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An Anglican Heritage in Transition: an Examination of the Role and Function of Traditional English Church Music in Four Anglican Parishes on the Witwatersrand

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An Anglican Heritage in Transition: an Examination of the Role and Function of Traditional English Church Music in Four Anglican Parishes on the Witwatersrand AN ANGLICAN HERITAGE IN TRANSITION: AN EXAMINATION OF THE ROLE AND FUNCTION OF TRADITIONAL ENGLISH CHURCH MUSIC IN FOUR ANGLICAN PARISHES ON THE WITWATERSRAND By Malcolm Chalmers Research Report submitted to the Faculty of Humanities, Social Sciences and Education at the University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Master of Arts (Heritage Studies) By Coursework and research Report Supervisor: Paul Germond Johannesburg February 2007 DECLARATION I declare that this research report is my own, unaided work. It is being submitted in partial fulfilment for the degree of Master of Arts (Coursework and Research Report) in the University of the Witwatersrand, Johannesburg. It has not been submitted for any degree or examination in any other university ____________________________________________ Malcolm Chalmers _______________ day of ______________________ 2007 i ABSTRACT This study examines an aspect of Anglican Church heritage (in a state of transition in South Africa) namely, the role and function of traditional English Church Music in a selected number of parishes on the Witwatersrand. Some musicians within the church see this heritage as being under threat, and with the ever-growing support for gospel and traditional African music in a number of former "white" parishes, not to mention the ongoing interest in so-called charismatic or contemporary music, there seems to be a concern that the style of music, as practised for centuries in the liturgy of the Anglican Church, may well be in decay. Thus, the preservation of a heritage such as this, surrounded by so many differing and varied cultural influences perhaps requires a new focus and prominence within the local Anglican Church community. The practice of traditional English Church Music in South Africa, and particularly on the Witwatersrand, now lies in the hands of a small number of musicians and liturgists who strive to maintain this heritage, and who also seek to educate those who might continue their legacy in the future. The historical overview at the beginning of this research report reveals the background upon which the present day situation is being investigated. From the research material that has been acquired and the interviews which have been conducted, certain deductions as to the problem areas have been made and thus possible recommendations suggested. The Parishes that were chosen for the case studies are perhaps not necessarily the most extreme examples on the Witwatersrand of what musicians and clergy are doing in keeping this area of heritage active, yet they have many areas in common, and thus were singled out as case studies for that purpose. Three of the case study parishes had very similar heritage scenarios, largely because they were early foundations on the Anglican Church on the gold fields. The fourth, although younger by approximately fifty years, is similar purely because of the idea of preserving a tradition to later generations. Such work is very challenging in this regard, especially with the various external influences which such a heritage has to contend with, and so that is why a chapter is dedicated to the Royal School of Church Music as a supportive organisation. There is every possibility that the case study parishes would do well even without such external support, but the fact that each of the parishes has maintained membership of the RSCM and contribute much to its survival too, shows that there is an undefined reciprocal agreement between them, in that they are supportive of each other. Some might say therefore, that they see it as a matter of survival though unity being strength. The findings of the case studies and the general research that has taken place with regards to this project indicate a number of contributing factors as to the retention of traditional English Church music in the South African context, albeit that as a heritage in transition, it encompasses a minority of the total population . ii For example, 1. Groups of passionate traditional church musicians in various dioceses. 2. The support of organizations such as the Royal School of Church Music and the Guild of Church Musicians. 3. Supportive Clergy. 4. The establishment of Diocesan Choral Associations, such as the Bishop's Choir of the Diocese of the Highveld. 