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CROSSACCENT Vol 23, No 1 | SPRING 2015 Journal of the Association of Lutheran Church Musicians

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CROSSACCENT Vol 23, No 1 | SPRING 2015 Journal of the Association of Lutheran Church Musicians CROSSACCENT VOL 23, NO 1 | SPRING 2015 JOURNAL OF THE ASSOCIATION OF LUTHERAN CHURCH MUSICIANS CrossAccent is published three times per PRELUDE year by the Association of Lutheran Church Musicians. Subscription is included with 2 Editorial Comment—Jennifer Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2015 Association of TAKENOTE Lutheran Church Musicians. 3 A New Life and New Hope: The Center for Church Music— The views expressed on the pages of the journal Nancy Raabe are those of the authors and do not reflect official positions of the editorial board of the journal or of the Association of Lutheran COUNTERPOINT Church Musicians. “Seek the welfare of the city where I have sent you”: This periodical is indexed in the ATLA Religion 5 Database®, a product of the American Worship and Civic Festivals—Mark Oldenburg Theological Library Association, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. e-mail: [email protected], www.atla.com. 11 Horn, Heart, Music, Word: Hannah’s Song and Venice ISSN 2151–1772 after the Interdict of 1606—Paul Friesen-Carper Editor: Jennifer Phelps Ollikainen Music Editor: Lara West Faithful Christians, Conscientious Citizens: Book Editor: Paul Grime 21 Copy Editor: Anne-Marie Bogdan Independence Day and Assembly Song—Chad Fothergill Graphic Design: Kathryn Hillert Brewer Editorial Office THANKYOU Jennifer Phelps Ollikainen, Editor 1127 Magazine Road 26 Thank you to our donors! Green Lane, PA 18054 [email protected] CHORUS Editorial Board Kent Burreson 28 The Reason Why We (Should) Sing!—Lamont Anthony Wells Paul Friesen-Carper Joseph Herl Nancy Raabe BOOKREVIEWS Stephen Rosebrock 31 The Answering Voice: The Beginnings of Counterpointand Advertising Office Cheryl Dieter, Advertising Coordinator Melodious Accord: Good Singing in Church, by Alice Parker— 810 Freeman St. Matthew Machemer Valparaiso, IN 46383 800.624.2526 219.548.2526 33 Innovative Warm-Ups for the Volunteer Choir: Concepts to Improve [email protected] Choral Sound, by Michael Kemp—Jonathan Busarow ALCM Business Office Cheryl Dieter, Business Manager Association of Lutheran Church Musicians 34 Managing Music Ministry: Beyond Notes and Chords, by Stephen 810 Freeman St. Valparaiso, IN 46383 Petrunak and Randall R. Phillips—Nicole Busarow 800.624.2526 219.548.2526 SOUNDFEST [email protected] New Music www.ALCM.org 35 The Association of Lutheran Church Musicians POSTLUDE is a service and professional organization that works to strengthen the practice of worship and 52 From the ALCM President-Elect—Julie Potts Grindle church music of all North American Lutherans. Membership is open to any person or institution Cover art: Childe Hassam, Just Off the Avenue, 1916 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 2 (Southeast) President: Sarah Hawbecker the ALCM Business Office. President-Elect: Julie Potts Grindle Region 3 (Midwest) President: Linda Martin Secretary/Treasurer: Kevin Barger Region 4 (West) President: Kim Cramer Region 1 (Northeast) President: John Weit Directors at Large: Scott Hyslop, Thomas Schmidt Spring 2015 | CrossAccent 1 s PRELUDE The Rev. Dr. Jennifer Phelps Ollikainen Editor, CrossAccent e hold two realities in tension. Chris- than our own in an effort to include the breadth tian worship exists in a particular of musical gifts in the church while struggling W time and place, situated within hu- with the cultural realities of the oppression that man culture. And Christian worship transcends undergirds these styles and in which we often time and place, proclaiming the grace of God participate. in Jesus Christ beyond human limitations. We This issue of CrossAccent explores the struggle stretch this tension whenever our cultural and of preparing Christian worship in the messiness civic holidays or commemorations coincide with of human culture. Mark Oldenburg suggests worship or when the community is struggling five categories of civic observances and examines through political issues that have an impact on how each category may or may not be present the members of our community and, therefore, within the worship of the Christian community. the assembly gathered for worship. Paul Friesen-Carper observes how the Song of In the midst of these tensions we must make Hannah was used in the 17th-century Venetian choices about the content of worship. These are church as a partner in the dance of authority be- not easy choices because of the reality of our hu- tween the government and the church. Lamont man brokenness and struggle. What do you sing Anthony Wells illustrates a practice that holds in Sunday worship the weekend your communi- the tensions when African American spirituals ty celebrates American Independence Day? Will and songs born out of oppression are utilized you sing African