The Role of Music and Musicians in Current English Parish Church Worship: the Attitudes of Clergy and Organists Robin Lodowick Douglas Rees B.Sc., M.Phil. (Lond.), C.Phys., M.Inst.P., M.B.C.S., A.Cert.C.M. Submitted for the Degree of Doctor of Philosophy Department of Music University of Sheffield December 1990 2 THE ROLE OF MUSIC AND MUSICIANS IN CURRENT ENGLISH PARISH CHURCH WORSHIP: THE ATTITUDES OF CLERGY AND ORGANISTS R.L.D. REES ABSTRACT One of the many issues currently confronting the Church of England is the role of music in worship. It is not a new debate, but has been brought into sharper focus in recent years in the wake of liturgical change. After examining the fundamental issues of the debate, the author considers them in the context of the present day. Other current matters of concern will also be discussed. The effects of liturgical change are then considered. The discussion is then widened to include: - a review of current hymnals and psalters; - a survey of the courses and qualifications in church music available in Great Britain; - three case studies demonstrating the problems that can arise when clergy and church musicians are in conflict; - a review of surveys in church music undertaken since 1950. The main work comprises a detailed survey by questionnaire to the priest-in-charge and organist at almost half the churches in a large diocese (that of Oxford). This yields an overall picture of: - respondents' personal backgrounds and general attitudes; - respondents' perceptions, both objective and subjective, of the situation at their church, and of each other. From these varied strands are drawn certain conclusions for improving clergy-organist relationships, and suggestions for further research in the subject. 3 CONTENTS ABSTRACT 2 ACKNOWLEDGMENTS 8 1 INTRODUCTION 11 1.1 The context of the present work 11 1.2 Points of departure 12 1.3 The Church's response 14 1.4 Weary and ill at ease 16 1.5 A need for the present project 20 1.6 Other matters of concern 21 2 THE EFFECTS OF LITURGICAL CHANGE 24 2.1 The Reformation 24 2.2 Vatican II 25 2.3 The Alternative Service Book 26 2.3.1 The origins of the ASB 26 2.3.2 Musical changes arising from the ASB 29 3 HYMNALS AND PSALTERS 31 3.1 The Hymn Explosion 31 3.2 Anglican Hymn Book 32 3.3 Hymns for Today's Church 33 3.4 Hymns Ancient and Modern et al 37 3.5 The New English Hymnal and its forebears 42 3.6 Interdemyminational hymnals 50 3.7 Hymnals: summary of the present situation 59 3.8 Psalters 59 3.9 Copyright and the books of the future 64 4 COURSES AND QUALIFICATIONS IN CHURCH MUSIC 67 4.1 Royal School of Church Music 68 4.2 Christian Music Association 70 4.3 City of Liverpool College of Higher Education 71 4.4 Colchester Institute 72 4.5 Faculty of Church Music 73 4.6 Guild of Church Musicians 74 4.6.1 Archbishops' Certificate in Church Music 74 4.6.2 Fellowship 76 4.6.3 The Guild and its qualifications 77 4 4.7 Music in Worship Trust 78 4.8 Royal Academy of Music 79 4.9 St. Michael's College Tenbury 81 4.10 Trinity College London 81 4.11 University of East Anglia 82 4.12 University of St Andrews 82 4.13 Williams School of Church Music 82 4.14 Summary of courses 83 5 THREE CASE STUDIES 86 5.1 The sitting tenant 86 5.2 Winds of change 89 5.3 Chalk and cheese 92 5.4 Limitations of case studies; the need for a 96 systematic survey 6 OTHER SURVEYS OF CHURCH MUSIC 98 6.1 Archbishops' Committees/Commissions 98 6.2 Surveys by other parties 102 7 MANAGEMENT OF THE PRESENT SURVEY 105 7.1 Design and production of the questionnaires 105 7.1.1 General criteria in questionnaire construction 105 7.1.2 Criteria specific to this project 106 7.1.3 The content of the questionnaires 107 7.1.3.1 The choice of questions 107 7.1.3.2 Special terminology 109 7.1.4 The format of the questionnaires 111 7.1.5 The covering letters to potential respondents 113 7.1.6 Production of the questionnaires 115 7.2 Distribution of the questionnaires 115 7.2.1 Geographical extent of the survey 115 7.2.1.1 Phase 1: the