UNITARIAN UNIVERSALIST LITURGICAL MUSIC

SUSANNE MARY MAZIARZ

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ABSTRACT

This paper grew out of disillusionment in composition in the academic community.

I was eager to compose functional music, Gebrauchsmusik, that would connect with a broader community. Thus; I have written ten pieces (choral, congregational song, and

instrumental) intended for use in Unitarian Universalist services. The paper examines the considerations of writing music for amateurs, a study of the history of Unitarian

Universalist hymnals and the specific hymn tunes used, the functions of congregational music and analyses of my own compositions. This thesis is atypical in that it puts greater emphasis on the relationship between the composer and the amateur musicians rather than the intricacies of the compositions themselves. V

TABLE OF CONTENTS

Abstract iv

List of Tables vii

Introduction 1

1. History and Context of Unitarian Universalism 3 Well known UU musicians 5 History of composition for the church 7

2. Functions of Congregational Music 11

Corporate, Corporeal and Inclusive 11

Creedal 13

Ecclesial 14

Inspirational 14

Evangelical 15

3. Hymnals 16

4. Composing Music for a Congregation 18 vi

5. Analyses of My Music 22

"Contemplation" 22

"Childlike Trust" 26

"So Quietly" 27

"Chalice Lighting" 29

"Meditation on A" 30

"Pack Light" 35

"We Are the People" 36

"Our Neighbourhood" 39

"Calling of Creation" 40

"Hevenu" 44

APPENDICES

A-Scores

B-Table of Shared Hymn Tunes in the History of Unitarian Universalism

C-Table of Shared Hymn Tunes with the Anglican and Baptist hymnals

D-Table of New Hymns in Singing the Living Tradition

E-Table of New Hymns in Singing the Living Journey

BIBLIOGRAPHY vii

LIST OF FIGURES

Figure 1 -Popular vs. High Culture 9

Figure 2 - Tessituras for four voice types 21

Figure 3 - Phrases, Vocal Entries and Climax in "Contemplation" 25

Figure 4 - Vocal Entries, Leaps and Climax in "Childlike Trust" 27

Figure 5 - Three phrases of "So Quietly" 28

Figure 6 - The lit chalice, the UU symbol 29

Figure 7 - Harmonic Analysis of "Chalice Lighting" 30

Figure 8 - First three phrases of "Meditation on A" 32

Figure 9 - Fourth, fifth and final phrases of "Meditation on A" 34

Figure 10 - Boogie-woogie bass line and jazz piano voicings in "Pack Light" 35

Figure 11 - Chant tune and word painting in "We Are the People" 38

Figure 12 -Chorus of "Our Neighbourhood" 40

Figure 13 - Word painting in "Our Neighbourhood" 42-43

Figure 14 - Hymn Tune, Hevenu 45 1

INTRODUCTION

This project marks a new beginning in my compositional output. I had become

disillusioned by what I saw as a closed community of contemporary music enthusiasts, and realized that this was the exact audience that I had been writing for. After being hired on as Music Director at Neighbourhood Unitarian Universalist Congregation in Toronto, my eyes were opened to the need and desire for a more accessible and inclusive form of music making. Much like the Kapellmeister of the Baroque who was commissioned to compose new works for his patrons' needs, I was now in service to a congregation of untrained musicians. Knowing whom I am writing for has always been important to me, and I now have the unique opportunity to work directly with those musicians and adapt the music to their needs and preferences. It is a very special experience to see a piece of my own music grow from its conception to coaching to performance, receive feedback, perhaps rewrite, and then perform again to a supportive—and often participating— audience.

The paper comprises five chapters. The first, "History and Context of Unitarian

Universalism," shows what aspects of the UU faith I had to consider as I was writing music to be performed at a UU church by UU musicians. I also touch upon the history of church music in general and the classifications of "low art" and "high art". The second chapter, "Functions of Congregational Music," delves into the concept of

Gebrauchsmusik, and what utility congregational music actually serves. In the third chapter, "Hymnals," I show the results of my quantitative research of two current sources 2

of congregational music for UUs. This research supplied the material for Chapter Four,

"Composing for a Congregation," which outlines what I needed to consider and change in my own compositional practices for enjoyable music making with amateurs. The final chapter, "My Music," contains analyses of the ten pieces that I composed for this project.

All of the pieces included in this thesis were written expressly for the congregation at NUUC. A few of the pieces would only be appropriate as sung in a liturgical context, e.g., "Chalice Lighting," a ritual piece to be sung as the chalice (the symbol of the UU faith) is lit each Sunday morning; and "We Are the People," a chant carried by a group of voices while the choir sings solo lines. Several of the pieces could also be performed in a traditional concert setting, e.g., "Calling of Creation," a choral piece with soprano, tenor, and baritone solos accompanied by piano; or "Meditation on

A," a chaconne for piano solo. Since the performance of these pieces at NUUC, I have realized some of the mistakes I made in writing for amateur musicians, and this paper a launching pad for future compositional projects. 3

CHAPTER 1: HISTORY AND CONTEXT OF UNITARIAN UNIVERSALISM

Unitarianism is a liberal religion stemming from the Protestant Reformation. It began as a Christian movement but now encompasses many faith traditions. Unitarian

Universalists include people who identify as Christians, Jews, Buddhists, Hindus, Pagans,

Atheists, Agnostics, Humanists, and others. They accept that spirituality and inspiration can come from a variety of sources, not just one book, belief or creed.

PERSONAL HISTORY

I was first introduced to the UU faith in the summer of 1996 at "Unicamp," where

I was hired to work as the assistant cook. What appealed to me most was the open- mindedness, the variety of viewpoints and interests, and the talent and kindness of the members.

There are seven principles which Unitarian Universalist congregations affirm and promote: the inherent worth and dignity of every person; justice, equity and compassion in human relations; acceptance of one another and encouragement of spiritual growth in their congregations; a free and responsible search for truth and meaning; the right of conscience and the use of the democratic process within their congregations and in society at large; the goal of world community with peace, liberty, and justice for all; and respect for the interdependent web of all existence of which all are a part.

Unitarian Universalism (UU) draws from many sources including: direct experience of transcendent mystery and wonder, affirmed in all cultures, which moves us to a renewal of the spirit and an openness to the forces that create and uphold life; words 4

and deeds of prophetic women and men, which challenge us to confront powers and

structures of evil with justice, compassion, and the transforming power of love; wisdom

from the world's religions, which inspires them in their ethical and spiritual life; Jewish

and Christian teachings, which call them to respond to God's love by loving their

neighbors as themselves; humanist teachings, which counsel them to heed the guidance

of reason and the results of science and warn us against idolatries of the mind and spirit;

and spiritual teachings of earth-centered traditions, which celebrate the sacred circle of

life and instruct them to live in harmony with the rhythms of nature.

Since November 2007,1 have been employed as Music Director of the

Neighbourhood Unitarian Universalist Congregation in the east end (Beach area) of

Toronto. My duties include planning the music for Sunday services in cooperation with

the minister (prelude, congregational song, meditation, and instrumental), rehearsing and

leading the NUUC Spirit Choir (4-part, 19 members), and various other administrative

duties. All of the pieces written and studied for this thesis were composed to be sung and

played at NUUC services. As Mark Evans writes in his interesting study on modern

congregational music Open the Doors, "There are few things more powerful than songs

written out of the teaching of a local church, for that local church."1 Music written for

congregational use has many different inherent functions. These functions are not

inherent in music written for the concert stage, and I'll explore those differences later in

this paper.

1 Evans, 2006 pg. 162 5

I have the shadow of past UU composers and musicians looming over me. Martin

Luther may be considered the forefather of UU musicians. A main aspect of his religious

reform was to make congregational singing a feature of Protestant services, providing

practical opportunities for the individual's contribution to worship. It is said that he made

more converts by bis hymns than by his preaching. Bela Bartok (Hungarian, 1881-1945)

and Edvard Grieg (Norwegian, 1843-1907) are two canonized composers who both

declared a Unitarian faith. Both drew inspiration fromth e folk music of their native

lands. Luigi von Kunits (1870-1931), a member of First Unitarian Universalist

Congregation of Toronto, created the Toronto Symphony Orchestra and was its versatile

and talented conductor for nineteen years. The TSO's first string section was made

largely of his pupils.

Just as UU scripture can come from a wide range of sources, Unitarian liturgical music can come from a variety of styles and traditions. There isn't one type of music that

can express the divine better than all of the others. All music can bring us deeper spiritual fulfillment and enlightenment. In 1982, the UUMN (Unitarian Universalist Musician's

Network) was formed to "develop and enrich music ministry in the denomination and to

support the musicians who carry out this vital work." (from the UUMN homepage, http://www25.uua.org/uumn/about/whatisit.htm). It was the UUMN who took an active role in the development of Singing the Living Tradition (1993, referred to hereafter as

STLT) and also its supplement from 2005, Singing the Living Journey ("STL/"). In the current hymnal used by Unitarian Universalists ("UUs") across North America, one can find traditional Christian hymn tunes, pagan chants, folk tunes from around the world, 6

worship music from Jewish, Hindi, Yoruba and other sacred traditions, tunes from the art music canon, African-American Spirituals, original music composed by UU composers, and others. Following the UU belief that inspiration can be found in many sources, our hymnal does not provide all of the songs that can be heard during a service. We have sung pop songs (e.g. "Teach Your Children Well," by Crosby, Stills, and Nash), club songs (Salvation Army, Girl Scouts), and music from movies and television ("The

Rainbow Connection" - The Muppet Movie). However, not all types of secular music can be used in a spiritual context. Often an old tune is kept but the words changed to reflect a more inclusive spiritual attitude. This is an old church tradition termed contrafacta. The borrowing of music from secular culture also has a long-standing tradition in the church starting with Renaissance sacred motets using folk tunes familiar to the congregation. For example, the secular tune L 'homme arme was set over 40 times by different Renaissance composers (e.g. Dufay, Josquin, Palestrina) as a cantus firmus for the Latin Mass.

Unlike some believers of Christianity and Judaism, we are not concerned with the potential hazards of "diluting a sacred message with the evils of the world"2 or with finding "an alternative to the secularism which otherwise deludes us with its promises."

These concerns are found in Dr. Mark Evans's (Head of Contemporary Music Studies at

MacQuarie University) 2006 study of congregational music, which argues for an academic study of current church music. In UU music, pop culture and high art can coexist as long as the function holds true for the congregation (more on the functions of music to follow). As far as I am concerned, there is no critical distinction between "low

2 Evans, 2006 pg. 66 3 Evans, 2006 pg. 72 7

art" and "high art." Any music that has a history and transmits a tradition has life in contemporary culture and is worth close and careful study.

Historically, church music set the trends in composition. Professor Waldo Selden

Pratt, a lecturer of musical art at the Hartford Theological Seminary goes as far as to say that "the art of music is what it is today largely in consequence of what religion has done for it."4 The Renaissance composers who developed counterpoint (Dufay, a priest;

Ockeghem, a canon; des Pres, a member of the papal choir; Palestrina, almost a priest, and cappellmeister at a variety of Italian basilicas, and later Bach, cantor) did so in response to their own church loyalties. These composers' works comprise the cornerstone of music history's canon, and are rich and deep enough to allow for interest in revisiting them five hundred years later. It should come as no surprise that their influence can be felt in all composition up to the present day.

The writing of purely instrumental music can also be traced to the church's influence, as a growing number of skilled musicians played on increasingly complex church organs built to complement the complexity of counterpoint found in the vocal music. Music in the church began as single-line, Gregorian chant without accompaniment. By the mid 1500s, composers were writing for as many as forty voices.5

Before 1500, the instruments in common use were mainly melodic (flute, shawm, handheld harp, lute); no instruments were available to produce sustained harmonies, and none produced a sufficiently powerful sound. By the mid-eighteenth century, six separate

4 Pratt, 1923 pg. 14 eg. Spem in a/ium a 40 voice motet by Thomas Tallis, c.l 570 8

musical lines were written to be played by one performer.6 The art of the chorale prelude, a creative interpretation of a religious hymn tune generally written in a contrapuntal style, comes out of this tradition.

Nowadays, the church's influence on contemporary composition is not as strongly felt. Only a few celebrated composers of religious music come to mind: Arvo Part, Alan

Hovhaness, and Henryk Gorecki. Newly composed liturgical music is no longer at the forefront of composition and music scholars have shied away from its study. Taking a look close to home, I didn't see any sacred music in the course offerings of the Music

Department at York University this year. "The contemporary traditional church is increasingly seen as the least likely option for those seeking an artistic, politically subversive, activist community of mystical faith."7 What happened?

For some churches music has become a commodity, moving it away from the high-art label once placed upon it and into the popular, low-art category. Christian

Copyright Licensing International ("CCLI") publishes a top-25 list of Christian songs sung during services in Australia, Canada, New Zealand, South Africa, Sweden, the

United Kingdom, and the United States biannually. You can buy copies of these pieces directly through the artists, agents, or CCLI, and everybody makes some money. This is also the way popular music is bought and sold in secular cultures. The following chart illustrates the differences between popular culture and high culture and their relationship to musical function.

6 eg. Das Mwikaliches Opfera. 6 part ricercar (fugue) by J.S Bach, 1747 7 Frost and Hirsch, 2003 pg.6 9

FIGURE 1: Popular Vs. High Culture Dawn, 1995 (pg. 188)

TRADITIONAL/FOLK AND HIGH POPULAR CULTURE CULTURE

Focuses on the new Focuses on the timeless Discourages reflection Encourages reflection Pursued casually to 'kill time' Pursued with deliberation Gives us what we want, tells us what we Offers us what we could not have already know imagined Relies on instant accessibility; Requires training: encourages patience encourages impatience Emphasizes information and trivia Emphasizes knowledge and wisdom Encourages quantitative concerns Encourages qualitative concerns Celebrates fame Celebrates ability Appeals to sentimentality Appeals to appropriate, proportioned emotions Content and form governed by Content and form governed by requirements of the market requirements of created order Formulas are the substance Formulas are the tools Relies on spectacle, tending to violence Relies on formal dynamics and the and prurience power of symbols Aesthetic power in reminding of Aesthetic power in intrinsic attributes something else Individualistic Communal Leaves us where it found us Transforms sensibilities Incapable of deep or sustained attention Capable of repeated, careful attention Lacks ambiguity Allusive, suggests the transcendent No discontinuity between life and art Relies on "Secondary World" conventions Reflects on the desires of the self Encourages understanding of others Tends toward relativism Tends toward submission to standards Used Received 10

The placement of some congregational songs into the low-art category has led to their lack of study. There is "little, if any theological investigation of the history or purpose of church music and there is a lack of any widely held objective criteria that establish propriety or quality in church music."8 A UU music director would argue that each congregation may have different ideas on what purpose their music should serve.

To determine whether or not a congregational song upholds a particular church's standards of propriety and quality, one must first determine what purposes the congregation wants its music to serve. I posed this question to NUUC's minister Wayne

Walder.

