UNITARIAN UNIVERSALIST LITURGICAL MUSIC SUSANNE MARY MAZIARZ A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-62309-1 Our We Notre reference ISBN: 978-0-494-62309-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformement a la loi canadienne sur la Privacy Act some supporting forms protection de la vie privee, quelques may have been removed from this formulaires secondaires ont ete enleves de thesis. cette these. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. 1+1 Canada iv 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.