The status of music in the large Protestant churches of Fresno in relation to theory and practice
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THE STATUS OF MUSIC IN THE LARGE PROTESTANT CHURCHES OF FRESNO IN RELATION TO THEORY AND PRACTICE
A T hesis P resented to t h e F a c u l t y of* t h e D e p a r t m e n t o f M usic U n iv e r s i t y o f Southern C a l i f o r n i a
In P a r t i a l F u l f i l l m e n t o f the R equ irem ents f o r t h e Degree M aster o f A rts
by C h arles L ow ell Spencer August 1950
UMI Number: EP61890
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yM U.
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0
Th is thesis, writ ten by
C harles L ow ell Spencer un der the guida nce of /lL?.... F a c u lt y C om m it te e , an d a p p r o v e d by al l its memb ers , has been pr es e nt e d to and ac ce pt e d by the C ouncil on G rad ua te S t u d y and Resea rch in p a r ti a l fu lfill ment of the requirements f o r the degree of
M aster o f A r t s
D ate
AU.G
.19.50.......
Faculty Committee
Chairman
TABLE OP CONTENTS CHAPTER I.
PAGE
THE PROBLEM AND DEFINITION OP TERMS USED. . . . The p r o b l e m .
I
...................................................................
Statem en t o f the problem
.........................
2
Im portance o f th e s t u d y .
.........................................
3
o f t e r m s u s e d ....................................................
4
D efin itio n s
S ta tu s o f m u sic.
.
.........................................................
Order o f w o r s h i p
4
L a r g e c h u r c h .............................................................................
4
......................
4
O rgan ization
. . . . . . .
of study. . . . . . . . . . . . .
Sources of
m a t e r i a l ........................................................
Procedures
. . . . . .
4 .
4
.
5
.
5
.
6
CHURCHES OP THE N A T I O N .........................................................
24
O rgan ization o f the s t u d y REVIEW OP THE LITERATURE ON THE SIGNIFICANCE MJSIC IN THE CHURCH............................................... ’ . III.
4
. •
M in iste r o f m usic.
II.
2
.
OP .
STATUS OP THE CHURCH MUSIC PROGRAM IN THE LARGER
The m em b ersh ip
...................................................................
28
......................
29
• • • • . . ...................... ....
29
The b u d g e t The c h u r c h m u s i c i a n s The s a l a r i e s
.
.........................
29
The d u t i e s
o f a f u l l tim e m i n i s t e r o f
m u sic.
30
The d u t i e s
o f a p a r t tim e m i n i s t e r o f
m u sic.
31
iii CHAPTER
PAGE The c h o i r s
.............................................................
The m u s i c c o m m i t t e e . The c o n g r e g a t i o n a l IV. V.
• • • • • •
. . . . .
..........................
32
m u s i c .................................
32
A REVIEW OF’ THE CHURCH SITUATIONIN FRESNO . . .
33
CHURCH A ...................................................................................................
37
The m em b er sh ip
. . . ...................... - .............................
37
The b u d g e t ..................................................................................
37
The c h u r c h m u s i c i a n s .............................................
37
The d u t i e s o f t h e c h o i r d i r e c t o r ..........................
38
The s a l a r i e s
...................................................................
38
The c h o i r .......................................................................................
38
The m u s i c c o m m i t t e e ..............................................................
39
.
The c o n g r e g a t i o n a l m u s i c
VI.
31
’.
39
The m u s i c u s e d .................................. ........... .........................
40
The m u s i c i n t h e o r d e r o f w o r s h i p ............................
40
The i n s t r u m e n t a l m u s i c ....................................................
40
CHURCH B ...................................................................................................
41
The m e m b e r s h i p .................................. .....................................
41
The b u d g e t ..................................................................................
41
The c h u r c h m u s i c i a n s .........................................................
41
The d u t i e s
42
o f the choir d ir e c t o r
. . • • • •
The s a l a r i e s ..................................................................
43
The c h o i r s ..................................................................................
43
The music committee.....................
44
iv CHAPTER
PAGE The c o n g r e g a t i o n a l m u s i c
..............................................
45
The m u s i c u s e d ........................................................................
46
The m u s i c i n t h e o r d e r o f
46
The i n s t r u m e n t a l m u s i c VII.