The analysis of church music poses some unique and distinctive challenges. We cannot analyze just the notes or lyrics because the music is more than the creation of a musical mind in isolation; denominational, national, economic, and cultural peculiarities all factor into its creation and reception. In contrast, analyses of abstract art music are hardly concerned with how it will function in a pragmatic setting, such as a church service. But one cannot fully examine music without "bringing one's own experience as a human being to bear in unpacking musical gestures, to try and parallel in words something of how the music feels."9

Does my music "encourage singing from the heart," "[improve] musical knowledge and skills," "make room for a diversity of musical styles," "draw from a wide

8 Faulkner, 1996 pg.204 9 McClary, 1990 pg. 188-89 11

range of traditions," "make all voices welcome," "express diversity and commonalities,"

"have the power to touch and heal," "create a heartbeat for the community?"10

CHAPTER 2: FUNCTIONS OF CONGREGATIONAL MUSIC

As outlined by Brian Wren in his extensive study on congregational song, congregational music is "by nature corporate, corporeal and inclusive; at its best it is creedal, ecclesial, inspirational and evangelical. Each characteristic is theologically important." (pgs. 84-97). Following is a discussion of the five functions of congregational music as described by Wren: corporate, corporeal, and inclusive; creedal; ecclesial; inspirational; and evangelical. It is though my understanding of these functions of music that I was able to compose my own UU liturgical music.

Corporate, corporeal, and inclusive

Singing is a physical act. It is the most direct form of music making. Singing provides physiological arousal during which our bodies are at a "generally enhanced state of being"11. Coming to service is making oneself present in the community, but it is singing together that brings all the bodies into a shared, communal, physical act. For many, music and singing are what they enjoy most about services. The meaning of UU

10 As listed in the UUMN's document "Music as Ministry" as compiled by Joyce Poley, 2006 and available at http://www.uua.org/documents/poleyjoyce/music_ministry.pdf 11 Storr, Music and the Mind, p.25-28. 12

congregational singing should be contrasted with its meaning within the Christian church.

The singers do not become one with Christ when they sing in unison, and God isn't their only audience. They are there to sing with and for each other. UU congregational singing is not necessarily a performance for God. Congregants are free to decide the purpose of their musical contributions. Ideally, there is no judgment, only support from the group for each individual to express himself in song. This is one of the few traditions in our culture in which untrained singers are encouraged to make music together. Musicologist

Christopher Small, in Musicking12, discusses how the marketing of music has discouraged amateur "musicking." We are encouraged to believe that good music is what you pay for and that music is for the privileged or learned:

To take part in a music act is of central importance to our very humanness, as important as taking part in the act of speech, which it so resembles, and second, that everyone, every normally endowed human being, is born with the gift of music no less than with the gift of speech. If that is so, then our present-day concert life, whether "classical" or "popular," in which the "talented" few are empowered to produce music for the "untalented" majority, is based on a falsehood. It means that our powers of making music for ourselves have been hijacked and the majority of people robbed of the musicality that is theirs by right of birth, while a few stars, and their handlers, grow rich and famous through selling us what we have been led to believe we lack. (Small, pg.8)

Participating in congregational music is an opportunity to reclaim for ourselves a birthright that has been denied us by the teachings of our culture. Everyone can musick,

12 Christopher Small defines his term musicking as, "to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing" 13

and congregational singing brings us together in body, spirit, and intent. Musical entrainment occurs, bringing the singers into synchronous breathing, swaying, clapping, and pitch production. Making music together strengthens our communities.

What's more, for a music director who is also a member of the congregation, the mediation between songwriter and congregation is reduced; the music has collective ownership. The key words aren't profit and marketability, but community, locality, immediacy, and experience. We are making our own music, physically and creatively practicing our faith together. Through congregational singing, performer and audience become one.

Creedal

In UU congregational song, congregants minister to each other by verbally expressing their common creed, praying for each other, attending to their congregation's concerns and tastes with the healing ability of sound. They need to believe in the meaning of lyrics to sing them from the heart and with conviction. This may be one of the core reasons why Unitarians have developed a bad reputation for congregational song, because their faith is inclusive, with all beliefs represented. Everyone has different gods to worship, or no god at all. I have to be very careful when choosing hymns for the congregation that the words are all-embracing and focus on shared values and principles, that all singers will feel comfortable and committed to singing the text. Although UUs have no formal creed, the seven principles that from the basis of their shared beliefs (see

Chapter One) reflect their commitment to a harmonious coexistence with all things. The 14

lyrics of hymns have been changed over the years, and new lyrics to familiar tunes have been written to promote the seven principles. When we sing together, we are in agreement with one another about our commitment to these values. We can express our faith in a beautiful, soulful, and artistic way.

Ecclesial

Singing these tunes connects not only members of the congregation, but the entire congregation to the wider community of Unitarians and the history of their music. For example, STLT includes one of the first Protestant hymns, Martin Luther's "A Mighty

Fortress" (#200) in its original state, as well as #303, using the words of UU Kenneth

Patton. Also, for the International Women's Day service, our congregation sang STLTs

"As We Come Marching" (#109). James Oppenheim's (1882-1932) text was inspired by a banner made in the 1912 Lawrence strike in Massachusetts, where over 20,000 immigrant women walked off the job due to massive pay cuts. This hymn didn't appear in any previous UU hymnals. A Unitarian arranged it SATB for STLT.

Inspirational

Singing brings words to life and frames them in the present moment. Sometimes we don't consider certain aspects of our faith, but are introduced and reminded of them through singing, which then can inspire us into action outside the church. Social action is a firm commitment for UUs. Music has a healing aspect for our minds, spirits, and bodies.

Although I don't have the opportunity to write about music's healing properties, this subject has been well documented for over a millennium. Music has been known to aid in 15

the healing of depression, insomnia, arthritis, premature births, and even cancer. For many congregants it may be the only time they will sing during the week, their only time to produce their own and others' musical healing. It can be seen as part of a group therapy session. "Now Let Us Sing" (#368) never fails in producing an inspired sound from the congregants with its joyful call and response melodies and its direct reference to the power of song: "Now let us sing, sing to the power of the faith/hope/love/joy within."

Our minister chose "Though I May Speak with Bravest Fire" (#34) to be sung at his installation service. Its text is about the power and importance of love above all things, and inspires a purposeful sense of camaraderie in the congregation and their minister.

Evangelical

Congregational song can also serve an evangelical purpose. If the musical life of a congregation is strong, it will attract more newcomers who can sense the passion, joy, commitment, and love of the group. The stronger voiced the congregation, the more comfortable a newcomer will feel joining in song. "We Would Be One" (#318) inspires a feeling of devotion with its anthem-like rhythm and slow tempo. The call to community action is explicit in the text: "We would be one as now we join in singing our hymn of love, to pledge ourselves anew. We would be one in building for tomorrow a nobler world than we have known today. As one, we pledge ourselves to greater service, with love and justice, strive to make us free." The melody covers the range of a major 6th, in a

13 In "Case Studies in Music Therapy", a variety of music therapists from 9 countries document the successes that they have had implementing different forms of music therapy on their patients. 16

comfortable range for the congregation; they sing it with confidence. The repeated

rhythmic pattern of the phrases (11.10.11.10.11.10.)14 creates a familiarity for the singers.

CHAPTER 3 HYMNALS

Hymn singing has been a main feature of Protestantism since the Lutheran

Reformation. People needed to be able to make their own music for worship. To better

understand what UU music is, I undertook a survey of the hymnal currently in use in

congregations across North America, STLT.151 wanted to discover what commonalities

were present in UU music, how much of it was written by UUs, how our faith has kept up

with the times, what we had in common with other Protestant hymnals, and what makes

UU music UU. This would be a good launching point for my own UU compositions.

Of the 335 hymn tunes in STLT, 101 appear in Anglican and/or Baptist hymnals

(30% shared with Christians), 89 are written or arranged and adapted by UUs for that

volume (27% UU), and 26 were written by women (8% women's music). There are 153

new tunes STLT that didn't appear in older editions (46% new to 1993). The remaining

hymns consist of international folk tunes and traditionals, African-American spirituals,

art-music, canons, rounds, and other religions' sacred tunes (43% other.)

These numbers refer to the number of syllables in each line of text. Eg. "Mary had a little lamb/her fleece was white as snow/and everywhere that Mary went/her lamb was sure to go" would be 7.6.8.6 15 see Appendix 1 17

Before beginning the survey, I had imagined that a majority of the music would be UU in origin, but the majority of it is the result of the taking of existing Christian tunes and simply changing the words here and there to make them fit the UU faith and suitable for publishing in the UU hymnal. Most of the time that means taking out monotheistic words such as Lord or God and changing it to love or life. The UUMN must have sensed this problem, because a survey of ST J reveals a shift in musical focus. Of the

75 tunes in ST J, only one appears in the Anglican hymnal (1% shared with Christians),

42 were written or arranged by UUs (56% UU), 20 were written by women (26% women's music) and the remaining songs consist of international folk tunes, African-

American spirituals, rounds, chants, and songs from pop culture.16 There is a noticeable increase of Spanish language music, reflecting the ever-increasing Latino population in the US. Another shift that has begun in published UU congregational music is the decline in traditional S ATB settings and the increase of song-like hymns-tunes sung in unison with piano accompaniment.

Traditional hymn tunes tend to be rhythmically bland, stemming from Christian music's tradition of offering "participants minimal sensual pleasure and directing them more to spiritual devotion than corporate exhilaration."17 These tunes are also much easier to teach and sing in a congregational setting. The new hymnal supplement leans towards more dance, pop, and jazz inspired rhythms, with tunes like #1036 "Calypso

Alleluia" (8/8 3+3+2), #1050 "Jazz Alleluia" (swung 5/8) and #1074 Harry Belafonte's

"Turn the World Around" (5/4 Calypso). Appendices 1-3 show my quantitative research

16 see Appendix 2 17 Evans, 2006 pg. 26 18

of STLT, STJ, the 1964 and 1943 UU hymnals, and tunes common to current UU, Baptist,

and Anglican hymnals.

CHAPTER 4: COMPOSING MUSIC FOR A CONGREGATION

My experience in composition up until this project had been solely for the

academic milieu. I only worked with musicians who had undergone many years of training and had developed fine music skills. There were deadlines and expectations in

level of difficulty, and I strove to stretch my compositional skills to meet them. Although

I strive for quality and clarity of expression in both the academic and religious

communities, my sense of compositional direction is quite different in each. For the university, I aimed to stretch my skills with clever manipulations of the musical material that would keep my musicians engaged. The pieces were exercises aimed solely at

developing my craft and skill. Writing for a community of spiritual seekers with whom I would collaborate each week gave me a new sense of purpose. I have always felt that

music connected me with something greater than myself, and I welcomed the opportunity to share this feeling with a like-minded community. As Pratt notes:

Yet in [music's] total movement it seems unable and unwilling to escape from the fascination of religious subjects and sentiments. Often it plainly reverts, consciously or unconsciously, to those religious modes of expressing itself that once were almost its only available ways of realizing its conceptions. So sometimes it seems to the thoughtful observer as if it were a divine law that music as a fine art must continually return in some way to religion for fresh impulse of life, must frequently expend its artistic powers with keenest zest upon sentiments 19

that are either religious or proximately religious, and, thus must continue to acknowledge itself still, as it was in all its younger days, the chosen handmaid and interpreter of religious worship and religious enthusiasm.18 But the music doesn't happen until the performers express it. In both cases, I had to keep in the forefront of my mind the performers and their instruments. In the university, this is not as much of a limitation. But congregants want to enjoy uniting to make music. If a song is too difficult they become frustrated, intimidated, and feel separated from the group. It took a few attempts to learn the limitations of the vocalists I was working for.

Elements of range, rhythm, melody, harmony, and form had to be newly envisioned.

I will begin with the formal element and discuss the others in turn. In an early version of "We Are the People," I had the chanting congregants cut out so that the choir could modulate up a half step and sing unaccompanied. After twelve bars the choir modulated up another half step and restarted the chant. I cued the congregation to come back in and continue the chant in unison with the choir. After trying this with the congregation, I received considerable feedback that it was too confusing for them. In the current, revised version of "We Are the People," the congregation carries the chant throughout and there are no modulations. This works a lot better. The congregation is confident in its ability to carry their own part without questions or insecurities.

Undoubtedly, a trained choir could sing this through perfectly the first time.

The chant tune spans a range of a fifth (scale degrees 7-1-2-3-4 of D Aeolian, C-

G) in a comfortable range for all voices. The congregation is comfortable in range from A

Pratt, 1923 pg.27 spanning an eleventh to D with the women singing one octave higher than the men.

Comparatively, trained singers have a range of at least two octaves.

Harmony was an issue in "So Quietly." The piece has three major 7th chords (Eb,

Bb, Gb). The bass choristers found it very difficult to sustain the root of a major 7th. If left unchecked, they would sink a semitone to the major 7th sung also by the sopranos. To ease any melodic challenges, each voice stays within a 5th and the sopranos sing a pedal tone. This provides "an overhead support" for the other voices to hang their harmonies from. The soprano pedal tone F is sung in unison by all voices to begin each phrase.

It was difficult for the choristers, once they had learned a tune, to adapt to a revised version. In my original version of "Pack Light," there were only two parts, a call and response setting. The choristers learned this first. I arranged it for SATB and they struggled to sing their new parts after learning the words to another tune. Needless to say, trained musicians could adapt more quickly to this alteration

I believe the congregational musician's biggest challenge is rhythmic. In my congregation, I am behind the piano and there is no one to physically lead them. A song leader's contribution to successful congregational singing is immeasurable. For example, if I don't play the chant tune at the piano while the congregation sings, they will inevitably speed up, and not all at the same rate. If we had a regular song leader, I am sure congregational singing would improve considerably. The leader would act as an able and inspired embodiment of words and gestures. These could be seen, internalized, and imitated, and would ease some of the responsibility of the congregants, enabling them to sing with greater confidence and authority. 21

Congregational singers' range has shrunk over time. I attribute it to the lack of singing that goes on in our present-day culture. Hymnbooks are now transposed to lower keys to adapt to this change. The bass/baritone range is from F up a twelfth to middle C, tenor from the C below up a tenth to middle E, alto from A up an eleventh to C, and soprano from middle C up a tenth to E.

Figure 2. Best-sounding range for amateur voices

-n~ a

Bass/Baritone Tenor Alto Soprano

Having the choristers sing outside of these ranges leads to very turbulent territory: either a very weak sound, screeching, or insecurity in pitch and in staying in tune. CHAPTER FIVE: MY MUSIC

Following are analyses of the ten pieces that I wrote both for this thesis and for performances as service music at Neighbourhood Unitarian Universalist Congregation.

They all had their premiers this year at NUUC, and I was song leader for each.

