familiar hymn melodies. a piano score and a separate cello score. (I am The cello parts could be played by many high grateful to cellist Ed Laut for his assistance in school cellists, and the organ parts are mostly this review.) LW sight-readable. The setting of Brother James’ Air, which is the most difficult, is the most interesting due to its varied treatments of the melody. Duane Funderburk. The other tunes in the collection are St. Colum- Immortal, Invisible, ba and Crimond. Reproducible cello parts are God Only Wise. included. LW Violin, cello, piano. MorningStar (MSM-20- 627), $10.00. David Conte. Sonata for Beginning in a lively Al- Violoncello and legro tempo with multiple Piano. sixteenth-note runs, Fun- Cello, piano. derburk’s arrangement of E. C. Schirmer St. Denio will grab lis- (8052), $17.00. teners’ attention and draw them into a pleasing celebration of God’s majes- Written for cel- ty. The piece moves through several contrasting list Emil Miland, moods, including undulating legato eighth this is a major notes, a calmer section, and a majestic conclu- concert work of sion. Both string parts include double stops. significant dif- Although the notes are not difficult, the fast ficulty for both the cello and the piano. The tempo increases the difficulty to medium. Re- harmonic language evokes composers of the ear- producible string parts are included; the piano th ly to mid 20 century, such as Samuel Barber plays from the score. LW and Frank Bridge, with moments reminiscent of Dmitri Shostakovich and Paul Hindemith. It is chromatic but not overly dissonant. Simi- larly, Conte’s use of meter changes is restrained but effective, often using meter changes to

Spring 2016 CrossAccent 61 s SOUNDFEST David Lasky. Fanfare. INSTRUMENTS Brass quartet, organ. MorningStar David Ashley (MSM-20-855), $10.00. White. Divertimento. Concise and dramatic, Violin and viola. Fanfare would be a great E. C. Schirmer start to such festive ser- (8219), $17.00. vices as Palm Sunday or Easter. The score includes Commissioned instrumental parts for two to celebrate vi- trumpets in B-flat or C, olinist Kenneth two trombones, and horn in F as a substitute Goldsmith’s 50th for the first trombone part. In an ABA form, the birthday, Diver- total length is about 2 minutes. The A section timento is a challenging three-movement work might even be performed alone to accompany intended for highly accomplished players, much liturgical movement, such as an Easter gospel more substantial than its title implies. White procession. Whatever the placement, Fanfare’s treats the two instruments equally, continually dancing meter changes and dramatic harmonies trading imaginative, sophisticated melodic ma- make a big statement that something important terial between the violin and viola. The parts are is about to happen. KO well suited to the instruments, with a pleasing variety of bow articulations. Special effects such as snap pizzicato, ponticello, tremolo, sul tasto, Jerry Westenkuehler. and con sordino add interest. The fast outer move- Three Festive Trumpet ments have great perpetual drive, combined with Tunes. colorful dynamics, chromaticism, double stops, Organ, with optional and mixed meter. The lyrical middle movement trumpet. reflects on the hymn tune Bourbon. The publi- MorningStar cation includes a score as well as separate violin (MSM-10-685), $17.00. and viola parts. (I am grateful to violist/violinist Monty Carter for his assistance with this re- As the title suggests, this view.) LW work features three festive organ settings, with parts included for both B-flat and C trumpets. Specified registration is a solo trumpet and full-bodied Great and Pedal divisions. Hymn tunes are Amsterdam and Westminster Abbey; also featured is an original work by Westenkuehler. The settings are newly composed, consonant, and sight-readable. The Amsterdam setting is particularly stirring. The collection will be useful in a variety of worship and festive occasions. CP

62 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST VOCAL | SOLO ADULT CHOIR