CHURCH C .
. .
•
47
. ............................................................................
48
The m em b ersh ip
.
w o r s h i p ........................ .
.
.
.......................
• • • • ................................... .
The b u d g e t ................................... .
..
.
.
.
..................................
48 48
The c h u r c h m u s i c i a n s ............................... • • • • •
48
The d u t i e s o f t h e c h o i r d i r e c t o r s .........................
50
The s a l a r i e s ......................................... .
..............................
50
The c h o i r s ..................................................................................
51
The m u s i c c o m m i t t e e ............................ ........
52
..............................................
52
The m u s i c u s e d ...................................... ............................ ....
53
The m u s i c i n t h e o r d e r o f
w o r s h i p ........................
53
The i n s t r u m e n t a l m u s i c ....................................................
53
The c o n g r e g a t i o n a l m u s i c
V I I I . CHURCH D .................................................................................
55
The m e m b e r s h i p ...................................... .................................
55
The b u d g e t
55
....................................
The c h u r c h m u s i c i a n s
. . . . . . . . .
.........................................................
55
The d u t i e s o f t h e c h o i r d i r e c t o r ..........................
56
The s a l a r i e s ............................................................................
56
The c h o i r s ............................................. .. ..................................
56
The music committee.........................
56
V
CHAPTER
PAGE ...............................................
57
The m u s i c u s e d ........................................................................
57
The m u s i c i n t h e o r d e r o f w o r s h i p ..........................
57
The i n s t r u m e n t a l m u s i c ....................................................
57
CHURCH E ..................................................................................................
59
The m e m b e r s h i p ........................................................................
59
The b u d g e t ..............................
59
The c h u r c h m u s i c i a n s
59
The c o n g r e g a t i o n a l m u s i c
IX .
.........................................................
D u tie s o f the c h o ir d i r e c t o r
.....................
60
The s a l a r i e s .............................................................................
61
The c h o i r s ..................................................................................
61
Music c o m m i t t e e ........................................................................
62
The c o n g r e g a t i o n a l m u s i c ..............................
62
The m u s i c u s e d ...................................................
X.
• • • •
62
The m u s i c i n t h e o r d e r o f w o r s h i p ............................
63
The i n s t r u m e n t a l m u s i c ....................................................
63
CHURCH P ..................................................................................................
64
The m e m b e r s h i p ........................................ The b u d g e t
.............................................................
64 • • •
64
.........................................................
64
The d u t i e s o f t h e c h o i r d i r e c t o r ............................
65
The s a l a r i e s .............................................................................
65
The c h o i r s
65
The c h u r c h ,m u s i c i a n s
.............................................................................
The music committee.........................
66
vi CHAPTER
PACE The c o n g r e g a t i o n a l m u s i c
....................................................
66
The m u s i c u s e d ....................................................................................66 The m u s i c i n
t h e o r d e r o f w o r s h i p ..................................... 67
The i n s t r u m e n t a l m u s i c XI.
.
. ' .....................................................67
CHURCH a ....................................... The m em b er sh ip The b u d g e t
.
68
• • • . .............................. .
• • • •
The c h u r c h m u s i c i a n s
• • •
• 68
.................................................................... 68 ..............................................................
68
The d u t i e s o f t h e c h o i r d i r e c t o r ..................................... 69 The s a l a r i e s .........................................................................................69 The c h o i r s
.......................................................................
69
The m u s i c c o m m i t t e e ......................................................................... 70 The c o n g r e g a t i o n a l m u s i c The m u s i c u s e d
...............................................
.....................• ....................................................71
The m u s i c i n t h e o r d e r o f w o r s h i p ......................... The i n s t r u m e n t a l m u s i c .................................... X II.
70
•
71 72
CHURCH H .....................................................
73
The m e m b e r s h i p ........................................................
73
The b u d g e t ..............................................................................................73 The c h u r c h m u s i c i a n s ........................................ . The d u t i e s o f
• • •
• 73
t h e c h o i r d i r e c t o r ..................................... 7 4
The s a l a r i e s .........................
74
The c h o i r s ..............................................................................................74 The music committee.......................