Contemplation—round (:34, total time varies on repetitions) 2009

Childlike Trust—congregational round (:20, total time varies on repetitions) 2008

So Qnietly—refrain (:27, longer with repeats and spoken text) 2009

Chalice Lighting—ritual song (:16) 2008

Pack Light—contemporary hymn with chorus (2:10) 2008

We are the People—chant (4:00, could vary with repetitions) 2008

Our Neighbourhood—choral anthem (2:35) 2009

Calling of Creation—choral anthem (4:00) 2008

Hevenu—choral prelude (4:00) 2009

Meditation on A—instrumental, piano solo (3:36)

CONTEMPLATION Ida Tong wrote her poem "Contemplation" in the early nineties while in Italy. I set only the last seven lines as a round. Here it is in its entirety: Faith, if anything

I must keep

In my silent thought

Till I cannot stop

Disturbing that magnificent

Contrast of nature

Shed a tear

Contemplate a little

Empty my wild thought

Are the only positive

Actions without violence

To suit my temperament

For, I am no longer

Vigorously young

As the waves always sound

But my heart remains

Flowing quietly

Like a river

That is the space

Between two walls 24

That holds water

Eternally

A sung round is a living example of the blending of community and the individual. First it is sung in unison, bringing the singers together in one voice confirming their common purpose. When the round begins, each singer takes up its message and shares it at her scheduled moment while becoming entangled in the web of voices - a sonic representation of life in a strong and healthy community where the individual contributes to a harmonious whole. Through working with the congregation, I have discovered that many people have been somehow traumatized about their own singing voices. For example, some adults have told me that due to negative musical experiences in their past, they have been too scared to sing since adolescence. Singing rounds gives individual responsibility to each of the groups of singers; if they don't feel confident, the round will be unsuccessful. By singing the tune through a few times in unison, the congregation has an opportunity to feel connected and secure with the tune. In a healthy community, the individual feels secure and supported enough by the other members to freely express him/herself. In this way, singing can have a therapeutic effect on those previously denied the right to sing and express.

For this round, I chose F Aeolian because of its plaintive sound, and because

Aeolian is a commonly sung modality in our denomination. It is used in STLT to represent a large variety of cultures and the music that relates us all; twenty-three new 25

Aeolian tunes were introduced in STLT*9. The message of certainty of the 4-3 and final 7-

1 semitone resolutions is not in tune with the questioning of a spiritual seeker. The resolution of the unstable scale degrees to their certain tonics is too definite an answer: a

UU spirituality is one of eternal questioning. I sense that singing modal music equalizes the singers, since it is without the hierarchy of tonal resolutions.

The round has three phrases to be sung in four parts. It is sixteen bars long and divided into Phrase 1-bars 1-4, Phrase 2-bars 5-11, and Phrase 3-bars 12-16 (4+7+5). The climax of the tune occurs early, in bar 5 on Db. The descent is rapid through the second half of the second phrase. A pause after the second phrase stops the action completely.

The final phrase stays within the same range as the opening but the rhythm has slowed.

FIGURE 3 Phrases, voice entries and climax in "Contemplation"

© ® .=88 Phrase 1 Phrase 2

My_ heart re - mains flow- ing_ qui - et - ly, like a riv - er that_ is the space be -

tween two walls that holds wa - ter e - ter - nal - ly.

19 #18 (Southern Harmony), WlAIUXQl (Filipino), #43 (UU), #60 (UU), #176 (Indian), #177 (Japanese), #181 (India), #194 (Chinese), #195 (Taiwanese), #196 (Native American), #198 (American), #214 (Hebrew), #216 (Hebrew), #218 (modern Hebrew), #260 (Hebrew), #261 (American), #262 (German), #264 (UU), #389 (American), #392 (Hebrew), #408 (UU), #415 (Hebrew) 26

Because of the complexity of the tune, it wouldn't work as a congregational song: the rhythm is irregular, the range is greater than an octave (min.9th), and there is a long pause over the bar line.

That challenge led me to write "Childlike Trust." How to write a good tune that is fun to sing, conveys the meaning of the text, and can be carried by the divided group in a round? Nothing reminds me more of children than the sound of C major at the piano, so I chose it for this piece. The tune does not exceed the range of an octave. It progresses

stepwise save for 3 leaps: a P5 at the end of the first phrase, a P4 connects the final note and the first, and a commonly difficult Aug 4 from 4-7 to start the fourth phrase. I found this dreaded interval to be manageable for the congregation. The mind is refreshed and prepares for what is coming at the rest that separates the interval. The leading tone is a pick-up that resolves conventionally onto the tonic, a confident pitch for amateur singers.

To create a childlike spirit, the piece couldn't be in a plodding 4, but a dancing 3/4. There are 16 bars divided equally into four 4-bar phrases. The climax comes at the beginning of the final phrase, "with string," 7-1. This text is literally strung up. The 2nd phrase begins with the same pitch that the first phrase ended with; likewise for the 2nd to 3rd phrase. To begin the exclamation of the final phrase, there is a half-step approach to the 2nd P5, the highest pitch in the tune. 27

FIGURE 4 Voice entries, only 3 leaps and climax in "Childlike Trust"

.=132 fl © leap 1 © ® W'i i U4-4U j j |J > J |J J J U J |J J J Ij ^ I want to go on a red tri - cy - cyle, with red rub-ber boots meant on - ly for rain, and

pud-dies and mud and have a strong hand, with string! pull me as fast as the wind.

SO QUIETLY

Our minister, Reverend Wayne Walder, wrote this poem expressly for this study.

It was written as a refrain, making it the obvious choice for the setting. "A refrain can

summarize the essential message of a congregational song or provide a memorable moment of participation in a song otherwise inappropriate, or too difficult, for the congregation to sing."20 "So Quietly" is sung by the choir during meditation, when it is not expected that the congregation will join in, since meditation is meant for contemplation, not vocal participation.

"So Quietly" was conceived in the key of Bb+. There are three responses, each beginning on a unison F quarter note pickup, with each phrase increasingly longer (12 beats, 13 beats, 17 beats). The final phrase rests on a Gbmaj7 harmony that, when sung at the end of the second phrase, resolved to a gmin7 sonority. Although the resolution and

Wren, pg. 104 28

return to a calm and peaceful minor 7th has been thwarted, the major 7th sonority still provides a stable closing sonority.

The choir has to be able to come in at the beginning of any of the three different responses. The sopranos sustain an F throughout to maintain the tuning of the group and act as a tonal constant and security blanket for entries. The choir remains in their low-mid range to sustain a constant pianissimo dynamic. It was very hard to tune the only chromatic chord of the piece, bVImaj7. The basses' tendency was to try and resolve their root down a half step to make a i6/4 sonority.

FIGURE 5 3 phrases of "So Quietly'

Choir

r r r r Bb+:V !Vmaj9 V4/2 IVmaj9_ Imaj7_ V6add9_

w ^r r f= IP 5B? ly. W ul et iy. Choir qui just sit with me so 1 " J ,, J J J J |,M *) *lr—f fc^ r T r r r =$r — vi7 bVImaj7 vi7 V Imaj7_ V6add9 vi7 bVImaj7_ Our congregation needed a piece of ritual song. Many UUs grew up in Catholic or Protestant churches where musical settings was repeated in successive services

(Sanctus, Agnus Dei). There was no constant musical element to our UU services. The only constant visual element to UU services is the lighting of a chalice. The UUs use this as their symbol.

FIGURE 6 The lit chalice, the UU symbol.

There is no set meaning in the chalice; it is open to individual interpretation.

"Chalice Lighting" was also written by minister Wayne Walder and has two phrases:

"We light this chalice to remember, to light the fire within our own hearts." In the first, the soprano and bass sing the tune in parallel octaves, sandwiching the middle voices in their harmonies. To have both the men and women singing in octaves makes it easier for the untrained ears of the congregation to follow with the melody. The traditional IV-I

Plagal/'Church" cadence is thwarted at the end of the second phrase. Instead of an

Eb+6/4,1 borrowed the iv chord from the tonal minor, an Eb-6/4.

21 "short, congregational utterances that move the action of worship", Wren, pg.105 FIGURE 7 Harmonic analysis of "Chalice Lighting"

*=72 W light the fire with in our own hearts_ J i J- J> r T- p 'r c-f? I 16/4 ii6/5 iii6 vii6/4vi6/4V6/4 vi6 ii4/316/4 V IVmaj? bVII6/4 iv4/2_ iii4/2_ ii iv6/4 I

Normally during meditation in service I improvise something on the piano, or the meditation is silent. Meditation is a time to go inside oneself and be present in the moment. Although this can be done with composed music, I feel it is closer to the undertaking of meditation for the musician to go inside herself to find the sounds appropriate for that particular moment. Thinking about this made it difficult for me to write an instrumental piece for meditation. "Meditation on A" is the only instrumental piece in the collection. Our minister Wayne Walder suggested to me that repetition is a main feature of spiritual music, so I chose the form of the chaconne with its repeating harmonic structure. There are six phrases, and each is repeated save the first. Each phrase gains surface rhythm from the one before. This growth in rhythmic density does not correspond with stillness (more with excitement or agitation) and creates an expectation;

I now recognize this as a compositional error on my part.

I used a 4-note modal chaconne (a Lydian fourth A-Eb descending) and phrase repeats to help lose the feeling of a tonal direction. The pianist's hands are in their 31

extreme outer ranges to create both an awareness of physical space for the pianist and a

sonic representation of openness for the congregation. The left hand plays open fifths and

octaves to draw on historic Christian religious music.

In the first phrase, the chaconne is introduced, accompanied by a dominant pedal

in the R.H. The first three chords are Maj7ths (Amaj7,Gmaj9, Fmaj7) and the final Eb is

dominant with a sharp eleventh. Each of these chords includes pitch class A, hence the

title, "Meditation on A." The first section lays out the four chords covering a four-octave

span on the piano. The dominant E is sustained in the right hand throughout.

In the second phrase, the bass holds a tonic pedal while the chord progression is

sounded by the inner voices (Amaj7, Gmaj9, Fmaj7, Eb7alt). To create an awareness of

a deeper sense of space, the range is expanded to five and a half octaves. Both the second

and third phrases have a three-part texture.

In the third, the R.H. arpeggiates the chords into a melody, while the L.H. sustains

a bass pedal and accompanies the R.H. in syncopated 5ths and 6ths. 84% of eighth note beats have an attack that is more than double the surface rhythm in the previous phrase

(39%). The downwards direction of the melody in the third variation is turned around in the fourth and when repeated it is taken up the octave. 32

FIGURE 8 The first 3 phrases of "Meditation on Ar

.=66

Piano

m =Q 1*0^1 id' ^) 33

The fourth phrase has both hands playing a melodic arpeggiation of the chord progression with the chaconne tune beginning each L.H. phrase. The upper melody appears to follow the chaconne pattern with the tune as the ending note of each phrase, but the final Eb is missing. The descending bass line at the fifth creates a dominant pedal for the chord progression being played above. In this 5th phrase, both hands arpeggiate towards the center of the piano, neutralizing the previously heard melodies and covering the tonal pitch space that was opened up at the beginning of the piece.

The final phrase is a reduced version of the first: the rhythm has been reduced, octaves have been omitted, the balance of an open fifth and octave in the bass has been reduced to just the fifth and tonic. The finalphras e doesn't resolve back to A - the harmonic centre that begins each new texture/phrase in the piece.

Because the meditation is not a set length of time, I had to consider being able to have endings scattered throughout the composition. Only the rhythm develops; the harmonic progression is repeated throughout. If needed, the pianist can end on the last bar on any of the phrases, an Eb7alt. chord. This signifies that although the meditation is over, the space that was visited carries on and can be returned to. FIGURE 9 Fourth, fifth and finalphrase s in "Meditation on A" 2 © 22 2nd time S"1

xr ^ff 35

I wanted to use more of the physical body for the congregational song "Pack

Light." I wrote a clave pattern with snapping on 2&4 to get bodies expressing rhythm. I wrote two versions, an easier 2-part call and response and a slightly more difficult version in SATB. The piano accompaniment and clapping/snapping remain the same.

The poetry was written by Lynn Harrison; a UU singer/songwriter at NUUC. Normally she accompanies herself on guitar in a sort of folksy, pop style. I wanted to shake things up and take her words out of their original context (she actually hadn't written any music for this poem). I borrowed a boogie-woogie blues bass line and 3-pitch jazz piano voicings as accompaniment in the verses. In the chorus the piano doubles the melody and is at half-speed swing. This piece has become a congregational favourite.

FIGURE 10 Boogie-woogie bass line and jazz piano voicings in "Pack Light'' =230

s f tt s i s «i

] m 'F i» J P w p

t s pzt m

n:. 'r [/» p 3i= sp £ps

12

H« 0- 0 r ^ J J 36

Like the rounds, "We Are the People" begins with a repeated phrase sung in unison. It is a unified chant of affirmation. This brings the members of the congregation together in body, sound, and belief. Once the congregation feels comfortable with the tune, I cue the soprano entry, a solo line sung above the ongoing chant. The basses are the only choral section that doesn't have a solo line (they are always paired either with the tenors or altos). The piece remains strictly in D Aeolian. Sung alone, the alto parts of

"We Are The People" can be heard as F+, as can the final choral utterance repeated. The choir joins the congregation in the chant at four points in the piece: the very beginning, before the 2nd part of the text, before the 3rd part of the text and at the end to fade out.

Here is Wayne Walder's poem in its entirety, with my sections and the chant refrain marked in:

We are the people we have been waiting for.

We are the people we have been waiting for.

Our Mothers, with big bellies, were waiting for us.

Mothers with big bellies are always waiting.

It wasn't the Angels,

It wasn't the Gods,

It was you they were waiting for.

And now, it is you, we are waiting for

UNISON CHANT REFRAIN-We are the people we have been waiting for It is your steady hand we need when things are falling apart.

It is your love we need when others feel unwanted.

It is your clear mind we need when confusion hangs around us.

It is you we are waiting for.

UNISON CHANT REFRAIN-We are the people we have been waiting for

Find your voice,

Make your hands strong

Steady your heart.

And join the others who are waiting for you

Find your voice

Make your hands strong

Steady your heart

And join the others

Who are waiting for you

Because we are the ones, we are waiting for.

UNISON CHANT REFRAIN-We are the people we have been waiting for (fade out) 38

I chose to set the text, "We are the people we have been waiting for," for the

entire congregation because a group needs to sing it for the "we" to make sense. Either a

soloist or another group had to sing the verses because they refer to "you and your" as if

directing the text towards someone outside the group. The different choral voices fulfill

that need. Certain words from the poem created the opportunity to employ word-painting

devices. "Waiting for us" and "always waiting" are sung as half notes, double the value

of the quarter notes in the melody that precede them. "It wasn't the angels" is set to a

melodic line beginning on the highest clear note in the tenor's range, and descends.

"steady hand we need" is set to a repeated G. "Steady your heart," sung by all the men,

has a sustained tonic pedal in the baritone. The echappee melodic figure both begins and resolves onto the dominant A.