American spirituals born out of cross-culturally in congregations that have not a history of and the ongoing reality of cultural experienced that oppression. Chad Fothergill oppression in a community that has not strug- offers a practical guide for choosing hymnody gled under the weight of that oppression? Has across three lectionary years for the first week our music for worship been co-opted by political of July, a time when most American congrega- disagreements or church politics? tions grapple with the tension between gospel We do best to hold the tensions and to and patriotism. practice intentional reflection lest we proclaim As Oldenburg points out, the incarnational the brokenness of humanity louder than we reality of Jesus Christ calls us to live redeemed proclaim the grace and wisdom of God that in a broken world being transformed by God’s transforms our worship with salvation grace. We grace. Our songs of worship often both proclaim sing the hymn with patriotic images while recog- gospel and reveal cultural biases and struggles. nizing that God does not show preference to one Together we are called to intentional reflec- country. We celebrate the vocation of parents tion, conversation, and careful practice so that while resisting the cultural tendency to idolize in the end the grace of God in Jesus Christ may the unattainable ideals of sentimental greet- transform our world, breaking it open with for- ing cards. We sing the music of cultures other giveness, reconciliation, justice, and life. 2 Spring 2015 | CrossAccent | www.alcm.org TAKE s NOTE A New Life and a New Hope: The Center for Church Music by Nancy Raabe ll it takes to change the world, or a small corner of it, is someone with a vision and A the conviction to follow it through. In 2010 the Center for Church Music (CCM) was established at Concordia Universi- ty Chicago (CUC) by two major gifts: Richard O Hillert’s entire library of manuscripts and pub- G CA lished compositions and Carl Schalk’s extensive HI C collection of American Lutheran hymnals. Both were housed in the university’s rare book and VERSITY VERSITY NI manuscript room. Although the room was open U to the public during library hours, relatively few took advantage of the opportunity to view and NCORDIA NCORDIA O study these collections. C This puzzled Barry L. Bobb (a CUC grad- uate with additional degrees in church music and systematic theology), who began dreaming MI about what the Center could become. Step by E BARRETT, LY Center for Church step, his vision of a wide array of electronic and Facets of the Center currently include: Music Director Barry print resources uniting all American Lutheran • an expanding collection of manuscripts Bobb and compos- church bodies has come to life. With support for and papers that now includes those of er Carl Schalk at the the Center from the university and from donors ceremony in June, Carl Schalk, Jaroslav Vajda, Paul Manz, 2014, marking the across the country, Bobb assumed the role of vol- Walter Pelz, and Ralph Schultz, along permanent loan of untary (unpaid) executive director in May 2013. with Paul Manz’s entire collection of tapes Schalk’s manuscripts Soon after, an advisory group was estab- documenting his hymn festivals through to the Center. lished and a new website launched. Today the the years; Center has taken wing as a remarkable resource • a series of monographs (published in part- through which the general public can become nership with Lutheran University Press engaged with the vibrant legacy of Lutheran [LUP]) on people and subjects of great sig- church music in America and with the forces nificance that long have been overlooked or and personalities that continue to shape it. never before properly represented in print; larger books are being released as well in col- O G laboration with LUP and MorningStar; CA HI C • an expanding array of important books and reference works devoted to church music; VERSITY VERSITY and NI U • the digitization (in partnership with Hymnary.org) of the vast Schalk hymnal NCORDIA NCORDIA O collection; phase I is now complete (see the C CCM website’s “Publications” section for LY BARRETT, BARRETT, LY MI E Spring 2015 | CrossAccent 3 s TAKENOTE From all this one can see that “growing” is a key word. “Things are constantly being added to all components of the Center,” Bobb said, “and more exciting plans are on the drawing board.” Representative of this dynamic expansion is the idea currently being explored for an open source digital initiative to scan and upload composers’ manuscripts so they can be viewed and studied online from any location. O G To learn more about the Center for Church CA HI Music, investigate its website, subscribe to its C electronic newsletter, and follow its Facebook page (www.facebook.com/centerforchurchmusic). VERSITY VERSITY NI U Also, make plans to attend the in-depth work- shop on the Center being presented by Linda Kempke at ALCM’s biennial conference July NCORDIA NCORDIA O C 19–23 in Atlanta.
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