75
vii chapter
page
The c o n g r e g a t i o n a l m u s i c
X III.
...............................................
75
The m u s i c u s e d ........................................................................
76
The m u s i c i n t h e
order o f
w o r s h i p .....................
76
The i n s t r u m e n t a l
m u s i c ...................................................
76
SUMMARY AND CONCLUSIONS..............................................................
78
The m em b er sh ip
.........................................................
78
The b u d g e t ..................................................................................
78
The c h u r c h m u s i c i a n s
.........................................................
79
The d u t i e s o f t h e c h u r c h m u s i c i a n s .....................
80
The s a l a r i e s .............................................................................
80
The c h o i r s
........................................................................
81
The m u s i c c o m m i t t e e ..............................................................
82
The c o n g r e g a t i o n a l m u s i c ..............................................
82
The m u s i c u s e d ........................................................................
83
The m u s i c i n t h e
w o r s h i p .....................
83
The i n s t r u m e n t a l ...m u s i c ...................................................
84
The c o n c l u s i o n s .............................................................................
84
BIBLIOGRAPHY.......................................................................................................
90
A P P E N D IX.................................................................................................................
93
order of
LIST OF TABLES PAGE
TABLE I*
A n a l y s i s and C o m p a riso n o f Music D e p a r t m e n t s .of F resno Churches w it h N a t io n a l A verage .
.
.
.
94
CHAPTER I THE PROBLEM AND DEFINITION OF TERMS USED I n t h e s e p o s t war y e a r s , a s h a s b e e n n o t e d i n o t h e r sim ila r p erio d s,
th e r e has been a g r e a t s p i r i t u a l awakening
o f t h e p e o p le through out our n a t i o n .
A trem endous i n c r e a s e
i n c h u r c h a t t e n d a n c e an d i n t e r e s t i n c h u r c h work i s
e v id en t.
L e a d e r s o f o u r day a r e s a y i n g c o n s t a n t l y t h a t t h e f u t u r e o f our co u n tr y l i e s
i n t h e h a n d s o f t h e c h u r c h and t h a t i t
is
t h e r e s p o n s i b i l i t y o f t h e c h u r c h t o b r i n g p e a c e and u n i t y o u t o f t h e c h a o s and d i s t o r t i o n i n
the w orld.
The P r o t e s t a n t
c h u r c h e s a r e r e n e w i n g t h e i r e f f o r t s t o u n i t e i n common c a u s e s t o b r i n g t h e i r combined i n f l u e n c e
t o b e a r u p o n n a t i o n a l and
in tern a tio n a l a f f a ir s . If th is is
so, i t
is
necessary
that p e o p le in the
work o f t h e c h u r c h e s i n e a c h c o m m u n it y make a n a p p r a i s a l o f t h e i r work i n o r d e r t o make c e r t a i n t h a t t h e y a r e l i v i n g up t o t h e r e s p o n s i b i l i t y p r e s c r i b e d t o them . This p a r t i c u l a r stu d y i s
d i r e c t e d toward t h o s e p e o p l e
i n t e r e s t e d i n th e f u n c t i o n o f m usic in the c h u rch .
It is
a p p a r e n t t h a t t h e men a n d women i n o u r c h u r c h c h o i r s a r e n o t f u l l y a w a r e o f t h e p u r p o s e or i m p o r t a n c e p l a c e d upon t h e m usic i n a church s e r v i c e .
L i k e w i s e , the laymen o f
the
P r o t e s t a n t c h u r c h do n o t h a v e t h e same c o n c e p t o f wh at
2 m u s i c i n a w o r s h i p s e r v i c e may do f o r them.***
The m i n i s t e r s
o f m u s i c a n d p a s t o r s n e e d t o b e more a w a r e o f t h e s e f a c t s and more a w a r e o f t h e s i g n i f i c a n c e th e w orship s e r v i c e .
o f th e r o l e o f m usic i n
One o f t h e a n s w e r s t o o u r p r o b l e m may
be t h a t o f e d u c a t i o n a n d i n s t r u c t i o n o f t h e men a n d women i n our c h o i r s and c o n g r e g a t i o n s . I .