Michael Larkin. C. J. Adams. Jesus Christ Is God’s Peace. Risen Today. SAB, piano. Medium voice, Hope (C 5987), $2.20. piano. MorningStar Set to the tune Beach (MSM-40-450), Spring, this anthem is a $16.95. setting of a text by Mar- va J. Dawn. It is mostly Larkin has set in unison with some sec- four Lenten texts tions in SA or SAB. The and four Easter text takes on a devotion- texts in this col- al character and focuses lection. The songs are primarily strophic, with on coming to God’s grace steady, regular meters and tonal harmony. Oc- from the busyness of life. casional chromaticism adds interest, especially The anthem is part of a series called Quick Study in “At the Cry of the First Bird.” In addition to Chorals, which contains a number of easily the medium voice and piano parts, “Golgotha” learned anthems for a variety of occasions. In ad- includes an optional instrument part (oboe in- dition, there is an SATB setting (C 5752) that is cluded; clarinet part available for download) that just as accessible as this voicing. This anthem can will greatly increase its impact. These two songs, be sung by choirs of a wide variety of ability lev- “Love’s Redeeming Work Is Done” and “Jesus els and can be sung by large or small choirs. It is Christ Is Risen Today,” have newly composed suitable for Lent or any service where the theme melodies, while the other four songs use pre-ex- is God’s peace. AW isting tunes (Were You There, Wondrous Love, Middlebury, and Noël Nouvelet). Most soloists and pianists will find these set- William Braun. tings easy to learn yet musically satisfying. The Down from the Mount accompanist and the soloist will each need their of Glory. own copy of the score. LW SATB, congregation, organ, trumpet. Concordia (98-4211), $2.30.

This setting of the tune Ich freu’ mich in dem Herren is an excellent marriage of text and music. While stanzas 1, 3, and 5 are in unison and in D Major, the harmoniza- tion in the organ reflects the text. For example, the accompaniment becomes more dissonant in stanza 3, especially where it refers to the humil- iation of Christ when he hung upon the cross. Stanza 2 is a setting of the tune in G Major for SATB choir and trumpet. Stanza 4 is an SATB

Spring 2016 CrossAccent 63 s SOUNDFEST a cappella treatment of the tune in D minor, then this is sure to be fun for all: singers, direc- appropriate for text referring to the cross and ag- tors, and listeners. Just in time for the 500th ony. The anthem includes a reproducible page for anniversary of the Reformation, editors Anton the congregation to sing on stanzas 1, 3, and 5. Armstrong and John Ferguson share a refreshing It is suitable for large or small choirs, but stan- a cappella setting of Luther’s great Easter chorale zas 2 and 4 may need a little more rehearsing, as Christ lag in Todesbanden. Accompanied by those verses are not completely straightforward. tambourine, this piece will surely inspire all who It is most suitable for Transfiguration Sunday, al- learn and hear it. The Latin is Victimae pascha- though the text foreshadows Lent. AW li laudes sung by the basses, while tenors have an elegant but contrasting Alleluia (then they switch parts). Meanwhile, the sopranos and al- Michael Burkhardt. tos alternate phrases of the chorale. The last This Touch of Love. page of sumptuous Alleluias is simply thrilling. SATB, organ. Although this piece is not easy, it is definitely MorningStar worth the effort. JG (MSM-50-8512), $1.70.