FIGURE 11 Chant tune and word painting by choir in "We Are the People" .=66 Soprano chant is continued throughout by congregation m #=#^ i^¥fc=fc±2Sg Choir TtfW Our moth-ers withl bigbei-lies werejwait - ing for us We are the peo-ple we have beeZZTTn wait-jng for. •hh ?f?M $ S ' Alto m s Tenor Moth-ers with big bell-lies are a' " ways Iwait- mg. was-n'tthean-gels, it was-n'tthegods. m f- f • fm , -ft"

II S+A T+B ^ tm It is your stea-dyhandweneedwhenthingsare fall-ing a-part Stea - dy your heart J. >J 1^ 39

"Our Neighbourhood" was written for Rev. Wayne Walder's installation service

(a formal, and in NUUC's case belated, congregational welcoming of a new minister) at

NUUC. The choir is called the NUUC Spirit Choir, and I wanted to write something that demonstrated that spirit with a driving rhythm. I started with the chorus: the repetition of the title and the short phrases inspired a punchy accompaniment and text setting. The verses use a smooth Latin accompaniment to create a contrast to the forceful chorus. The chorus has a quicker tempo than the verses (m.m.=132 vs. 106) and the vocal part is sung in eighth notes and syncopated quarters. The L.H. bangs out the beat in octaves accompanied by an improvised djembe drum pattern. The title phrase supported by D natural minor is contrasted by the following phrase in F major. For the closing of the chorus, the tonality steps down one step deeper to C natural minor for an easy transition into the verse. Before the key of C+ is reestablished, there is a brief visit using an applied diminished seventh chord to the D minor established in the chorus. The harmonic progression used in the verse borrows the first four chords from "Autumn Leaves" (ii7,

V7, Imaj7, IVmaj7). The introduction of Bbs in the second phrase of the verse refocuses the tonality to F+ with a dominant pedal. These Bbs foreshadow the D minor of the chorus. 40

FIGURE 12 Chorus of "Our Neighbourhood'

H Y- -\ * l-i-t- 4TT1- i- =*b» # U^

v v- ir #• VTV^C 9 3 939 3 3 337

There is a musical prelude to begin every service. The intent is to unite the congregation in listening in a sacred space, to prepare their minds, spirits, and bodies for the service. All styles of music are welcome here. This was my opportunity to compose a choral anthem. The poem "Calling of Creation" was written by the music director of the

Don Heights Unitarian Congregation, Nicholas Nanos. I drew upon the form of the

"verse anthems" developed by Henry Purcell, wherein a solo voice alternates with the full choir. Halfway through the verse, the soloist is gradually joined in harmony by the other 41

voices. The first two lines of the verses outline a Bb+ tonality. I chose Bb because its octave was a comfortable singing range for the soloists. The 3rd phrase is in Db+, the 4th descends to B+ and then 5th modulates into the key of C minor (ii) for the chorus. The final chorus is in the tonal major (C+) and is at the same tempo as the verse. I began the piece by writing the chorus, a compound sentence (4+4+4+6). The chorus has five lines of text: the first two have been set homophonically, the 2nd two with canonic entries, and the final line is sung by the soloist. The canonic entries begin with the separation of the

soprano soloist from their section to sing, "my soul seems set apart," the first instance of word painting. The two other deliberate occurrences come immediately after the soprano

soloist sings "buried in the sound of subtlety" and is buried in the sustained dominant, and during the tenor solo when he sings "outside of you and me." FIGURE 13 Word painting in "Calling of Creation''

«f Soprano ?E

J soul seems set a - Daparti _

SOPRANO m My soul seems set a - part_

•PP «f ALTO P-~^~J I J. ^ J My soul •! *Q Trapped in tne words an

OTf jy TENOR £- * J= r i r r ^J^P My soul Trapped in the words art

-AP mf BASS gfe- t J= il^S My soul in the words

PIANO gj^H J J JJ s* j ^^ 43

The first chorus features an almost chromatic descending bass line that covers an octave of the dominant G. The men's voices sustain vowel sounds while the women sing the text. By the end of the chorus all are humming, which clears the sound for the incoming Baritone solo. In the second chorus, the sopranos sustain the dominant G above the singing of the text by the lower three voices. At the end of the chorus, again the vocalizing is reduced to a hum. In the final chorus everyone is singing words; there are no sustained vowels or dominant pedal. This harkens back to the majority of sacred vocal music from the Renaissance, which was sung a cappella. Thomas Tallis would not have approved of my ending on a 16/4. 44

The voices enter the verses in a wave: Is verse + chorus: first soprano solo, join

soprano section, altos, tenor and basses. 2n verse + chorus: baritone solo, enter basses, tenors, altos, aopranos. 3rd verse + chorus: tenor solo with lower 3 voices, tenor solo with

higher 3 voices, tenor solo; add bass, then tenor, then alto, then soprano for final tutti

texture. The accompaniment of the first two verses with their soft descending arpeggios provides a strong contrast to the heaviness of the chorus. The final verse is sung without piano accompaniment but the soloist is supported by descending, sustained harmonies

from the choir. This prepares for the homophonic final chorus sung a cappella.

No collection of music written for liturgical service would be complete without a chorale prelude. From J. P. Sweelinck and Bach to the present day, church composers have been inspired by the tunes familiar to their congregation to write and thereby connect with their congregants in a creative and spiritual way. Historically, chorale preludes have been organ pieces in a contrapuntal style, a contemporary example being the three sets of "Ten Hymn Preludes" by Canadian Healey Willan.

I chose to set the hymn tune Hevenu (#415-Hevenu Shalom Aleichem). It means

"may peace be upon you," a phrase ascribed to Jesus (John 14:27). This traditional

Hebrew folk tune is in Aeolian mode, as are "Shabbat Shalom" (#214), "Hashiveinu"

(#216), "Gilu Hagalilim" (#220-"Bring Out the Festal Bread"), "Psalm 133" (#392-

"Hineh mah Tov"), and "Shalom" (#400-"Shalom Havayreem"). Many folk tunes use

Aeolian due to the tuning of the early Hebrew folk instrument the kinnor (or David's

Lyre). Other common tunings for the kinnor are Misheberakh (b3, #4, b7) and Ahava

Raba (b2, b6, b7). The ten strings were tuned to the modal octave with an extension of 45

one note in either direction. Although "Hevenu" is thought by many to be an ancient folk tune, modern research has discovered that its origins are American and less than a century old.

FIGURE 14 Hymn tune Hevenu

138 ,. hi h I ^ w ' m::.zm J

<^J- ;. J- }\} i j j j J iJ J J J IJOJ-J } ii

According to Robert Tusler's interesting study of J.S. Bach's chorale preludes,

"Hevenu" would probably not be a tune that the master would have chosen. Tusler writes that the tunes Bach would have chosen feature "simple, diatonic, stepwise movement"; and later, on melodic range, "very few of the seventy-five chose chorale melodies exceed an octave range"; and on phrases, "the phrases begin on a weak beat of the measure and end on a strong beat," and on rhythm: "The rhythmic style of the chorale tunes is best described by two words: direct and straightforward...on can hardly say that the chorale tunes are rhythmically interesting, and in no instance are they rhythmically exciting."23

"Hevenu" contradicts all of these prerequisites: the melodic motion begins with an arpeggio, the melodic range covers an eleventh, the phrases begin and end on a weak

22 Joshua Jacobson, Professor of Music at Northeastern University presents these findings in his lecture entitled, "How Jewish is Jewish Music?" 23 Tusler, pg.20-24,1968. 46

beat, and the rhythm is syncopated and one of the main features that led to my choosing of this tune.

Since I had chosen to write for violin and piano with a sustained tonic pedal provided by the didgeridoo, I wanted to find a tune that brought to mind the sound of the violin. The performer was to be Nandor Farkas, a Hungarian who had grown up playing both Jewish and gypsy music. If one of the motivations for using a hymn tune in a chorale prelude is truly to familiarize the congregation with the melody, I don't think it is effective to hide or bury the tune throughout the texture of a complex piece. This type of ambiguity may work on a subliminal level but a much more direct way to learn a tune is through repetition and transparency.

There are four repetitions of the hymn tune, each with a different texture. The first utterance of the tune begins with the modal centre of the piece introduced with a sustained tonic pedal in the didgeridoo. The violin enters with a written out, embellished, plaintive solo. The mood is contemplative and sustained with an augmented rhythmic rewriting of the tune (the eight-bar tune is expanded to twenty-six bars). The didgeridoo continues to sustain the tonic into the second version of the tune. The piano enters with a repeated weak-beat groove alternating between the tonic and dominant harmonies. The melody again is heard in the violin augmented rhythmically (what was an eighth note is now a quarter). The final phrase of the melody is not sounded by either the piano or the violin as they sustain the dominant scale degree A, a liquidation of the melodic material.

This breaking down of the pitch density leads to a didgeridoo solo. Although the didgeridoo is limited in pitch material, the opportunity for a variety of tone colours and 47

timbres is limited only to the performer's technique. The third version of the hymn tune begins with the piano. This is the only version without the support of the didgeridoo. I chose not to use the didgeridoo, to make sure the listener's ear could be drawn into the contrapuntal texture of this section. The left hand of the piano echoes the right hand

(which has the melody in its entirety, with the proper rhythmic values), which is then echoed by the violin and sustained. The accompaniment of this section is provided by the offbeat rhythms of the right hand reminiscent of klezmer style accompaniment. Again in this penultimate version of the tune, the finalphras e is altered, and the final tonic abandoned in favour of a fall to the sharpened tonic, and then repeated down a step to the raised seventh of the harmonic minor. The C# is resolved when the didgeridoo reenters on the tonic pedal. The hymn tune melody is found in the flowing arpeggiated right hand pattern in the piano. The violin picks up this pattern in a steady stream of eighth notes in

6/8 time, which are repeated with a continuous diminuendo into silence. APPENDIX A

SCORES

Contemplation

Childlike Trust

So Quietly

Chalice Lighting

Meditation on A

Pack Light

We Are the People

Our Neighbourhood

Calling of Creation

Hevenu Contemplation

Ida Tong Susanne Maziarz

J=88 © m j j _ ^mvT ^ m &ir frfll J PP^ My_ heart re - mains flow- ing_ qui - et - ly, like a riv - er that- is the space_ be •

wi1j J 1-1 S tween two walls. that holds wa - ter e - ter - nal - ly- Childlike Trust

Lauren Renzetti Susanne Maziarz

J=132 J.J 1.1.1 t. -g_ ^.—^—^—„—. «. ^—_,_* .—_ _ .—_——,—_„ m- I want to go on a red tri - cy - cyle, with red rub-ber boots meant on - ly for rain, and

pud-dies and mud and have a strong hand, with string! pull me as fast as the wind. So Quietly

Wayne Walder Susanne Maziarz J=90 PP SOPRANO

Come sit with Come sit with me so PP ALTO

mCom e with Come sit with me so sit_ PP TENOR J IJ ^ Come sit_ with Come sit with me so PP BASS y r *r t Come with Come sit with me so

ly, just sit with me so qui iy,

—&•• ly, just sit with me so qui et iy, pgl* &^- te= iy, just sit with me so qui - et

fc just sit with me so qui et -

Wayne: Hold my hand, you won't need a word, Wayne: Hold my hand, you won't need a word, Choir. Just sit with me so quietly Choir: Just sit with me so quietly Wayne: Do you hear the cars whizzing by, Wayne: Watch people walking by, so fast, The quiet birdsong from the sky Each face lined with a complex past, Choir: Come sit with me, We all live quickly, time goes by, come sit with me so quietly, Unnoticed until we silently try, just sit with me so quietly Choir: Just sit with me so quietly Wayne: Hold my hand, you won't need a word, Wayne: Hold my hand, you won't need a word, Choir Just sit with me so quietly Choir: so quietly. Wayne: Do you feel wind blow through your hair? Do you feel hands touch, warmth and smoothness there? Choir: come sit with me so quietly, just sit with me so quietly

Copyright © 2008 Chalice Lighting

Wayne Walder Susanne Maziarz

J=72

4 frW-JM & P 7 rr^f WW We light this chal-ice to re - mem - ber to light the fire with -| in our own hearts— J J. i L\- IB J J rJ7 d J J"1J^J a r r p T LT p Meditation on A piano solo Susanne Maziaiz

Piano

conpedale

^ ^' $-lk ^ I " % a mm ^^^T TV 2 Pack Light Lyrics-Lynn Harrison Music-Susanne Maziarz

Intro-piano solo once through verse

J=230 Clapping

•*- ,1 7 H J it J J I VERSE Ifc te jUl EEfJEEEEEiH 1.Where - ev - er you re go ing, pack light where - ev - er you're (2.)ev - er you're go ing pack love it gives you (3.)ev - er you're go Ing take me in the wind a - 'hi- r i a ^'f' SEE £ £mm 1.Where - ev - er you're go - ing, pack light where - ev - er (2.)ev - er you're go - ing pack love it gives_ J=230 (3-)ev - er you're go - ing take me in the wind f), «1 & i' j;j? gc

s ^ L.H. 8vb throughout

J 1 ,fo J I I J ,1 t * J * J I * J J i

fc= Hi Z) *—* • 9 *- m head wed to- night You're get-ting read - y to take flight Where strength- e- nough On an - y jour-ney the road's rough Where blow ing I'll be Un - der youwings as you fly free Where %J- } 3 te P rig _f, f If K head- ed to-night You're get-ting read - y to take flight Where strength e-nough On an - y jour - ney the road's rough Where blow - Ing I'll be Un - deryourwings as you fly free Where

3 zm P^Ff*

Copyright © 2008 2

CHORUS 14 J=J Snapping tt- \ h i-J-i-i-4- -U—a J i-l (swing feel) <§\J. J) * J U- J> *W II j * * jjP'j; J* J I J, jj* J

ev- er you're go Ing pack light wiM wei n u down ev- er you're go ing pack love For_ dark-ness 9 V° As you trav - el the whole_world ev- er you're go ing take me ?h'f J \ f I'f * \ f if \\R\i Jl^ if P ft fiilfni^ ev- er you're go ing pack light For_ dark-ness will weigh you down As you trav-el the whole_world ev- er you're go ing pack love ev- er you're go ing take me ji (swing feel)

* a • <3 I #iN^ iin £ #*

S 69}i

20 J*J -iJ tJ | t J I J |> J I ,1 | * J J 1

__D . MtaM—| 1 ff£3..~... »••• 1 «•—• •—m i 1 —ffSHSS-3 L L

round you will gath-er bur - dens up on your back so pack light, pack light, pack light!—

round you will gath-er bur - dens up on your back so pack light, pack light, pac|< ngnti

E Si-—a:3i~"i~«r-rE F1F§ *=* ^ raw-^J I* i« ^ br cJrp 25

-*• (last time only)

2.Where 3.Where (last time only)

2.Where 3.Where —• =f= r r i" -f—i—- lfi Try—f~ ~£-M—1 * r —I— —^— -»—ty?— r r r i ' ffl We Are The People (congregational chant+choir) Wayne Walder Susanne Maziarz

J=66 Soprano -I J> J J J v J. Choir r mm ETJT Our moth-ers with big bel - lies were We arethepeo-ple we have been wait-jng for.