THE PROBLEM
Statem ent o f th e problem . study (1)
to review the l i t e r a t u r e
I t was t h e p u r p o s e o f t h i s on m u s i c i n t h e c h u r c h ;
(2)
to d isc u ss
the m u s ic a l p o r t i o n o f t h e o rd er o f w orship;
(3)
to j u s t i f y
the p o s i t i o n s o f church m u s ic ia n s ;
make some g e n e r a l o b s e r v a t i o n s
(4)
to
concerning the p r a c t ic e s o f
c h u r c h m u s i c i n t h e l a r g e r c h u r c h e s o f t h e n a t i o n w i t h some com parisons o f p r a c t i c e s betw een the
e a s t and w e s t ;
(5)
to
make a s u r v e y o f t h e F r e s n o a r e a a n d compare t h e m u s i c d e p a r t m e n t s i n some o f t h e l a r g e r P r o t e s t a n t c h u r c h e s w i t h t h e I d e a l s and s t a n d a r d s o f work a s s e t f o r t h by l e a d i n g a u t h o r it ie s in the f i e l d ;
a nd ( 6 )
t o draw c e r t a i n c o n c l u s i o n s
w h i c h may s t i m u l a t e and p r o m o t e f u r t h e r g r o w t h and d e v e l o p ment o f a n e n r i c h e d c h u r c h m u s ic pr ogram t h a t w i l l
serve
b e t t e r t h e s p i r i t u a l n e e d s o f t h e F r e s n o c o m m u n it y .
^ J o s e p h N*_ A s h t o n , Mu s i c i n W o r sh ip ( B o s t o n : The P ilg rim P re ss, 1 9 43), pp. 1 -6 .
3 '
Im portance o f th e s t u d y .
T h ere s e e m s t o be a renev/ed
i n t e r e s t i n r e c e n t y e a r s c o n c e r n i n g t h e p u r p o s e and t h e im p o r ta n c e o f m usic i n th e w orship s e r v i c e * cussed f a c t that
It is
a much d i s
t h e s t a n d a r d and q u a l i t y o f m u s i c a l p e r
formance i n the a v e r a g e church i s n i f i c a n c e a s s ig n e d to i t
n o t on a p a r wi-th t h e s i g -
by le a d e r s I n t h e f i e l d .
2
Pro
f e s s i o n a l and s c h o l a r l y m u s i c i a n s v e r y o f t e n l o o k w i t h a g r e a t d e a l o f sc o rn upon t h e work o f the church m u s ic i a n . not a health y s ta te
of a ffa ir s.
T h is i s
The g r e a t e s t m u s i c o f a l l
tim e has been f o s t e r e d by t h e ch u r c h .
M usi c i s
the c h u r c h f s
r i g h t f u l h e r i t a g e a n d t h e r e i s no s u b s t i t u t e f o r i t s
in flu en ce
i n t h e w orship s e r v i c e . If it th is
is
true th a t th ere are g la r in g weaknesses in
w o r k, t h e r e i s
solved .
t h e n a s e r i o u s p r o b l e m w h i c h m ust be
The c a u s e may b e f i n a n c i a l ,
poor a d m in istr a tio n ,
lack o f tr a in e d p e r so n n el,
wrong a t t i t u d e s a n d p r a c t i c e s ,
a n c e r e g a r d i n g t h e i m p o r t a n c e o f t h e work and i t s
or i g n o r
in flu en ce.
I t w o u ld seem a d v i s a b l e t h e n to d i s c u s s h e r e i n some w orkable i d e a l s , itie s
a ttitu d es,
i n the f i e l d ;
th is p ictu re;
to
and p r a c t i c e s a c c o r d i n g t o a u t h o r
s e e where t h e F r e s n o c h u r c h e s f i t
and t o c o n c l u d e w h a t t h e e f f o r t s
m u s i c l e a d e r s m i g h t be to i m p r o v e up on t h i s
2 Ibi_d., p . 1 .
in to
o f th e church
i m p o r t a n t w o r k.
4 II.
DEFINITIONS OF TERMS USED
Statu s of m u sic.
The s t a t u s
o f m u s i c was i n t e r p r e t e d
a s m e a n i n g t h e i m p o r t a n c e p l a c e d upon m u s i c i n t h e work o f r e l i g i o n by t h e m i n i s t e r s and c o n g r e g a t i o n s i n t e r m s o f u s e , budget,
and p a r t i c i p a t i o n . O rd er o f w o r s h i p .