Burkhardt has composed Michael D. the simple yet profound Costello. tune Wonder for Vaj- As Your Spirit in da’s poignant text “This the Desert. Touch of Love.” In this ar- SATB or soloist, rangement, he sets three organ, with op- of Vajda’s six stanzas, with tional oboe (or the first stanza in uni- other instrument), son, the second in four-part harmony, and the assembly. last stanza in unison, breaking into harmony for Augsburg Fortress the final phrase “in all I do, to give you praise.” (978-1-5064- The melody is memorable with its sequential pat- 0851-4), $1.95. tern of four descending stepwise notes followed by the ascending melody for the final phrase of The creative forces of Susan Palo Cherwien (text) each stanza. JRB and Michael Costello (music) bring a haunting- ly beautiful score for choir (or soloist/cantor) and assembly, emphasizing the times God’s peo- Christ Jesus Lay in ple spent in deserts—both geographically and Death’s Strong Bands. spiritually. The congregational part may be re- Arr. by Ryan Kelly. produced for the five times they are to sing, SATB divisi, tambourine. reflecting briefly on the choral “verses.” The Augsburg Fortress (978-1- wanderings lead through dust, danger, thirst, 5064-0853-8), $1.95. and fears to promises of living waters, courage, and comfort—a musical journey to the prom- If you have a choir that ise of a new life. Lenten overtones abound, but loves to proclaim the glo- the piece also could be used at other times of the rious message of Easter year, perhaps including the Great Vigil of Eas- and that doesn’t hesitate ter. JG to accept the challenge of divided parts, with some “devil’s intervals” and mixed meters throughout while singing in both English and Latin,

64 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST Taylor Scott John Ferguson. Davis. Lord of the Dance. No Crying He SA(T)B, organ. Makes. Galaxy (1.5260), $2.25. SATB, piano. MorningStar This setting of the famil- (MSM-50-3333), iar Shaker hymn makes $1.70. use of an active organ accompaniment throughout. Excerpted from Suggested registrations are the larger work included. The stanzas vary Return to Me in texture from unison (2012), this is a male to unison female to haunting musical a mixed three- or four-part landscape for Terry W. York’s text “Again, God’s stanza. The fourth stanza is spoken by the choir. Son sleeps. Again, no crying he makes. Again, Ferguson has included performance notes that his body is wrapped against the cold.” Using J. go into detail on what vocal sounds and tech- S. Bach’s musical sigh motive (sequential down- niques are to be used for this portion. The setting ward seconds) in the key of F minor, this SATB does a great job of reflecting the lyrics through piece exchanges dialogue between voices as the the use of the various textures. This is a wonder- text strikingly contrasts the manger and the ful arrangement that will be a joy to perform. tomb. This piece would be especially moving in MS years when Good Friday falls early in the calen- dar year, near the Annunciation. JRB

Spring 2016 CrossAccent 65 s SOUNDFEST Richard Frost. the choir. The beautiful arching melody incor- Out of the Depths. porates three phrases that begin on the second SATB, violin, piano. beat of the measure. A skillful accompanist will MorningStar guide the assembly through any potential prob- (MSM-50-3209), $1.95. lems. The oboe adds a lovely timbre to the piece but is optional, as it doubles the vocal melody or This anthem will provide a the descant. JRB nice addition to a Lenten collection. It is an original setting of the familiar text Hal H. Hopson. from Psalm 130:1–5 that Bless Now, embodies both the peni- O God, The tential cry for mercy and Journey. the quiet assurance of for- SATB, piano. giveness. The melody rises and falls with the text Augsburg and makes effective use of the relative major to Fortress (978-1- provide a sense of uplift within the original key 5064-0854-5), of D minor. What also makes this setting stand $1.80. out is the violin obbligato woven throughout the music. The violin line is printed as cues in the This anthem is an choral score, and a separate instrumental part arrangement of can be downloaded at no cost from the publish- the hymn of the er. None of the music is very difficult, so it can same title found in Evangelical Lutheran Wor- be learned fairly quickly during the busy Lenten ship (326). About half of the anthem is unison or season. It could be used especially well as a call two-part and the other half is SATB. A flowing to repentance for Ash Wednesday (or other Lent- piano accompaniment supports vocally friendly en service) or as a responsory in an Easter Vigil melodic lines. The comforting text by Sylvia G. service. DR Dunstan reminds us that God’s hope and love sustain us. This anthem is accessible for a wide Zebulon M. Highben. variety of ability levels and can be sung by large Lift Up Your Heads. or small choirs. It is suitable for Lent or any ser- SATB, organ, oboe, with vice where the journey of faith is a theme. AW optional assembly. Augsburg Fortress, (978- 1-5064-0873-6), $1.95. Zoltan Kodaly. Ave Maria. Highben’s lyrical, mul- Three-part chorus of treble voices a capella. timetered tune, West Universal Edition (UE 34370), €4.50 Leestad, combined with (approx. $4.08). Susan Briehl’s text written for Easter 2C captures This is the classic Latin text of Ave Maria, set the wonder and joy of the by Kodaly in 1935 for a women’s choir of SSA Easter celebration. With voices. This new edition provides a piano accom- beautiful eucharistic language, all are invited to paniment for rehearsal. The setting is elegant lift heads, hands, and hearts to our risen, beloved and glorious in its simplicity, with lovely dynam- Christ. Written in concertato style, the first stan- ics. It could be sung effectively by both small and za is sung in unison by the choir and assembly, large groups of treble voices. Soprano 1 divides the second and third stanzas by the choir, and for the last seven measures (one chord). Available the final stanza with assembly and a descant by from www.universaledition.com. JG