iri |W P if r r

^^ ^ Congregation *-*—=*- We arethepeo-ple we have beenwait-ing for. We are the peo - pie we havebeenwait-ing for. m *r CTF r p r r r r r r LT F r p r r r r

i Alto ii ^# mwai t - ing for us Moth - ers with big bell - lies are al ways

& J J? ^^ s mm We are the people we havebeen wait-ing for. We are the peo-ple we have been wait-ing for. We arethepeo-ple we "VcrPrr r r r r r r cr P rp r r f r r r cr P r p

10 Tenor Tenor+Bass \, I. E==t * ar—a» ^

wait - ing. was-n't the an - gels, it was-n't the gods, it was you they were 17 -1 JL s*s^ m LJ 7 1/ 'r r ^ ^ w J J =sz pp J-J J J J> havebeenwait-ing for. We are the peo-ple we lavebeenwait-ing for. We are the peo-ple we m JULJ r r cr P r p -.'mm —Pz. P CJ p r p

Copyright © 2008 14 repeat 4x

wait - ing for and now it is you— we are wait - ing for We are the peo-ple we -J J Jl I 1 §*v, . J J: r r r ^£ r^r M i* ^ ^ ^ff^ havebeenwait-ing for. We are the peo pie we pavebeenwait-ing for. We are the peo-ple we ag JUU r r cr P JUU r r L.r p r P

txJ r have been wait-ing for. have been wait-ing for. It is your stea-dy hand we needwhenthingsare : 3= " 'ggl' JS

•J J' J'=i J J J J nr- have been wait-ing for. have been wait - ing for. We are the peo-ple we s^ r r r r r s^ r c r P r

2/ T+B Tutti EZXT w mmT=Q fall-ing a-part It isyouilovewe needwhenoth-ers feel un-want-ed It isyoutlear mindve need whencon m m iTgifflJ g? r r r—r , r—P

^ ^ *r~5t—-=»- 3=1 • ^ v-——#- havebeenwait-ing for. We arethepeo - pie we havebeenwait-ing for. We are the peo-ple we yfc r r r r r rere r P r r r rr r ti P r E A+B S+T

bow it is you_ we are JlJ v ^ t H t r- fp J J'lJ'r ckrrrc^

E^ ^Pf3 * * havebeen wait-ing for. We are thepeo-ple we have been wait-ing for. We are thepeo-ple we JL_CJ f pel ^s^ r crp r p

29 §*PPP r r r EJ" wait - ing for. r »f Find your voice make youi We are the peo-ple we have been wait-ing for. m F f> $ f?M $M r^m ft

*. *i * *• j j j J havebeenwait-ing for. We are the peo-ple we have bee•3- n wait-in• g for. We are the peo pie we mV r r fr r c r P r p LLJ r f cr P r f

55 T+B A £=F i=^ ^^ hands strong Stea - dy ur heart and join the oth-erswho are Kvait-ing for you_

^ ^ ^ -5t—it -*- JTFTJ "3C—^»" S ^-^—^- havebeenwait-ing for. We arethepeo-ple we havebeenwait-ing for. We arethepeo-ple we havebeenwait-ing for. a^ •uu r rat rv mi r ^m r r r Tr ». S+T T+B S+A frr r r cJi i Find your voice make your hands- strong and Stea - dy your heart •*r r r riJ* 2 (v " . ", =fe: f Ef P^ B=6 P^^ We are the peo-ple we pavebeen wait-ing for. We are the peo-ple we pavebeenwait-ing for.

'h r r_r P r p JULJ r r u P ^^

Tutti

J. J. * 6 7T*^H We are the peo-ple we pavebeenwait-ing for. We are the peo-ple we havebeenwait-ing for.

«n p ^ r F r^ ^ i> ^_f p r ^ ^^

46 lift flffl' we are the ones_ wr=te are t. r \' £?=^ f=f wait - ing for We are the peo-ple we H? T havebeenwait-ing for. •>:,, rJ r1 r1 fa?V en fJ r1 ^¥ ^rr-^J ?*## P T f f ^ i J i j 3 We are the peo-ple we havebeenwait-ing for. We are the peo-ple we have been wait-ing for.

M'— •*• —— •'• P —• >h r f r [i s= r c,r P r p r r r f r Our Neighbourhood (SATB, percussion, piano) Aysa September Susanne Maziarz J=106

SOPRANO

ALTO

TENOR >pir r p A place where I can cry BASS s

Shaker >->->- =*- >- >• >- >->->• =>- >* Percussion I, | ,rm ,rxn, .fin ,rrn, ,rm ,nn t ,,011 ,nnn, ,nnn ,FTO J=106

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11

Fed by fire be- low_ spi-rit a bove_ Ac-cep-tancewith-in con-

w ^ >J"< Fed b^my fire be-lo w spi-rit a bove Fed by fire be- low_ spi-rit a bove

J ti =± Fire_ spi - nt

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Pno.

16 ^j^j f^p ^ S tJ J~3 nec-tion with-out Chal-lenge, praise, pray and doubt Work for com -mun

A. ^^ ^ Chal-lenge, praise, pray and doubt Work for com -mun 3WZ m Workto-geth-er for com-mun

B.

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^ 20 ' f\ a- p—. I , ii J=132 ((T) m « J" g * * •? :? « « « J ^ 'J1-1 • ' ' ^=>—• i-ty cei-e-brate diff-'rence in u - m-ty_

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25 j JJ'J'IJ J J J J'TTJi/ «• »H S This is our neigh- bour-hood Joy in do - ing what-ev-er we could Thisisourneigh- >• . __>- A.

This is our neigh- bour-hood Joy in do - ing what-ev-er we could Thisisourneigh-

^Tl„ ^.^y* —^ I J* mJ m« -*• This is our neigh- bour-hood Joy in do - ing what - ev-er we could Thisisourneigh- P^E

This is our neigh- bour-hood Joy in do - ing what-ev-er we could This is our neigh-

>- z»~ ad lib. Perc. ii J7HJ7T1 _| ^ -^ 1 * 1 X-

»• ^ a& i ibffcfi ? ^ Pno.

* 30 >- =>- * d J J * J Jr J bour-hood Each per-son's choice forthe com-mongood this is our neigh - bour-hood

•J- * *

J^l^ra bour-hood Each per-son's choice forthe com-mongood this is our neigh - bour-hood this is our neigh

Perc. ^}<- -*«- ^*- ^- W ^M f> Ji 0 ~~-->^ J>- B»- Pno. Si J JJJ1J J JJ^^^ : i iiii

J=106 •** jo cresc, " f

this is our neigh - bour-hood our neigh - bour - hood p cresc. ~~ f * J") It J> -mJ— w—5Phi ^ sf- this is our neigh - bour-hood our neigh - bour - hood p cresc. " f J Wd h JJ4 jtjfJ h ^j if ^ II^ bour-hood this is our neigh - bour-hood our neigh bour - hood yJ'J >• ^ Si > ••_-.r/ ^^ bour-hood our neigh - bour - hood

shakerT Perc. -7^ ^- rm rm • ,nrn ,nnn J=106 3E3E Pno. m f cresc. 'J iJJ J "i JJJ g "M -fJj'J- l|lgI 40

A.

T. m ite ^=^ ^ place where I can go_ Sur-round-ed by peo-ple I know__

B. Mr rr rrrfif i Sur-round-ed by peo-ple I know„

>- >- >• Perc. HI rm i ,rm rm. rm >rm • ,rm ,rm

*= £ £ l ^•••< JJJ-"-JL - — .jj.— ^ f§« Pno. < iejfci i

^ s

sup-por-tive words_

Fa - ces smil - ing eyes_ sup- por -tive words_ warm_ andwise_

gg^ >•' 'l"^_ ^y B. £ IE

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Pno. < j'j^'i if rf 49 t nr ifT c/n^- * CJ Man-y paths a -long the jour - ney In the mo-mentandfor_ e-ter-ni - ty j 0 Si *LV ^» In the mo-ment and for_ e-ter-ni - ty

T.

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54 m ^^m fc== ^3J J"J? |>- JE3^ the call- great-erthan one_ we'repartofthe all

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>- >- >• >- >->->• Perc.

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Perc. || JJJW >< »

Pno. >- >-

65 mm bour-hood Choos-ing what's right guid-edbygood this is our neigh - bour-hood

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d d d^t ^ * **'" IJ J jj J " I " ^ ^ ^ 4 , K-V' ^ •*'? ""* J—s bour-hood Choos- ing what's right guid-ed by good this is our neigh - bour-hood this is our neigh

Perc. w £ MP E I^H •#""ff~ S|p g* rt Pno. Jlj J JJ *i«* -*' 4 -ff^ f~ * JlJK. .14 J •* J* USE m this is our neigh bour-hood our neigh bour hood cresc. A. -0 •>m 3JJ m this is our neigh bour-hood our neigh bour hood cresc. T. ^J >> JTJT. jtp ^ ^ J^ if 4. bour-hood this is our neigh bour-hood our neigh - bour - hood / 'I'M y i m S bour-hood our neigh bour hood

Perc. rr J^iiji et^/trcs Pno. < cresc. ^f WH gM Calling of Creation (SATB, soprano, baritone and tenor soloists, piano)

Susanne Maziarz

J=108

Soprano

SOPRANO

ALTO

BASS

PIANO

Copyright© 2008 2

accel.. J=124

I try to join— "V " "**t0 my-ster-y. My sou! seems set a- part— PP »f

My - ster-y- My soul Trapped ~PP

My - ster - y My soul

f ~ jr"rpr *^p* PPGI pA 3

J=108

J=108

I touched a - noth - er and we shared love to - geth - er, but some-how I was still accel.. J=*124 5

J=100

J=10O 6

, look both out and in— but— still e - mo-tions spin Con - troll-ing all the mean - ing

mo - tions 7

It is not a world a-part And in the u - m" veree

tv - f f =?= » - » *— == _ - = _ m - i J m f • r^ mil. Hevenu Hymn #415-Hevenu Shalom Aleichem (violin, piano, didgeridoo)

J=90 Arr. Susanne Maziarz r\ c\ Violin r i iJ >r' j XT f' ^JU- J J=90 1»— jS> jo—= > JF"

Piano gjp^ Didgeridoo s^ XT XT XT XT _3^

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S

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-1=132

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^^ 3

sustain 48 throughout r\ solo

mp & *v rrrrPrf>, ^r^ r\ i r*.. dim. ^^J PP m r solo f> (lmin)

xr xr 56 •j> J31 ** * * 7 jJ"3 j 1 1\\

>j^_ -JJ § J J- jJ- j* TfTI yfilf u » ^ ^ V fPV'^ffyt yr*?7f marcalo 7 *EE3 7 1 ^ h n J ^ ^ ^, i^ 1^ IBH J J * d* P^ ^^ sf

6/ J.=112 gr imrr rr pccrifr Ocir.s- ^ > t -m J=112 , /T„ [^^.j, ,. pHIII[lH^f >->•>- ^\ m " ' Jm Jm Jm AI,..,>, *•' J'^ J "I i^E ii' an,J < igga ?f7T j» legatissimo open repeat 72 fade to silence APPENDIX B

Table of Shared Hymn Tunes in the history of Unitarian Universalism

Column 1: All Hymn Tunes in Singing the Living Tradition, 1993

Column 2: Tunes that also appeared in Hymns for the Celebration of Life, 1964.