pilot study 115 7.2.1.2 Phase 2: the remainder of the project 116 7.2.2 Method of distribution 118 7.3 Return of the questionnaires 120 7.4 Entry of data to the computer 121 7.4.1 The statistics package 121 7.4.2 The computer system 122 8 RESULTS OF THE SURVEY 123 8.1 Preliminary considerations 123 5 8.1.1 The response rate 123 8.1.2 The tables and their statistical 126 interpretation 8.2 Part A of the questionnaires: 129 General information and views of musical director and priest/minister-in-charge 8.2.1 Questions common to both parties 129 MD-A1 PC-A13 129 MD-A2 PC-A1 130 MD-A3 PC-A8 132 MD-A4 PC-A9 133 MD-A5 PC-A10 134 MD-A6 PC-All 135 MD-A7 PC-Al2 139 MD-A8 PC-A18 145 MD-A10 PC-A16 161 MD-A13 PC-A14 163 MD-A14 PC-A23 164 8.2.2 Questions only to the musical director 167 MD-A9 167 MD-All 172 MD-Al2 173 8.2.3 Questions only to the priest/minister-in-charge 173 PC-A2 173 PC-A3 174 PC-A4 174 PC-A5 174 PC-A6 175 PC-A7 176 PC-A15 178 PC-A17 179 PC-A19 179 PC-A20 180 PC-A21 183 PC-A22 185 8.2.4 Summary of general information and views of 186 musical director and priest/minister-in-charge 8.3 Part B of the questionnaires: the churches and 187 their music 8.3.1 General information 187 PC-B2 188 PC-B3 189 PC-B4 190 PC-B5 190 PC-B7 191 PC-B8 192 PC-B9 193 PC-B10 195 PC-B15 195 PC-B16 196 MD-B2 196 MD-B1 PC-B1 196 6 MD-B3 203 MD-B4 PC-B13 205 PC-B14 207 MD-B13 PC-B17 208 MD-B14 PC-B18 210 MD-B15 PC-B19 211 MD-B6 PC-B6 212 MD-B9 213 PC-B11 215 MD-B27 219 MD-B5 220 MD-B7 222 MD-B8 PC-B12 223 MD-B10 223 MD-B11 224 MD-B12 PC-B23 224 MD-B16 PC-B20 225 MD-B17 PC-B21 227 MD-B18 PC-B22 229 MD-B28 PC-B29 230 MD-B26 232 MD-B19 PC-B24 233 MD-B20 PC-B25 233 MD-B21 237 MD-B22 238 MD-B23 242 MD-B24 243 PC-B26 244 PC-B27 244 MD-B25 PC-B28 245 Summary of general information 252 8.3.2 The services 254 MD-B29 PC-B30 254 MD-B30 PC-B31 255 MD-B33 PC-B35 255 MD-B31 PC-B32 256 PC-B33 258 MD-B32 PC-B34 260 MD-B34 PC-B36 261 MD-B35 265 MD-B36 PC-B41 266 MD-B37 PC-B37 267 MD-B38 270 MD-B39 271 MD-B40 PC-B39 272 MD-B41 273 MD-B42 275 MD-B43 277 MD-B44 277 MD-B45 279 MD-B46 281 MD-B47 282 MD-B50 290 MD-B49 PC-B40 291 MD-B51 PC-B42 292 MD-B48 PC-B38 293 7 Summary of information on the services 319 9 FURTHER ANALYSIS: WHAT MAKES FOR A FRUITFUL 321 PARTNERSHIP? 9.1 Differences of perception of the working 321 relationship 9.2 Correlation coefficients 323 9.3 Correlations with MD-B25(b): musical 325 director's view of relationship with priest 9.4 Correlations with PC-B28(c): priest's view 327 of relationship with musical director 9.5 Summary of correlations with MD-B25(b) and 329 PC-B28(c) 9.6 The Dissatisfaction Index, DI 331 9.7 Correlations with the DI 332 9.8 Summary of correlations with the DI 334 9.9 The Dissatisfaction Predictor, DP 335 10 CONCLUSION AND SUGGESTIONS FOR FURTHER STUDY 338 11 EPILOGUE 343 APPENDICES 1 QUESTIONNAIRE TO MUSICAL DIRECTOR 344 2 QUESTIONNAIRE TO PRIEST/MINISTER-IN-CHARGE 364 3 COVERING LETTER TO MUSICAL DIRECTOR 380 4 COVERING LETTER TO PRIEST/MINISTER-IN-CHARGE 381 5 MAP OF DIOCESES IN THE SOUTHERN PART OF BRITAIN 382 6 MAP OF THE DIOCESE OF OXFORD 383 7 CARTOON USED BY THE AUTHOR AT DEANERY CHAPTER 384 MEETINGS 8 CLERGY RESPONSE RATES TO WORK-RELATED 385 QUESTIONNAIRES: A RELATIONSHIP BETWEEN AGE, WORK LOAD AND BURNOUT? 9 A SURVEY OF THE ROLE OF MUSIC IN WORSHIP: SOME 392 PRELIMINARY FINDINGS BIBLIOGRAPHY 404 8 ACKNOWLEDGMENTS Many individuals and institutions have assisted in this work, and I am very pleased to be able to record my thanks to them. Firstly I am most grateful to my supervisors Dr. A.M. Brown and Professor E. Garden, and to the University of Sheffield, for allowing me to undertake the project under the auspices of the Music Department. I am especially grateful to Dr. Brown for our many useful discussions on the project, and for allowing me large portions of his time on those days when I visited Sheffield. My conversations with Dr. Chris Spencer, of the Psychology Department at the University of Sheffield, were also very helpful.