66 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST Lloyd Larson. Felix Mendelssohn- God, Whose Bartholdy. Giving Knows Drei Geistliche Lieder No Ending. (Three Sacred Songs). SATB, piano. Ed. by Stanley M. Hope (C 6002), Hoffman. $2.10. Alto solo, SATB, organ. E. C. Schirmer (8146), Larson has taken $3.75. the lyrics of Rob- ert E. Edwards This is a setting of Men- and arranged an anthem that makes frequent use delssohn’s “Three Sacred of unison and two-part mixed textures. The lyr- Songs” that uses the Dan- ics focus on the gifts of God to us and our gifts iel Pinkham English to God in return. The choral parts are medium singing version of the text. The octavo includes to medium-easy and would be a quick learn for a full page of program notes detailing the histo- most church choirs. The piano part supports the ry of the collection. The lyrics, which originated choral parts well. The last section is an easily from Charles Bayles Broadley’s versification of sung SATB setting that recaps the theme of the Psalm 13, are presented in both the original anthem. This would be an excellent selection for German as well as the Pinkham translation. a stewardship emphasis. MS The three songs were intended to be sung as one work with no pauses; however, each can stand alone as a single anthem. The alto solo has a pret- Mary ty consistent E-flat 4 to E-flat 5 octave range. McDonald. Mendelssohn’s choral arranging includes a great All Are Welcome deal of imitation, which makes the individual at the Table. vocal parts predictable in nature. This collection SATB, piano, would make a nice concert piece or an anthem with optional for worship—a good opportunity for your choir guitar, electric to sing a historic, classical selection. MS bass, percussion, drums. Hope (C 6004), Walter L. Pelz. $2.25. Praise, Praise to God. SATB, organ, with Your choir will enjoy the predictable, catchy optional assembly. harmonies of the traditional spiritual “The Wel- Augsburg Fortress (978-1- come Table” and McDonald’s countermelody. 5064-0875-0), $1.95. The accompaniment adds to the soulful swing of the arrangement with its syncopation and Pelz has arranged this an- use of grace notes, triplets, and accents. The text them in the grand style may be used for any eucharistic service but may of hymn-anthems, which be especially appropriate during the Week of “teach” the congregation, Christian Unity or World Communion Sunday. then invite them to join in An accompaniment CD (C 6004C) and instru- on the last stanza, as so- mental parts (C 6004R) are also available. JRB pranos decorate it with a festive descant. Herbert F. Brokering, beloved Lutheran pastor and poet, provided the text;