Column 3: Tunes that also appeared in Hymns of the Spirit, 1943. 1993-STLT 1965 Hymnal 1943 Hymnal 1. Oldbridge #159-different 2. Woodland-UU music, 1992 3. Ricker-UU music, 1992 4. Jacqui 5. Keith-UU music, 1964 6. Nicht so Traurig-UU #284-different harmony, 1992 7. All Life is One-UU music, 1982 8. Mati Sveta-UU music 9. Van Dieman's Land- UUarr. 10. St. Columba #87-different 11. Munich #29-different 12. Truro #54, #190, #243 #457,#103, #310, #360 13. Servetus-UU comra., 1992 14. MacDowell-UU music, 1992 15. Prospect 16. Simple Gifts 17. The Call #123-different, #184-same 18. Wondrous Love 19. Barnfield-UU music 20. Slane 21. Dix #12-same #32-same 22. Lobt Gott, ihr Christen #118,#132,#264-all #217, #285, #485-all different different 23. Westchase 24. Oikoumene 25. Duke Street #14-different 26. Nicaea #43-same, #222, #235 #8, #17-same 27. Ave Vera Virginitas #4-same, #5, #254 28. Dachau-UU music, 1992 29. Hymn to Joy #11-same, #195 #42-same 30. Reeb-UU comm., 1992 31. Samuel-UU music, #19-same #262-same 1992 32. Nun Danket alle Gott 33. Manton-UU comm., 1992 34. Gift of Love 35. Duke Street #43, #222, #235, #25 #14-same 36. Engelberg 37. Francis David-UU harm., 1992 38. Bunessan #266-same #97-same 39. Nicaea #4, #5-same, #254 #8-same,#17 40. Meirionydd #l-same #90-same, #458 41. Lobt Gott, ihr Christen #118,#132,#264-same #217,#285,#485-same 42. Schonster Herr Jesu #14-same 43. Nature's Advent-UU music, 1992 44. Complainer #40-same 45. Lee 46. Wem in Leidenstagen 47. Vesper Hymn #274-same #lll-same 48. Rockbridge #147, #263, #271-same 49. Quern Pastores 50. Dover Knight 51. Julion 52. Cradle Song #276-same 53. Consolation #203, #277-same #104,#231, #559 54. Sursum Corda #71,#82,#179,#322-all different 55. Meditation-UU music, 1988 56. Krisztus Urunknak 57. Forest Green #304-same, #326 #138 58. Gonfalon Royal 59. Con X'om Lang 60. Langston 61. Easter Hymn #318-same 62. Hasidim #175-different 63. Blackburn-UU music, 1992 64. Coolinge #84, #324-same 65. Forest Green #304, #326-same #138-same 66. Holy Manna 67. Kresmer 68. St. George's Windsor #10, #278-same #141-same,#379 69. Foundation #21-same 70. Land of Rest 71. Heaton-UU music 72. Christmas Dawn 73. Praha-UUarr. 74. Wem in Leidenstagen 75. Walden 76. Was Gott Thut #30-same, #307 77. Coolinge #84,#324 78. OBarvy Vune-UU music 79. Resignation 80. Wild Waves-UU comm.., 1992 81. Bromley 82. Andujar 83. Lead me Lord 84. Zimmerman 85. Dunedin 86. Prayer-UU music, 1987 87. Bethany #126-same #245-same 88. Tallis' Canon #85-same,#138,#186, #110 89. The Call #123-same,#184 90. Coolinge #84-same, #324 91. St. Columba #87 92. Wareham #99-same, #130 #63-same, #294, #389 93. Lobt Gott, ihr Christen #118,#132-same,#264 #217, #285, #485 94. Devotion #183-same,#306 95. Biko 96. Distant Beloved-UU music, 1992 97. Wheatley 98. (Mentis Partibus #25 99. Dubois 100. Whitney 101. Eventide #79-same #127-same 102. Beng-Li 103. Sine Nomine #75-same #428-same 104. Tubman 105. Bennington-UU music, 1992 106. Monk's Gate #94-same #213-same 107. Victory 108. Singing 109. Bread and Roses-UU harm., 1992 110. Von Himmel Hoch #42,#104, #108, #193- #160,#171 same, #221, #225 111. Vienna #172-same #35, #337-same 112. Foundation #21 113. St. Michael #259-same #300, #412-same 114. St. Gertrude #215-same #329-same HS.CWMRhondda #27-same 116.Ethelred-UUarr. 117. Meta-UU music 118. Lattimer 119. Ebenezer #220-same #67, #332, #377, #342- 120. Old 124th #196-same same, #552 121. Creation of Peace-UU arr., 1992 122. St. Denio #41 #30, #398 123. Spirit of Ufe-UU harm., 1992 124. Woodland-UU music, 1992 125. Bridegroom 126. Nettleton 127. Nun Komm, Der #67 Heiden Heiland 128. Sherman Island-UU comm.., 1992 129. Love Unknown 130. Initials-UU music, 1984 131.01ympia-UUarr., #25 1992 132. Orientis Partibus 133. Savanna-UU comm., 1992 134. Chernobyl 135. Wareham #99-same,#130 #63, #294-same, #389 136. Asia-UU harm., 1992 137. Uppsala 138. Truro #54, #190-same, #243 #103,#310,#360-same 139.InBabilone #191-same,#239 140. Hyfrydol #192-same #50 141. New Name 142. Concord 143. Hymn to Joy # 11, # 195-same #42 144. Webb #209-same, #282 #151, #326-same, #408 145. Winchester New #246, #253-same #28, #182, #367 146. Bashanah 147. Christmas Hymn-UU music, 1992 148. McKee 149. Lift Every Voice 150. Salzburg #173-same #199,#318-same 151. Mandela-UU arr., 1992 152. Drinking Gourd 153. Watkins Harper 154. Auction Block 55. Circle Chant 56. Rosa-UU comm. 57. Solidarity-UU arr. 58. Procession-UU music, 1992 59. Finlandia 60. Lobt Den Herrn, Die #63, #80 #24 Morgensonne 61. Charleston 62. Down by the Riverside-UU arr., 1992 63. Blue-Green Hills of the Earth-UU arr 64. Sursum Corda #71, #82, # 179-same, #322 #291 65. Danby #90 #50 66. Hytrydol #192 67. Nothing but Peace- UU music, 1987. 68. One More Step-UU music, 1986 69. Martin 70. Singing for our Lives-UU comm., 1992 71.Afrika 72. Tutu 73. Mountain Alone-UU music 74. Merthyr Tydfil #200 #375 75. Christus der is mein Leben 76. Indian Prayer 77. Sakura 78. Ram 79. Eko A ba Ko 80. Mathieu 81. India 82. Quimada 83. Mach's Mit Mir, Gott #156 #31 84. Lumina #110-same 85. Dundee #34, #45, #49, #142, #165, #80 #312 86. Primrose 87. Far Off Lands #247-same 88. Pilgrimage-UU music 89. In Babilone #191. #239 90. Austria #248-same #75-same 191. Sursum Corda #71,#82-same,#179,#322 192. Naidu-UU comm. 193. Distress #64 194. Mo-Li-Hua 195. Tao-Sia 1%. Lacquiparle 197. Tagore-UU harm. 198. Many Names 199. Precious Lord 200. Ein' Feste Burg #16-same,#62 #304-same 201. Sojourner-UU arr. 202. Ellington 203. Lasst Uns Erfreuen #23-same #198-same, #506 204. Sabbath 205. Amazing Grace 206. Amazing Grace 207. Hyfrydol #192 #50 208. Pentecost #397 209. Forest Green #304, #326 #138 210.McCree-UUarr. 211. Jacob's Ladder 212. Jacob's Ladder 213. Charleston #44-same 214. Shabbat Shalom 215. Leoni #6-same #l-same 216. Hashiveinu 217. Aviny Malkeinu 218.Yih'YuL'Ratzon 219. L'Cha Dodi 220. Gilu Hagalilim 221. Maccabee-UU arr. 222. Mi Y'Malel 223. Mooz Tsur #279-same 224. Danby #90 #291 225. Veni Emmanuel #280-same #150-same 226. Besancon 227. Mennybol-UU arr., 228. Irby 229. Love's Gift-UU music, 1986 230. A La Ru 231. Gloria #294-same 232. Prospect 233. Bring a Torch 234. Hasidim #175 235. Yule 236. Sicilian Mariners #470 237. The First Nowell #285-same 238. Christmas Hymn-UU music, 1992 239. Go Tell it on the Mountain 240. Herongate #161-same 241.Cranham 242. Adoro Te Devote #128, #292-same #173-same 243. (Mentis Partibus #25 244. Carol #287-same #162-same 245. Comfort/Antioch #299-same #163-same 246. St. Louis #286-same #165-same 247. Forest Green #304, #326 #138 248. Adler 249. Personent Hodie 250. Star 251.StilleNacht #289-same #166-same 252. Stille Nacht #289-same #166-same 253. Adeste Fideles #288-same #156-same 254. Noel Nouvelet 255. Douglass 256. Winter Lullaby-UU music, 1988 257. Jesous Ahatonhia 258. D'ou viens tu, bergere? 259. Kings of Orient #176-same #300-same 260. Hevenu 261. When Jesus Wept 262. Ellacombe #236, #309-same #74 263. When Jesus Wept 264. Colum-UU music, 1992 265. Passion Chorale #311-same #191-same,#388,#434 266. Noel Nouvelet 267. WasGottThut #30, #307 268. Easter Hymn #318 269. Llanfair #193-same 270. Lancashire #316 #196-same 271. Down Ampney 272. Bangor #51 273. St. Denio #41-same #30-same, #398 274. Rest #H9-same #250-same 275. Lindner 276. Meironydd #1 #90,#458 277. Land of Rest 278. Lobe Den Herren #63, #80 #24 279. Unknown 280. Haleluhu-UU arr. 281. St. Anne #51-same #145-same,#371 282. St George's Windsor #10-same, #278 #141, #379 283. Creation #47-same, #66 #33-same 284. Adam's Song-UU #2-same music, 1963. 285. Lyons #25-same #6-same 286. True Religion 287. Mit Freuden Zart #15,#257-same #363 288. Woodland-UU music, 1992 289. Truth from Above 290. Nicaea #4, #5, #254-same #8, #17 291. Die Gedanken sind Frei 292. Smit #115-same #246-same, #249 293. Nyland 294. Gonfalon Royal 295. Westminster Abbey 296. O Filli et Filiae #315 #194 297. McNaughton 298. Slane 299. Land of Rest 300. Mach's Mit Mir, Gott #156 #31 301. Touch the Earth-UU music, 1988 302. Servetus-UU comm., 1992 303. Ein' Feste Burg #16, #62-same #304 304. Salvation #53-same,#155,#237 305. De Colores-UU arr. 306. Enoch-UU music 307. Dickinson College 308. Mach's Mit Mir Gott #156 #31 309. Symphony 310, Albright-UU music, 1973 311. Masten-UU music 312. Fillmore #8,#180-same,#256 313. Dove of Peace 314. Con X'om Lang 315. Restoration 316. Circle of Spirit-UU music, 1990. 317. Nexus 318.Finlandia 319. Greenville-UU comm., 1992 320. Gragareth-UU music 321. Song Springs-UU music, 1992 322. Transylvania-UU arr. #38,#201 #16,#215 323. Yaddo-UU music 324. Kingsfold 325. Emery 326. Danby #90 #291 327. Hymn to Joy #11, #195 #42 328. Merle's Tune 329. Bliss-UU music, 1985 330. Tallis' Canon #85, #138, #186, #270 #110 331. Brother James' Air- UUarr. 332. Chorale-UU music, 1943 333. Devotion #183, #306 334. Flentge 335. Primrose 336. Adoro Te Devote #128, #292 #173 337. Jerusalem 338. Sussex Carol 339. Sheldonian 340. Distant Beloved-UU music, 1992 341. Song I #349 342. Solothurn #79, #98 343. New England 344. Was Gott Thut #30, #307 345. Winchester New #246-same, #253 #28, #182, #367 346. A Rose in Winter 347. Gather the Spirit-UU music, 1990 348. Guide My Feet 349. Kremser 350. McKee 351. Liverpool 352. Sigismund-UU harm., 1992 353. LeP'Ing-UU harm. 354. Credo-UU music, 1980 #12-same, #77 355. Praetorius 356. Guter Hirte #48 357. Bright Morning Stars 358. Reunion #258-same #465-same 359. Repton 360. Old 124th #196 #67, #332, #342, #377, 361. Rejoice-UU arr. #552 362. Chalice 363. Doxology-UU comm.., 1992 364. Berthier 365. Doxology-UU comm., 1992 366. Heleluyan 367. Allelu 368. Robeson 369. Donne Secours #72,#77 #230, #354, #427, #435 370. Old 100th #13,#18-same,#37 #496-same, #497 371. Old 100th 372. Tallis' Canon #85,#138-same,#186, #110 #270 #160, #171 373. Vom Himmel Hoch #42-same, #104, #108- same,#193,#221,#225- 374-382-no tune same 383. Alleluia Amen 384. Amadeus 385. Jacques 386. Pachelbel's Canon 387. Elements 388. Dona Nobis Pacem 389. Gathering Chant 390. Gaudeamus Hodie 391. Voice Still and Small-UU music 392. Psalm 133 393. Jubilate Deo 394. Hava Nashirah 395. Moore 396. Grigolia-UU music, 1989 397. Moore 398. Den Store Hvide Flok-UUarr. 18* cent. 399. Vine and Fig Tree 400. Shalom #160-same 401. Desmond 402. Rabbi 403. Hamburg #146-same,#177 #272 404. Anniversary Song 405. St. Botolph 406. Let Us Break Bread 407. Welcome Table-UU arr., 1993 408. Wonder of Wonders- UUcomm., 1992 409. ArHydYNos 410. O Waly, Waly 411. Charleston 412. Allein Gott in der Hoh 413. Go In Peace 414. SegneUns 415. Hevenu APPENDIX C

Table of Shared Hymn Tunes with the Anglican and Baptist Hymnals

Column 1: Name of shared Hymn Tune

Column 2: Hymn number in Singing the Living Tradition

Column 3: Hymn number in the A-Anglican hymnal (The Book of Common Praise)

and in the B-Baptist hymnal (The Hymnal) TUNE NAME # in STLT ANGLICAN/BAPTIST

Adeste Fideles 253 A75 B56 Adoro Te 242, 336 A23 Allein Gott 412 A115 Amazing Grace 205,206 B283 Antioch 245 A27B34 AT Hyd y Nos 409 A23 Austria 190 A280,287,618B191 Bangor 272 A107, 449,450 Berthier 364 A171 Besacon 226 B63 Bethany 87 A279 B370 Blackburn 63 A199,553 B222 Bromley 81 A224-26 Bunessan 38 B55 Carol 244 A319 B60 Christmas Hymn 147,238 A804 Christus der ist Mein 175 A173,16 Leben Consolation 53 A756 B68 Cradle Song 52 A734 B42 Cranham 241 A431,691 Creation 283 A602 B142 Credo 354 A513 CWM Rhondda 115 B333, 396 Dix 21 A97,184,11B65,137 Donne Secours 369 A142, 323,649 Duke Street 23,35 A388, 515, 549, Bill, 495

Dundee 185 A85,93,611 Easter Hymn 61,268 A153 B102 Ebenezer 119 A383,651B15,422 Em' Feste Berg 200, 203 A400, 405 B156 Ellacombe 262 A686, 753 B75,131,382, 488 Eventide 101 A16 B354 Finlandia 159,318 B554,564 Forest Green 57,65,209,247 A82B126.310 Hamburg 403 A249B217 Holy Manna 66 B529 Hyfrydol 140,166, 207 A397,470B24,506 Hymn to Joy 29,143, 327 A403, 807 B246 In Babilone 139,189 B161,303,314 Irby 228 A733, B43 Jerusalem 337 A91, 655 Kingsfold 324 A426,503,601B325 Lancashire 270 A71,164,428B103, 286,384 Land of Rest 70,277,299 B521 Lasst uns enfreuen 203 A352, 398, 399 B128, 255 Leoni 215 A371 Let us Break Bread 406 B219 Llanfair 269 A174 B104 Lobe Den Herren 278 A393 Love Unknown 129 A596 B164 Lyons 285 B163 Martin 169 A37 Meirionydd 40,276 A114B491 Mit Freuden Zart 287 B91,101 Monk's Gate 106 A427 B409 Munich 11 A185B127,183,291 Nicaea 26, 39,290 A1B151 Nicht so traurig 6 A132,219 Nun Danket Alle Gott 32 A479, 607 B295 Nun Komm 127 A133,134 O Filii et filiae 296 A162 Old Hundredth 370, 371 A350, 351 B269, 587 Old 124th 120,360 A332 Orientus Partibus 98,132,243 A415 Passion Chorale 265 A139, 140 B85 Pentecost 208 A549 Pilgrimage 188 A443, 680,701 Praetorius 355 A37, 38 Prayer 86 A438 Repton 359 B340 Rest 274 A504 B341 St. Anne 281 A379B159 St. Botolph 405 A493 St. Columba 10,91 A21 St. Denio 122,273 A401, 499 B145 St. George's Windsor B292 St. Gertrude 114 A412 B203 St. Louis 246 A82 B37 St. Michael 113 A148, 585,656 B399, 580

Salzburg 150 A509 B194, 353 Samuel 31 A712 Savanna 133 A154 Schonster Herr Jesu 42 A299 Sicilian Mariners 236 B346 Sine Nomine 103 A299 B186, 293 Slane 20, 298 A568, 634 B329,332, 377

Song I 341 A245, 562 StilleNacht 251,252 B48 Sursum Corda 54,164,191 B330,445 Talis' Canon 88, 330, 372 A2, 20 B279 Truro 12,138 A48, 272, 273 Veni Emmanuel 225 A62 B25 Victory 107 A163 B582 Vienna 111 A56 Vom Himmel Hoch 110,373 A20 B589 Walden 75 A547 Wareham 92,135 A198, 264,273,532, 575 B94, 201, 296, 311,361

Westminster Abbey 295 A370 Winchester New 145, 345 A67,131B76 Wondrous Love 18 A794 B454 APPENDIX D

