Examining contemporary congregational song – beyond sung theology By Fay Rosalind Magee Qualifications B Mus, B Ed St (Univ of Qld) Grad Dip Theol (MCD) L Mus A (piano) A thesis submitted in fulfillment of the requirements for the degree of Master of Arts MCD University of Divinity 30 June 2012 ABSTRACT Examining contemporary congregational song – beyond sung theology What Christians sing as they worship is a focus of considerable attention in the contemporary church and yet it has been a contentious issue at almost every period of Christian history. Since the mid-twentieth century, significant social, cultural, and technological changes, all against a backdrop of increasing global consciousness, have affected the way music functions and the ways opinions about repertoire and performance practices are formed. The primary focus of this project is the analysis of eight songs composed between 1983 and 2001. The essential question is how musical analysis contributes to a greater understanding of the nature of contemporary congregational song and various performance practices. This project will focus on analysis of harmonic structures as the major element. This will provide a framework from which comparisons of other musical elements can lead to a greater awareness of the issues of music and worship, and of music and theology. Developing a greater understanding of how music works enables more receptive and discerning listening and participation. The more difficult aspect of congregational song, that of it being not just ‘sung theology’, can be explored to some degree from a clearer understanding of the musical and textual components and their interrelationship. Various writers are contributing significant insights to how music itself provides meaning and thus how the singing of congregational songs contains and conveys meaning. As Don Saliers suggests, ‘(t)he question of meaning in music hinges on the interaction between order, sound, and the range of other senses – visual kinetic, gestural – it conjoins…. Music is not therefore simply an ornament of something already understood, such as a text.’ 1 Taking account of a range of perspectives, the analysis and comparison of the songs can contribute to a more constructive critique of contemporary trends and what happens when congregations sing. 1 Don E Saliers, Music and Theology (Nashville: Abingdon Press, 2007).p. 8 CRICOS Provider Vic 01037A, SA 03306B Thesis Submission Form This form must accompany any thesis submitted for examination Title of Thesis: Examining contemporary congregational song- beyond sung theology Name: Fay Rosalind Magee I declare that the word length of this thesis is 37 361 words. This does not exceed the maximum length specified in the regulations: Master of Arts major thesis: 40,000 words In each case, the word length includes footnotes, but excludes bibliography, tables, appendices and illustrations. I declare that the bibliography format is consistent and conforms to the requirements of the Turabian Style (Turabian, Kate L. 2007. A Manual for Writers of Research Papers, Theses, and Dissertations , 7 th ed. University of Chicago Press.); or that, alternatively, permission has been granted to employ another style. Statement of Originality I hereby certify that this thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other institution, and affirm that to the best of my knowledge, the thesis contains no material previously published or written by another person, except where due reference is made in the text of the thesis. Signed: ______________________________________________________________ Date: __________________________ ACKNOWLEDGMENTS My grateful thanks are due to my supervisors, the Rev Dr Ron Dowling, the Rev Dr David Cole, and the Rev Garry Deverell. Their various contributions to and encouragement of my thinking have been invaluable and vital to my completion of this project. My thanks also to Rev Dr Charles and Rev Dr Peta Sherlock whose conversations and encouragement over many years have been part of the forming of this topic. My appreciation is also due to my family and many friends who have been part of my journey with congregational song. CONTENTS Abstract Declaration / Statement of Originality Acknowledgements List of abbreviations Chapter 1 Introduction and background 1 Chapter 2 Review of literature 11 Chapter 3 Introduction to methodology: categories of song 35 Chapter 4 Analysis of selected songs 63 Chapter 5 Summary of musical and text elements 121 Chapter 6 Additional dimensions of music and text 154 Chapter 7 Conclusion – beyond sung theology 170 Bibliography 174 Appendix Scores of eight songs ABBREVIATIONS CCM Contemporary Christian Music CWM Contemporary Worship Music CCLI Christian Copyright Licensing International TIS Together in Song: Australian Hymn Book II Chapter 1 Introduction and background to the project In place of the drama of creation, reconciliation and redemption, which is the work of the triune God, another drama is staged. We have a monologue of the soul, or a duologue between the soul and God. 1 What Christians sing as they worship is a focus of considerable attention in the contemporary church and yet it has been a contentious issue during almost every period of Christian history. Since the mid-twentieth century, against a backdrop of increasing global consciousness, significant social, cultural, and technological changes have affected the way music functions and is perceived. Matters of local or regional concern are set in a broader context which can become of particular significance for the wide-ranging Christian church communities and organisations. Music is one such matter. This project examines the current repertoire and practices of congregational song, the involvement of all participants singing together in a worship setting, in contemporary Australia. The implication that all will be involved has a long history represented extensively in the Hebrew and Christian scriptures and throughout Christian history. The term congregational song will be used to refer to any type of music intended for communal singing in corporate worship. 2 There are worship settings in which the term is used but in which the conditions do not necessarily encourage a positive communal sense. 1 Karl Barth, Church Dogmatics Volume 1: The Doctrine of the Word of God, second half volume (Edinburgh: T & T Clark, 1956), p. 252. 2 Brian Wren, Praying Twice: The Music and Words of Congregational Song (Louisville, Kentucky: Westminster John Knox Press, 2000). 1 Therefore this definition of congregational song does not describe uniform circumstances or practices. The decline of communal singing is noted in the broader cultural context and this has influenced perceptions of congregational singing in church activities. 3 Elizabeth Smith points out that “Australians do not often sing in public”. 4 As this project will consider the repertoire and practices of mainline Anglican and Protestant congregations, it is likely that there is a greater degree of uniformity than if a wider view were to be taken. The implications of this will be explored further in relation to the analysis of the selected song repertoire. The realities of communal congregational singing will also be considered in relation to the performance aspects of worship practices. The mood for change has been significant throughout the second half of the twentieth century in most areas of life and culture, and the church has not been exempt. The quote at the commencement of this chapter described the changes in hymn texts which Karl Barth had observed and which indicated some of the origins of trends which would become even more pronounced. The broader cultural impetus for change could be described in terms of the “Western cultural revolutions of the 1960s and 1970s centred on reactions against the domination of reason-based duty, against the head-dominated, cold, calculating qualities of the rational”. 5 Against this background three specific elements which gained momentum from the 1960s can be identified as “liturgical renewal, ecumenical sharing 3 Mike Raiter, "The Slow Death of Congregational Singing," The Briefing , no. 355 (2008). 4 Elizabeth J Smith, "Crafting and singing hymns in Australia," in Christian Worship in Australia: Inculturating the Liturgical Tradition , ed. Stephen Burns and Anita Monro(Strathfield NSW: St Paul's Publications - Society of St Paul, 2009), p. 185. 5 Gary Bouma, Australian Soul - Religion and Spirituality in the Twenty-first Century (Cambridge: Cambridge University Press, 2006), p. 91. 2 and the charismatic movement”. 6 These influences have been important for music repertoire and practices with strong opinions promoting substantial changes particularly for the worshipping life of Christian communities. One of the initial responses in this process has been to admit that the English- language Western church needed to “set aside its inherited traditions as irrelevant to the cultural needs and concerns … of non-Christian people in North America”. 7 In that many aspects of Australian life and culture are influenced by trends and ideas from the northern hemisphere, similar responses have been observed here. There are parts of the mainline churches for which this has become a major issue with important outcomes for congregational song. With the benefit of hindsight it has been observed that “one of the central problems in the worship life of churches today is precisely the fact that so