Spring 2016 CrossAccent 67 s SOUNDFEST Pelz dedicated it to the memory of another Lu- William M. theran pastor and professor, Walter R. Bouman Runyan. (known for his emphasis on resurrection). The Great Is Thy text thanks God for breathing life into creation Faithfulness. and for the gift of seeds that must die to bring Arr. by Michael about new life, and it includes other imagery Burkhardt. that points to the resurrection life in Christ. It SATB divisi, is likely one of the only choral works to mention two-part treble chlorophyll as one of God’s miracles. Use this choir, congrega- anthem for when the worship theme is on praise, tion, handbells, thanksgiving, creation, even Eastertide. A print- brass quintet, ing glitch requires descanters to be aware of two piano, organ. words that seem to elide into one on the bottom MorningStar (choral score, MSM-50-5311), of page 8. A congregational part is included for $2.25. duplication. JG Burkhardt has arranged and edited the beloved hymn of William Runyan and Thomas Nancy M. Raabe. Chisholm in a grand setting for such special oc- Forgive Our Sins casions as a church anniversary, Reformation, or As We Forgive. any time when faith is a topic of importance. A SAB mixed, piano. fine children’s choir, perhaps supplemented by Augsburg Fortress (978-1- adult sopranos and altos, can handle the treble 5064-0864-4), $1.80. choir parts. Four octaves of handbells are included in this setting, which would be perfect when This anthem contains a multiple choirs and ensembles are gathered for a setting of a text that re- hymn festival, installation, or retirement. Adult flects on the fifth petition singers will enjoy the divisi, and the youth will of the Lord’s Prayer. With enjoy the challenge of singing with the adults a newly composed melo- and all the instruments. There could even be a dy, it is mostly in unison 21st-century Gabrieli-type performance, if the or two-part mixed voic- sanctuary has different locations to place musi- ing, with just a measure or so of SAB at the end cians. Other available editions include the full of the second verse. The composer notes, “The score (MSM-50-5311A; $17), the instrumental rising and falling shape of this new melody sug- parts (MSM-50-5311B; $35), and the congrega- gests hands raised in yearning to God and then tional part (complimentary download). JG gradually folded back to the body. The setting as a whole moves toward an expressive climax in stanza 3, with the final stanza uttered as a fer- vent prayer for reconciliation and peace.” This anthem is easily sung by choirs of a wide variety of ability levels and can be sung by large or small groups. It is suitable for Lent or any service where forgiveness is a theme. AW

68 Spring 2016 CrossAccent www.alcm.org s SOUNDFEST Charles Boyd The setting is big and festive, but both the choir Tompkins. and brass parts are relatively easy. As a bonus, At the Lamb’s Tomkins provide an alternate text, “Songs of High Feast We Thankfulness and Praise.” With references to the Sing. wise men, baptism of Jesus, miracle at Cana, and SATB, organ, the Transfiguration, this alternate text is suit- with option- able for the lessons on several Sundays during al brass quartet, the Epiphany season. The brass parts (MSM- congregation. 60-4105B) and full score (MSM-60-4105A) are MorningStar available separately. KO (MSM-60-4105), $2.25. Sondra K. Tucker. At the Lamb’s High Feast sets the beloved Eas- Come, O Come, Our ter/Communion text to the tune Salzburg Voices Raise. (not Sonne der Gerechtigkeit, which is the SATB, organ. setting better known with this text by many Lu- MorningStar (MSM-50- therans). Scoring is for two trumpets in B-flat or 5305), $1.95. C, two trombones, and horn in F (which doubles the first trombone part). This well-crafted The text is by George piece is very practical. Tomkins provides per- Wither (1588–1667), an forming notes for omitting the brass parts or for English poet in the tradi- performing the work either as a choir anthem tion of Edmund Spenser. or as a hymn concertato with the congregation. Although Wither was a