Table of New Hymns in Singing the Living Tradition

Column 1: Hymn Tune name and number

Column 2: Source and composer

Column 3: Analysis TUNE NAME SOURCE ANALYSIS

2. Woodland UU Thomas Benjamin F+, 4/4, unison, tonal, 1992 3. Ricker UU Weldon Frederick F-/Eb+, 6/8, unison, Wooden, 1992 unusual harmonization 4. Jacqui UU comm. Alec Wyton, F+, 4/4, unison, flowing, 1990 piano 5. Keith UU Robert. L. Sanders, F-, 4/4, SATB 1964 7. All Life is One UU John Corrado, 1982 F+, 4/4, unison, tonal, jazzy harmonization 8. Mati Sveta UU Nobert F. Capek E-, 2/2, unison, simple setting 9. Van Dieman's Land UU arr. English folk song D dorian, 4/4, unsion, quasi-canon 13. Servetus UU comm. Thomas Oboe C+?, 4/4, SATB, unusual Lee, 1992 harmonization 14. MacDowell UU Thomas Benjamin, F+, 3/4, unison, piano 1992 15. Prospect The Southern Harmony, F+, 3/4, unison, unique 1835 accompaniment 16. Simple Gifts F+, 4/4, unsion, simple American Shaker Tune setting 18. Wondrous Love D Aeolian, 2/2, unison, The Southern Harmony open fifths 19. Barnfield C+, 2/2, unison, pop song UU David Dawson, 1992 Eb+, 3/4, SATB 20. Slane Traditional Irish melody Eb+, 2/2, unison, broad 23. Westchase Carlton R. Young C Aeolian/C-, 4/4-3/4, 2v I-to Loh can. and 4v.hymn 24. Oikoumene F+, 2/4, SA, tonal, simple UU Bodhana Capek Haspl setting 28. Dachau Ab+, 2/2, SSA, swung UU arr. African American 30.Reeb Spiritual ?, 3/4, unison, unusual UU Weldon Frederick harmonization 31. Samuel Wooden, 1992 G Aeolian, 3/2+2/2 UU comm.. Jane Manton SATB, rhythm 33. Manton Marshall G+, 2/2, SATB Traditional English 34. Gift of Love melody F+, 4/4, unison, piano Charles Villiers Stanford C-, 4/4, SATB, chorale 36. Engelberg UU harm. Transylvanian hymn tune 37. Francis David G Aeolian, 3/4, SATB, UU William Albright 43.Nature's Advent crunchy harmony 45. Lee UU comm..-Thomas Oboe F+, 3/4, SAB, flowing Lee, 1992 46. Wem in Leidenstagen Friedrich Filitz F+, 4/4, SATB, chorale 49. Quem Pastores Medieval German tune Eb+, 3/4, SATB, chorale 50. Dover Knight David Hurd F+, free time, unison 51. Julion David Hurd F+, 3/4, unison, piano 55. Winter Meditation UU Shelley Jackson C+, 3/2, SATB, chorale Denham, 1988 56. Krisztus Urunknak UU arr.-Hungarian carol D Dorian, 4/2, SATB

58. Gonfalon Royal Percy Carter Buck G+, 4/4, unison Nguyen-Due Quang E-pent, 2/4, unison, drone, 59. Con X'om Lang hybrid (P+S) UU comm. George D Aeolian, 6/8, unison, 60. Langston Theophilus Walker piano UU Thomas Benjamin F+, 3/4, unison, open 5ths 63, Blackburn The Southern Harmony F+, 2/2, unison, simple 66. Holy Manna setting 67. Kresmer Dutch folk tune, 1626 D+, 3/4, SATB, chorale 70. Land of Rest US folk tune F+, 6/4, SATB 71.Heaton UU David Dawson Eb+, 4/4, SATB, chorale b.1939 72. Christmas Dawn German folk song, 1823 D+, 4/4, SATB, chorale 73. Praha. UU arr. Czech folk song C-, 2/2, unsion, simple accompaniment 74. Wem in Leidenstagen Friedrich Filitz b. 1804 F+, 4/4, SATB, simple (#46) chorale 75. Walden Jane Manton Marshall, C+, 4/4 , unison, piano, 1983 word painting 78. O Barvy Vune UU Norbert F. Capek D+, 2/4, unison, b.1870 79. Resignation The Valley Harmonist, C+, 3/4, SATB 1836 80. Wild Waves UU comm. Libby Larson C+ish, 4/4, SATB, 2nds, 1992 4ths 81. Bromley Franz Joseph Haydn F+, 3/4, SATB, chorale

82. Andujar David Hurd, 1984 C+, 6/8, unison, piano, flowing 83. Lead me Lord Samuel Sebastien Wesley Eb+, 2/2, SATB chorale b.1810 84. Zimmermann Heinz Werner F+, 4/4, unison, piano, Zimmermann b.1930 pedal point 85. Dunedin Vernon Griffiths b.1894 F+, 3/2, unison D+, 4/4, SATB chorale 86. Prayer UU Shelley Denham 95. Biko African American Hymn F+, 2/2, melody with improv. accompaniment 96. Distant Beloved UU W. Frederick Wooden, Eb+, 4/4, SATB chorale 1992 97. Wheatley African American spiritual E-, 4/4, unison, piano c.1750-1875 99. Dubois African American spiritual F+, 4/4, SATB, call and c.1750-1875 response 100. Whitney Marvin V. Frey, 1984 G+, 2/2, SATB, gospel 102. Beng-Li I-to-Loh, 1970 C Aeolian,.4/4, 4ths and 5ths 104. Tubman African American spiritual G-, 4/4, unison, call and c.1750-1875 response 105. Bennington-107. UU Thomas Benjamin, D+, 4/4, unison, piano 1992 107. Victory Giovanni Pierluigi de D+, 3/4, SATB chorale Palestrinab.1525 108. Singing Robert Lowryb. 1826 F+, 3/2, SATB gospel UU arr. Caroline Kohlsaat F+, 4/4, SATB chorale 109. Bread and Roses UU arr. African American F+, 2/2, 2 part call and 116.Ethelre

149. Lift Every Voice J. Rosamond Johnson, G+, 6/8, SATB, gospel 1921 151. Mandela-UU am, UU arr. Billy Taylor F+, 4/4, unison, piano, 1992 b.1921 gospel African American E-, 4/4, unison, simple 152. Drinking Gourd Traditional piano African American F+, 2/2, SATB, call and 153. Watkins Harper Spiritual response African American Eb+, 4/4, unison, simple 154. Auction Block Spiritual piano Linda Hirschhorn, 1985 C+, 4/4, SAT, mod. 155. Circle Chant Chorale, unaccompanied UU comm. African G+, 4/4, SATB, gospel 156. Rosa American Spiritual UU arr. Irish folk song F-, 2/2, SATB, unison 157. Solidarity UU William Albright, C+, 4/4, unison, chorale 1992 158. Procession Jean Sibelius, b.1865 Eb+, 2/2, SATB, chorale ABB, sentence 159. Finlandia The Southern Harmony D+. 3/4, unison, chorale, UU arr. African American G+, 4/4, unison, piano, 161. Charleston Spiritual dance rhythm 162. Down by the UU arr. Kim Oler, 1990 C+, 3/4, unison, piano, pop Riverside ballad 163. Blue-Green Hills of UU Jim Scott, 1987 D+, 4/4, unison, improv. Earth Accomp, pop ballad 167. Nothing but Peace UU Jane Poley, 1986 E+, 3/4, unison, piano, pop waltz 168. One More Step African American C+, 2/2, SATB, chorale Spiritual 169. Martin UU arr. Holly Near, 1979 F+, 2/2, unison, piano, pop song 170. Singing for our Lives Enoch Sontongo, b.1897 F+, 4/4, unison, chorale, call and response 171. Afrika 172. Tutu South African tune Ab+, 2/4, SATB, chorale

173. Mountain Alone UUWaldemarHille, E-, 3/4, unison, piano b.1908 175. Christus der is mein Melchior Vulpius c.1600 D+, 4/4, SATB, chorale Leben Traditional Indian E Aeolian, 4/4, unison, no 176. Indian Prayer harmony Japanese folk song A Aeolian, 4/4, unison, 177. Sakura piano Traditional Hindu hymn C Dorian/Mixolydian, 2/4, 178. Ram drone Traditional Yoruba tune D+, %, unison, no 179. Eko A ba Ko harmony, drum William Allaudin Mathieu C Mixolydian, 6/8, round 180. Mathieu b.1937 Old Indian Song E Aeolian, 2/2, SATB, 181. India chorale Traditional Filipino folk Ab+. 9/8, unison, improv. 182. Quimada tune accomp. Kentucky Harmony, 1816 F+ 3/2, unison, simple 186. Primrose accompaniment UU Lynn Adair Ungar Eb+, 3/4, round 188. Pilgrimage b.1963 UU comm. Libby Larson Db+, SATB, chorale, 192. Naidu b. 1950 unusual harm. Chinese folk song B Aeolian, 4/4, unison, 194. Mo-Li-Hua 4ths and 5ths Traditional Taiwanese B Aeolian, 4/4, unison 195. Tao-Sia melody Native American melody C Aeolian, 2/2, unison, 196. Lacquiparle drone, simple accomp. UU harm. Rabindranath D+, 2/2, unison, drone, 197. Tagore Tagore b.1861 4ths and fifths William P. Rowan, 1986 B Aeolian, mixed meter, 198. Many Names unison Thomas A. Dorsey, 1938 Ab+, 3/4, unison, piano, 199. Precious Lord gospel UU arr. Traditional F+, 2/2, unison, piano, 201. Sojourner gospel Duke Ellington, 1956. Bb+, 4/4, unison, piano, 202. Ellington jazz harmony A. W. Binder b.1895 B-, 4/4, unison 204. Sabbath Columbian Harmony, F+, 3/4, SATB, chorale 205. Amazing Grace 1829 Eb+, 4/4, unison, piano 206. Amazing Grace 210. McCree UU arr. African American E-, 4/4, unison, piano, Spiritual swung 211. Jacob's Ladder African American Db+, 3/4, SATB, chorale, 212. Jacob's Ladder Spiritual #212inC+ 214. Shabbat Shalom Traditional Hebrew C Aeolian, 4/4, improv. Accomp. 216. Hashiveinu Traditional Hebrew Bb Aeolian, 6/8, round A.W. Binder b.l895 G harmonic minor, 6/8, 217. Aviny Malkeinu unison, piano Max Janovski b. 1912 D Aeolian, %, unison, 218.Yih'YuL'Ratzon piano, AABA L Lewandowski b.l 821 C+, 3/4, SATB, chorale, 219.L'ChaDodi ABAB Hebrew folk Song D-, 2/4, unison, piano, 220. Gilu Hagalilim ABA UU arr. Peter Arrow A+, 4/4, unison, piano, 221.Maccabee b.1938 verse/chorus D+, 4/4, unison, piano, 222. Mi Y'Malel Hebrew folk song ABA D+, 6/8, SATB, chorale, 226. Besancon Traditional French carol AB Eb+, 4/4, unison, piano, 227. Mennybol-UU arr., UU arr. Traditional AB 1992 Hungarian folk song F+, 4/4, SATB, chorale, Henry John Gauntlett AAB 228. Irby b.l 805 F+, 4/4, SATB, chorale, UU Heather Lynn Hanson AB 229. Love's Gift b.1938 D+, 6/8, unison, piano, Hispanic folk song verse/chorus 230. A La Ru G+, 3/4, SATB, chorale, The Southern Harmony AB 232. Prospect F+, 3/4, unison, piano, French carol ABC 233. Bring a Torch Eb+, 2/2, SATB, chorale, Old Welsh carol AABA 235. Yule C+, 3/4, unison, piano. AB UU Betsy Jo Angebranndt, 238. Christmas Hymn 1992 F+, 4/4, unison and SATB, African American piano, ABA 239. Go Tell it on the Spiritual F+, 4/4, SATB, chorale, Mountain Gustav Theodore Hoist AABA 241.Cranham b.l 874 F+, 4/4, uniaon, AABA American folk tune in The 248. Adler Revivalist, 1868 D dorian, 2/2, piano Theodore Petri, 1582 249. Personent Hodie Vincent Persichetti, 1956 Key?, 4/4, unison, piano, AB+coda 250. Star 254. Noel Nouvelet Medieval French carol E-, 2/4, unison, piano, verse/chorus 255. Douglass African American C+, 2/2, unison, ABC, call Spiritual and response 256. Winter Lullaby UU Shelley Jackson D dorian, 3/4, unison, Denham piano, ABC 257. Jesous Ahatonhia Canadian carol D dorian, 2/4, unison, AB

258. D'ou viens tu, French Canadian carol, G+, 2/4, unison, AB, pedal th bergere? 17 cent. point D Aeolian, 4/4, unison, 260. Hevenu Traditional Hebrew unaccompanied, AB 261. When Jesus Wept William Billings b. 1746 D Aeolian, 3/2, round William Billings D Aeolian, 3/2, unison, 263. When Jesus Wept AB UU Gerald Kechley, 1992 E Aeolian, 3A, SATB, 264. Colum chorale, sentence Medieval French carol E-, 2/4, unison, piano, 266. Noel Nouvelet sentence Ralph Vaughn Williams, D+, 4/4, SATB, chorale, 271. Down Ampney b.1872 AB Db+, 2/2, uniaon, 14 bar 275. Lindner Carlton R. Young, 1990 period F+, 6/4, SATB, chorale, 277. Land of Rest American folk melody sentence, hybrid (A+C) B-, 2/2, round, ABC 279. Unknown Anonymous G harmonic minor, unison, piano, sentence 280. Haleluhu UU arr. Traditional Hebrew F+, no bar lines, unison, quasi-2 part canon 286. True Religion Jim Reilly, 1986 UU Thomas Benjamin, F+, 4/4, unison, hybrid (A+C) 288. Woodland 1992 English melody F-, irregular, SATB, chorale, hybrid (A+C) 289. Truth from Above Alsatian folk tune Bb+, 3/4, unison, sentence

291. Die Gedanken sind Leo Smit, 1990 B-, 3/4, unison, hybrid Frei G+, 4/4, unison Hybrid 292. Smit Percy Carter Buck b.1871 (A+C) 294. Gonfalon Royal F-, 6/4, SATB, chorale, th French melody, 15 cent, intro+sentence 295. Westminster Abbey Ab+, 3/4, unison, hybrid DedeDuson, 1992. (A+C) 297. McNaughton Eb+, 3/4, unison, chorale, Traditional Irish melody hybrid (A+C) 298. Slane See #277 American folk melody 299. Land of Rest 301. Touch the Earth UU Grace Lewis- D+, 6/8, unison, chorale, McLaren, 1988 sentence 302. Servetus Thomas Oboe Lee, 1992 C-Hsh, 4/4, SATB, chorale, Hybrid (S+P) 305. De Colores. UU arr. Traditional D+, 6/8, unison, piano, Spanish folk period+coda 306. Enoch UU W. Frederick Wooden, D-, 3/2, unison, chorale, 1992 AABA 307. Dickinson College Lee Hastings Bristol Jr., D+, 5/4, SATB, chorale, 1962 hybrid (P+S) 309. Symphony Johannes Brahms b.1833 F+, 4/4, unison, chorale, sentence 310. Albright UU William Albright, D Mixolydian, unison, 1973 piano, drone, comp.Per. 31LMasten Bb+, 2/2, unison, piano, UU Ric Masten, 1977 AABA 313. Dove of Peace F+, 6/8, unison, hybrid The Southern Harmony (P+S) 314. Con X'om Lang E« pent., 2/4, unison, See #59 Nguyen-Due Quang drone, hybrid (P+S) 315. Restoration F-pent., 2/2, SATB, The Southern Harmony chorale, hybrid (P+S) 316. Circle of Spirit C+ish, 4/4, unison, piano, UU Jim Scott, 1990 thorough-comp. 317. Nexus Eb+, 3/4, unison, piano, David Hurd, 1990. sentence 318. Finlandia Eb+, 2/2, SATB, chorale, See #159 Jean Sibelius, 1933 ABB, sentence 319. Greenville D+, 2+3/4, unison, UU comm. Dede Duson, chorale, small binary 320. Gragareth 1992 G-, 2/2, SATB, chorale, ABC 321. Song Spring UU David Dawson b.1939 F+ish, 4/4, unison, piano, small bin.+coda 323. Yaddo TJ. Anderson, 1992 F+, 2/2, SATB, chorale, compound period 324. Kingsfold UU Thomas Benjamin, E-, 4/4, SATB, chorale, 1992 AABA 325. Emery English traditional melody F+, 4/4, unison, 4 bars. Gerald Wheeler, b. 1929 G+, 4/4, unison, chorale, 328. Merle's Tune Hal Hopson, 1983. AABA UU Leo W. Collins, 1985 F+, 4/4, unison, piano, 329. Bliss- ABC UU arr. James Leith C+, 3/2, unison, chorale, 331. Brother James' Air McBeth Bain b. 1840 small binary