5. Congregants of different racial and cultural backgrounds who wish to retain the traditional English style of music within the liturgy. Future trends that musicians and liturgists may encounter when it comes to the retention of this heritage will no doubt encompass the politics of heritage and change in South Africa. The influence of further African migration from the northern states, whose peoples might have a different perspective when it comes to the English musical traditions, will also have to be considered. Albeit that organizations such as the Royal School of Church Music are doing their best to keep up to date with cultural changes and influences, the impact of so- called "new age" religions, Celtic spirituality and ancestor worship have yet to have any true influence on the role of traditional Anglican music. The report in conclusion shows that there have been many wrongful allegations made as to the seriousness of the so-called threats to this aspect of Anglican music and liturgy, and that although a heritage very much in the minority of South Africa's greater heritage, it still has a following and is much-loved by many South Africans, drawn from virtually all cultural backgrounds. iii ACKNOWLEDGEMENTS Grateful thanks go to my supervisor, The Revd. Canon Paul Germond, without whose enthusiasm, constant encouragement and insight, this study could not have been possible. I am indebted to: Janet Chalmers, my wife, who has been a great support to me through the course of my Masters Degree programme, but most especially whilst undertaking this research report. Her expertise with the help in the scanning and editing of the photographs has been a major asset to this report, for which I am truly grateful. Without her patience, encouragement and love this would never have been possible. My family and friends, for their unfailing support. Thanks too, are due to: The Royal School of Church Music (SA Northern Branch) for the advice and help. Mr. Normal Buckle, Organist and Choirmaster at the Rosebank Catholic Church, for his help with the study on inculturation. Dr. Kevin Williams, Organist and Choirmaster at the Bedfordview Methodist Church, for input on the experiences of the Methodist Church and their experience of Cultural Diversity on services. Fr. Don Thomson, my parish priest, for his assistance with the Prayer Book codes. Fr. Thomas Amoore, Fr. Douglas Torr, Fr. Stephen Damian, Mr. Ron Gill, Mr. Sidney Place and Mrs. Colleen Hart for their time whilst being interviewed. Dr. Cynthia Kros, of the History Department at the University of the Witwatersrand, for her guidance with the original proposal with this study. Mrs. Sue Krige, a past lecturer in the Graduate School for the Humanities and Social Sciences at the University of the Witwatersrand, who was very influential in encouraging me to read for an MA in Heritage Studies. Carol Archibald and Kate Abbott of the CPSA Archives in the William Cullen Library of the University of the Witwatersrand, for all their assistance with various historical papers and photographs. Dr. Helen King, the widow of the late Very Revd. E. L. King, past Dean of Cape Town, for her assistance with various historical details pertaining to St. Boniface Church in Germiston, especially during the period of the Revd. King's Curacy in the parish. iv Mr. Derrick Patrick, the Parish Archivist of St. Thomas' Linden, for all his assistance with the parish history and the researching of parish documents and photographs. Mrs. Tessa Lane, the Parish secretary of St. Boniface, for her assistance with the parish archives. Mrs. Daphne Allison, the secretary of the RSCM SA Northern Branch for all her assistance with the branch membership statistics and the new constitution. Mr. Rob Allison for his assistance in scanning various pages of the proof document. To the clergy and laity who have had a great influence on my love of the Anglican heritage and tradition, especially as regards music and high church liturgy, my thanks are also due: Miss. Maureen de Villiers, Organist Emeritus of St. Boniface in Germiston, now organist of St. Mary's Cathedral in Port Elizabeth. The Rt. Revd. Timothy Bavin, past Bishop of Johannesburg, and Portsmouth. The Revd. Roy Snyman, past Rector of Germiston, Dean of Kimberley and Vice-Provost of Port Elizabeth. Mr. Richard Cock, Director of the Chanticleer Singers, and past Organist and Choirmaster of St. Mary's Cathedral, Johannesburg. Mr. Peter Bebington, past Organist and Choirmaster of St. Mary's Cathedral, Johannesburg. Mr. Andrew Nethsingha, past Organist and Master of the Choristers at Truro Cathedral in England, now Director of Music at Gloucester Cathedral. Mr. Simon Morley, past Assistant Organist of Truro and Lincoln Cathedrals in England. v DEDICATION This work is dedicated to: My wife Janet, Who never fails in her role as a loving and supportive wife and friend. My parents, Aubrey and Mary-Lou, Who knew the value of a good education and made sure I got one, and who encouraged me to study music from a young age, especially by being a chorister, and who are the most wonderful parents one could ever hope for. And to my late maternal grandmother, Lauretta Brammer, Who was very influential in my musical and cultural upbringing, and encouraged me as a chorister and musician. Requiem aeternam, dona ei Domine, Et lux perpetua luceat ei. Eternal rest grant unto her, O Lord, And let light perpetual shine upon her. vi LIST OF ABBREVIATIONS APB An Anglican Prayer Book: 1989.
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