yale institute of sacred music presents

Parish-Based Congregations Project Music Schools Workshop Conference Developing a Program for the Local Community Poverty, Wealth, and Worship saturday, may 14 · st. louis, mo july 19–21 · new haven, ct More information and registration: More information and registration: ism.yale.edu/MusicWorkshop ismcongregations.yale.edu Spring 2016 CrossAccent 69 s SOUNDFEST satirist, the text of Come, O Come, Our Voices Raise shows his more serious side. The words are a Reviewers: post-Elizabethan psalm, complete with referenc- John Bernthal (JB) es to voices, trumpets, lutes, and strings. Tucker Associate Professor Emeritus of Music has effectively set these great words to the tune Valparaiso University Sonne der Gerechtigkeit (usually sung with Valparaiso, IN the words “At the Lamb’s High Feast”). Tuck- er ends each stanza with increasingly elaborate Jean R. Boehler (JRB) alleluias. The effect is both grand and joyful, a Cantor nice addition to any festive occasion or Easter- Redeemer Evangelical Lutheran Church The Bronx, NY tide. KO James Gladstone (JG) Retired Cantor, Saginaw, MI Gwyneth Walker. Music Assistant, Ev. Lutheran Church of St. Lorenz Good Shepherd. Frankenmuth, MI Women’s chorus (SA[A]), organ. Karl A. Osterland (KO) E. C. Schirmer (8069), Music Director $1.95. Historic Trinity Lutheran Church Detroit, MI

Walker originally com- Carla Post (CP) posed this setting for two Organist brothers who are ten- St. Mark’s Episcopal Pro-Cathedral, Hastings, NE or soloists. Since one of St. Paul Lutheran Church, Blue Hill, NE the brothers raises sheep, Editor/developer, www.thepaulineproject.com Walker combined the hymn “The King of Love My Shepherd Is” with phrases from the text at- Deborah Reiss (DR) tributed to St. Patrick: “God before me. God Minister of Music Village Lutheran Church beside me. God behind me. God above me.” Her Bronxville, NY intent in combining these sources is to speak of God’s presence guiding (as a “Good Shepherd”), Mark A. Schultz (MS) surrounding (as in the St. Patrick lines), infus- Minister of Music ing the spirit (“living in my heart”), and even Trinity Lutheran Church and School manifested in our beloved livestock. Walker re- Wausau, WI sides on a farm as well and derives great joy from her life as a composer living in such a natural David Joseph Susan (DS) environment. Although somewhat pianistic, the Pastor Emeritus Immanuel Lutheran Church accompaniment will be best when played on Madison, WI the organ due to its sustaining quality and long notes. In this setting for treble voices Walker Lara West (LW ) provides some optional harmony for lower voic- CrossAccent Music Review Editor es. This charming setting with a rich yet simple Music Minister text is also available for two tenors or two treble Good Shepherd Lutheran Church, Lawrence, KS voices with organ (8071) and for SATB with or- Lecturer, Benedictine College, Atchison, KS gan (8070). JG Austen Wilson (AW ) Director of Music Lutheran Church of Our Savior Haddonfield, NJ

70 Spring 2016 CrossAccent www.alcm.org Give a gift that continues giving throughout the year Membership in the Association of Lutheran Church Musicians

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Email address Send completed application to: Name of Church ASSOCIATION OF LUTHERAN or Institution CHURCH MUSICIANS 810 Freeman St. Church Body ECLA LC-MS WELS ELCIC ______Valparaiso, IN 46383 Position / Title Spring 2016 CrossAccent 71 s DEpostLU Julie Potts Grindle President-Elect, ALCM