332. Chorale UUBelaBartok, 1946 C+ish, 4/4, unison, chorale, hybrid (P+S) 334. Flentge Carl Flentge Schalk, 1979 D+, 3/2, unison, chorale, hybrid (P+S) 335. Primrose Kentucky Harmony F+, 3/2, unison, quasi See #186 canon, hybrid (P+S) 337. Jerusalem Charles Hubert Hastings C+ish, 3/4, unison, piano, Parry b. 1848 thorough-comp. 338. Sussex Carol Traditional English F+, 3/2, unison, chorale, melody AAB 339. Sheldonian Cyril V. Taylor, 1985 D+, 3/2, SATB, chorale, hybrid (P+S) 340. Distant Beloved UU W. Frederick Wooden, Eb+, 4/4, SATB, chorale, 1992 hybrid (P+S) 346. A Rose in Winter Carolyn McDade, 1976 A+, 3/4, unison/2pt, improv. Accomp., v/c 347. Gather the Spirit UU Jim Scott, 1990 Bb+, 3/4, unison, piano, v/chorus, pop anthem 348. Guide My Feet Spiritual from Willis Ab+, 2/2, SATB, chorale, Laurence James b.1900 period 349. Kremser Adrian Valerius, 1626. D+, 3/4, SATB, chorale, See #67 small binary 350. McKee African American Bb+, 4/4, SATB, chorale, Spiritual hybrid (P+S) 351. Liverpool Southern Harmony C+, 3/2, SATB, chorale, hybrid (P+S) 352. Sigismund UU harm. Transylvanian F-, 2/2, SATB, chorale, hymn tune AAB 353. Le P'Ing UU harm. Hu Te-Ai, F+, 4/4, SATB, chorale, b.1900 small binary 354. Credo UU Shelley AJckson F+, 6/4, unison, piano, Denham, 1980 verse/chorus 357. Bright Morning Stars American folk song A+, 3/4,2 part, improv, Accomp., period 359. Repton Charles Hubert Hastings Eb+, 4/4, unison, piano, Perry b. 1848 thorough-comp. 361. Rejoice UU arr. Louise Ruspini C+, 4/4, unison, piano, AABA 362. Chalice Christoph Praetorius C-, 3/4, round 363. Doxology UU comm. Patrick L. D+, 12/8, unison, piano, See #265 Rickey, 1992 intro/sentence/coda 364. Berthier Jacques Berthier, 1978 D+, 2/4, SATB, chorale, ABCBC 365. Doxology UU comm. Patrick L D+, 12/8, unison, piano, See #263 Rickey, 1992 intro/sentence/coda 366. Heleluyan Traditional Muskogee Eb+, 4/4, unison, drone, Indian period 367. Allelu Anonymous G+, 4/4, SATB, call and response, sentence 368. Robeson Anonymous Ab+, 4/4,2-part, call and response, sentence 383. Alleluia Amen Anonymous D+, 2/2, round 384. Amadeus Wolfgang Amadeus F+, 2/4, round Mozart b. 1756 385. Jacques Jacques Berthier, 1978 F+, 6/8, round Johann Pachelbel b.1653 G+,4/4, SATB + solo, 386. Pachelbel's Canon chaconne Anonymous F- pent., 12/8, unison, 387. Elements chant Traditional canon F+, 3/4, round 388. Dona Nobis Pacem Philip A. Porter, 1991 F Aeolian, 4/4,round 389. Gathering Chant Natalie Sleeth, 1972 Bb+, 2/2, round 390. Gaudeamus Hodie UU John Corrado, 1987 G+, 3/4, SATB, chorale, 391. Voice Still and Small AAB 392. Psalm 133 Hebrew round D Aeolian, 3/4, round 393. Jubilate Deo Michael Praetorius Bb+, 2/2, 6 part round 394. Hava Nashirah Hebrew round A+, 2/2,3 part round 395. Moore Traditional round F+, 3/4, 4 part round 396. Grigolia UU Mary E. Grigolia, D pent, 4/4,4 part round 1989 397. Moore Traditional round F+, 3/4, 4 part round 398. Den Store Hvide UU arr. Norwegian E+, 6/4, SATB, chorale, Flok melody, 18th cent. period 399. Vine and Fig Tree Traditional Hebrew E-, 4/4, unison, improv,, accomp., 2 part round 401. Desmond African American C+, 3/4, SATB, chorale, Spiritual period 402. Rabbi Joseph Segal, 1969 F+, 3/4, unison, chant Jane Marshall, 1982 D+, 3/4, unison, chorale, 404. Anniversary Song period Gordon Slater, 1930 D+, 3/4, SATB, chorale, 405. St. Botolph hybrid (P+S) Traditional E+, 2/2, unison, small 406. Let Us Break Bread binary UU arr. Traditional G+, 2/2, unison, piano, 407. Welcome Table gospel UU comm..Alan D Aeolian, 7/4, unison, 408. Wonder of Wonders Hovhaness, 1992 chorale, hybrid repeated English folk song G+, 3/4, unison, chorale, 410. O Waly, Waly hybrid (P+S) Natalie Sleeth, 1966 C+, 2/2,4 part round 413. Go In Peace J.S.Bach b. 1685 D+, 4/4, SATB, chorale, 414. SegneUns hybrid (P+S) 415. Hevenu Traditional Hebrew D Aeolian, 4/4, unison, chant, unaccompanied APPENDIX E

Table of Hymns in Singing the Living Journey

Column 1: Hymn Tune name and number

Column 2: Source and composer

Column 3: Analysis HYMN NAME COMPOSER ANALYSIS 1000 Mountain Morning UU-Jason Shelton F+, unison, piano, perc. 1001 Breaths UU-Ysaye M. Barnwell F+, 2v, refrain, piano, 1002 Comfort Me UU-Mimi Bornstein- Bb+, unison, piano, gospel Doble 1003 Where Do We Come Brian Tate (Can.) F-, round From? 1004 Busca el Amor Salvador Barquero D+, 2v, refrain, piano UUarr. 1005 Praise in Springtime UU Thomas Benjamin C+, unison, 7/8, jazz harmony 1006 In My Quiet Sorrow UU Jeannie Gagne C-, unison, piano, jazz harmony 1007 There's a River Rose Sanders Eb+, unison, piano, zipper Flowin' in My Soul song, gospel 1008 When Our Heart Is UU Joyce Poley (Can.) Eb+, unison, piano, refrain in a Holy Place 1009 Meditation on UU Sarah Dan Jones C+, 3 part chant Breathing 1010 We Give Thanks UU Wendy Luella Perkins D+, 2 v., piano

1011 Return Again Shlomo Carlebach D-, 2 part chant 1012 When I Am UU Shelley Jackson F+, unison, piano Frightened Denham 1013 Open My Heart UU Henry S. Flurry D Dorian, round 1014 Standing on the Side UU Jason Shelton E+, unison, piano of Love 1015 I Know I Can UU Jeannie Gagne F+, unison, piano 1016 Profetiza, Pueblo Rosa Mathias UU arr. E-, 2 v., refrain Mio 1017 Building a New Way Martha Sandefer, UU arr. C-, unison, piano, rock 1018 Come and Go with African-American spiritual F+, unison, piano, zipper Me song 1019 Everything Possible UU Fred Small G+, SATB 1020 Woyaya Osibisa, UU arr. C+, 2 v., refrain 1021 Lean on Me Bill Withers F+, unison, piano, refrain

1022 Open the Window UU-Elise Witt D+, unison, piano, refrain, calypso 1023 Building Bridges Quaker Round F Aeolian, round 1024 When the Spirit Says African-American D-, unison, piano, jazz Do spiritual, UU arr. rhythm, zipper song 1025 When Will the Melchior Franck c.1600 F+, canon round Fighting Cease? 1026 If Every Woman In Karen MacKay F+, unison, piano, gospel the World waltz 1027 Cuando el Pobre Jose Olivar and Miguel D-, unison, piano Manzano 1028 The Fire of UU Jason Shelton Eb+, unison, piano, 5/4 Commitment 1029 Angel's Camp Daniel Charles Damon E-, SATB 1030 Siyahamba 20th Cent. South Africa G+, SATB 1031 Filled with Loving UU Ian W. Riddell D-, SATB Kindness 1032 Daoona Nayeesh Ted Warmbrand, UU arr. D-, unison

1033 Bwana Awabariki Swahili melody F+, SATB 1034 De Noche Jacques Berthier D-, SATB 1035 Freedom is Coming 20th Cent. South Africa F+, SATB with solo 1036 Calypso Alleluia UU Thomas Benjamin F+, 3 part round, piano, percussion 1037 We Begin Again in UU Les Kleen C-, unison response, piano Love 1038 The 23rd Psalm Bobby McFerrin F+, SATB, a capella 1039 Be Thou with Us UU Thomas Benjamin Eb+, unison, piano 1040 Hush African-American Ab+, unison, piano, slow spiritual, UU arr. gospel 1041 Santo Carlos Guillermo F+, 3v, refrain, mariachi 1042 Rivers of Babylon The Melodians E+, unison, piano, reggae 1043 Szekely Aldas UU Elizabeth Norton E-, 2v., piano 1044 Eli, Eli David Zehavi, UU arr. E-, 2v., piano 1045 There Is a Balm in African-American spiritual F+, SATB, refrain Gilead 1046 Hanson Place Robert Lowry, 1865 C+, SATB, refrain 1047NadaTeTurbe Jacques Berthier A-, SATB 1048 Ubi Caritas Jacques Berthier F+, 2v., a capella 1049 Vieni Spirito Jacques Berthier C-, round Creatore 1050 Jazz Alleluia UU Thomas Benjamin G+, round, piano, 5/8 1051 We Are... UU Ysaye M. Barnwell E-, 2v., piano, refrain 1052 The Oneness of UU Jim Scott C+, unison, piano Everything 1053 How Could Anyone Libby Roderick E+, unison, piano 1054 Let This Be a House UU Jim Scott C+, unison, piano of Peace 1055 Mauro UU Jason Shelton E-, unison, 3/2-2/2 1056 Thula Klizeo Joseph Shabalala F+, SATB 1057 Go Lifted Up Mortimer B. Barron Eb+, unison, piano 1058 Be Ours a Religion UU Thomas Benjamin G+, unison, piano 1059 May Your Life Be Yuri Zaritsky D Aeolian, round As a Song 1060 As We Sing of Hope UU-Elizabeth Alexander F altered, SATB and Joy 1061 For So the Children UU Jason Shelton F+, SAB, response Come 1062 All Around the Child UU Jim Scott C+, unison, piano 1063 Winter Solstice UU Phillip Palmer D-, chant, piano Chant 1064 Hyfrodol Roland Hugh Prichard E+, unison, piano c.l850,UUarr. 1065 Alabanza Pablo Fernandez-Badillo E-, SATB, refrain 1066 O Brother Sun Traditional Scottish, UU F+, 2v., piano arr. 1067 Mother Earth, UU Amanda Udis-Kessler A+, unison, piano Beloved Garden 1068 Rising Green UU Carolyn McDade D-, unison, piano 1069 Ancient Mother Traditional Navajo D Dorian, chant 1070 Mother I Feel You Windsong Dianne Martin D Dorian, chant

1071 Earth Drum UU Jason Shelton D Dorian, round, chant 1072 Evening Breeze unknown D Dorian, round, chant 1073 The Earth Is Our Native American D Dorian, chant Mother 1074 Turn the World Harry Belafonte, UU arr. D+, 2v., piano, refrain Around Bibliography

Bruscia, Kenneth E. ed. Case Studies in Music Therapy. Gilsum. New Hampshire: Barcelona Publishers, 1991.

Dawn, M. Reaching Our Without Dumbing Down: A Theology of Worship for the Turn- of-the-Century Culture. Grand Rapids: Eerdmans, 1995.

Drinker, S. Music and Women: The Story of Women in Their Relation to Music. New York: The Feminist Press at The City University New York, 1948.

Evans, Mark. Open up the Doors: Music in the Modern Church. Oakville, Connecticut: DBBC, 2006.

Faulkner, Q. Wiser Than Despair: The Evolution of ideas in the Relationship of Music and the Christian Church. Westport: Greenwood Press, 1996.

Frost. M., and A. Hirsch. The Shaping of Things to Come: Innovation and Mission for the 21st Century Church. Massachusetts: Hendrickson Publishers, 2003.

James, Jacqui. Between the Lines: sources for Singing the Living Tradition. Boston: Skinner House Books, 1998.

McClary, S. and R. Walser. "Start Making Sense! Musicology Wrestles With Rock", in S. Frith and A. Goowin (eds.) On Record: Rock, Pop and the Written Word. London, Routledge, 2000.

Pratt, Waldo S. Musical Ministries in the Church. New York: G. Schirmer, Inc., 1923.

Nattiez, J. Music and Discourse: Towards a Semiology of Music. Princeton: Princeton University Press, 1990.

Routley, Erik. Words. Music and the Church. Nashville: Abingdon Press, 1968.

Small, Christopher. Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press, 1998.

Tusler, Robert L. The Style of J. S. Bach's Chorale Preludes. New York: Da Capo Press, 1968 Wren, Brian A. Praying Twice: the music and words of congregational song. Louisville, Kentucky: Westminister John Knox Press, 2000.

Hymnals:

Anglican The Book of Common Praise. Oxford University Press, 1938.

Baptist The Hymnal. The Baptist Federation of Canada, 1973.

Unitarian Universalist Singing the Living Tradition. The Beacon Press, 1993.

Singing the Journey. The Beacon Press, 2006.

Hymns for the Celebration of Life. The Beacon Press, 1964

Hymns of the Spirit. The Beacon Press, 1943.