itual. Shape note. Assembly. Musician. Holy Spirit through word and sacrament. The Cemetery. Leading. Listening. Thinking. words we hear in worship are formational: R Shaping. Praising. Baptismal life. What do these words and images evoke for The mystery of faith. you? How do these words guide us to meet peo- Through Christ, our Lord. ple where they are and inspire us to grow deeper In the unity of the Holy Spirit. in faith? Shed for you. As people whose work is in the church, we How do these words shape our vocation as live every day meeting people where they are— church musicians and worship leaders? What or we should be! But once we are there, as best words shape you most profoundly and how are we can be, what do we do next? Where are we be- you being reshaped anew? As an individual you ing stretched and shaped to grow in our vocation must answer the question yourself in the con- proclaiming the word of God? text of your job and the community in which Whether I am new to a subject or it is as fa- you serve. miliar as the back of my hand, words have a great As leaders of worship in a community gath- power to shape my understanding. The articles ered together in Christ we are stewards of those in this issue meet me where I am in my vocation words and actions in worship using God’s word as church musician and shape new insights. and its depth and breadth. These worship words After all, I am shaped by the words that I are shaping us and all those around us, whether hear on a daily basis as well as by the actions that we realize it or not. I or others take. Do you ever take a moment to Worship leaders must think deeply and realize how much you are shaped by and within faithfully about what is said and sung and how every moment? Perhaps your internal dialogue that is done, so that we are not reshaping the brings you down and you don’t realize it. Per- community of Christ in our own, human image haps your partner is faithful about praising and and troublesome silences. We must listen to our supporting you, and that’s why you always “seem choirs and congregants and clergy and commit- to be in a good mood” (as one parishioner put tees when they say, “this isn’t working,” and try it to me). Is it any wonder that our country is to figure out why. And we must rejoice when our so starkly divided along partisan lines when the liturgies are filled with the Holy Spirit, renewing loudest words we hear on the news are divisive our lives with hope and joy, because that is God’s and often hurtful? very action in our lives. As church we are shaped and reshaped by May God bless you in every way as you work powerful and everlasting words carried by the and live in your vocation.

72 Spring 2016 CrossAccent www.alcm.org This page does not print. It preserves the flow of left-right pages in the cover pages that follow. CROSSACCENT A ssociation of Lutheran Church Musicians 810 Freeman St. Valparaiso, IN 46383

2016 Regional ALCM Conferences

R eGION 1 Conference Rgione 3 July 6-8, 2016 Conference Trinity English Lutheran Church, July 26-28, 2016 Ft. Wayne, IN Lutheran School of Theology, Chicago, IL “Let All The People Praise You” Singing through Blowin’ in the Wind the Generations … stirred, anointed, The song of the church inspires, serves, fashioned, and and strengthens our witness as God’s swept into service people in each generation. Join us in by the Holy Spirit Fort Wayne, Indiana as worship, Join us to explore worship plenaries, workshops and concerts will through adult and children lift up this theme of being a singing choral music, gospel style, church for the ages. Bach, post traditional and liturgical art. • Plenary Presenters Robert Rimbo and Justin Rimbo An exciting hymn festival is planned on Michigan Avenue! • Conference as Choir with Sigrid Johnson Featuring: • A special track for children Bishop Brian Maas, Michael Burkhardt, Keith Hampton, • Closing concert by the King’s Singers Mark Bangert, Jonathan Kohrs • Hymn festival with Kevin Hildebrand at Concordia Seminary Rgione 4 • And much more! Conference July 14-16, 2016 R eGION 2 Conference St. John’s Lutheran Church, June 27-29, 2016 Sacramento, CA St. Andrew Lutheran Church, For the sake of… Franklin, TN As we consider all the things we Soli Deo Gloria! Bach for Everyone do from one Sunday to the next • Conference choir led by Rick Erickson, in worship—planning services Director of the Bach Society Houston and seasons; selecting music and hymns; rehearsing choirs, can- • Worship services led by tors and instrumentalists; writing Bishop Julian Gordy sermons, and more—all of these • “Bach Breaks” offering workshops things are done for someone’s on other topics sake. The question is, for whose • Monday evening “Bach for Everyone” sake? One of the goals of this Concert conference is to help worship • Tuesday evening Vespers leaders align their passions and featuring Cantata no. 4, arts in ministry within the context of community in Christ as Christ lag in Todesbanden they ask “What is this for the sake of?” in their own contexts. journal of the association of lutheran church musicians vol 24, no 1 | SPRING 2016 CROSSACCENT

Creating Worship