The o r d e r o f w o r s h i p was i n t e r
p r e t e d a s m e a n i n g t h e p l a n n e d s e q u e n c e o f hymns, a n t h e m s , p r a y e r s , and r e s p o n s e s w h i c h make t h e w o r s h i p e x p e r i e n c e e f f e c t i v e and v i t a l f o r e a c h i n d i v i d u a l i n a c o r p o r a t e w orsh ip • Large c h u rch .
E ig h t prom inent l a r g e r P r o t e s t a n t
c h u r c h e s o f F r e s n o whose m em bership r a n g e d f r o m f i v e h u n d r e d t o t w e n t y - t h r e e hundred were u s e d i n t h i s s t u d y . M in ister of m u sic.
The t e r m s ’’m i n i s t e r o f m u s i c , "
" c h o i r d i r e c t o r , " a n d " d i r e c t o r o f m u s i c " w ere u s e d i n t e r changeably throughout t h i s III.
study.
ORGANIZATION OF STUDY
Sources o f m a t e r i a l .
The m a t e r i a l e x p o u n d e d i n t h i s
s t u d y was b a s e d up o n b o o k s w r i t t e n b y men r e c o g n i z e d by c h u r c h l e a d e r s and s a c r e d m u s i c d e p a r t m e n t h e a d s o f l e a d i n g u n i v e r s i t i e s as being a u t h o r it ie s i n t h e ir f i e l d ; lectu res;
p erio d ica l;
and i n t e r v i e w s w i t h c h o i r d i r e c t o r s , m i n i s t e r s ,
5
c h o i r m em bers, a n d members o f c o n g r e g a t i o n s . Procedures,
The l i b r a r y , p e r s o n a l , i n t e r v i e w , a n d
q u e s t i o n n a i r e m e t h o d s were u s e d i n b r i n g i n g t o g e t h e r t h e m a teria l fo r th is study. O rR anization o f th e s t u d y . -as f o l l o w s :
(1) review o f the
T h i s s t u d y was o r g a n i z e d
litera tu re;
(2 ) ch u rch m usic
i n th e la r g e P r o te sta n t churches of the n a tio n ; Fresno church s i t u a t i o n ;
(4)
(3)
church m usic a s p r a c t i c e d i n
e i g h t o f the l a r g e r P r o t e s t a n t churches o f F resn o; (5)
summary and c o n c l u s i o n s .
the
and
CHAPTER II REVIEW OP THE LITERATURE ON THE SIGNIFICANCE OF MUSIC IN THE CHURCH There i s
a w ealth o f m a te r ia l w r itte n a b o u t the h i s
t o r y o f m u sic i n t h e church and t h e u s e o f m usic i n w o r s h ip . The m a t e r i a l p r e s e n t s
t h e i d e a s o f men who h a v e s t u d i e d t h e
subject h is t o r ic a lly ,
th eo retica lly ,
and s c i e n t i f i c a l l y
many y e a r s and h a v e drawn c o n c l u s i o n s a s t o t h e o f m u s i c i n t h e work o f t h e ita tiv e ,
and u s e d
for
sig n ifica n ce
c h u r c h w h i c h may be c a l l e d a u t h o r
t o fo rm t h e b a s i s f o r our own t h i n k i n g
and p r a c t i c e . P l a t o knew t h e pow er o f m u s i c . He o n c e w r o t e t h a t t h e i n t r o d u c t i o n o f a new k i n d o f m u s i c m u st be s h u n n e d a s i m p e r i l i n g t h e w h o le s t a t e , s i n c e s t y l e s o f m usic a r e n e v e r d i s t u r b e d w ith o u t a f f e c t i n g th e most im p o r ta n t i n s t i t u t i o n s . He s a i d , “The new s t y l e q u i e t l y i n s i n u a t e s i t s e l f i n t o m anners and c u s t o m s , and f r o m t h e s e i t i s s u e s a g r e a t e r f o r c e . • • g o e s on t o a t t a c k l a w s and c o n s t i t u t i o n s , d i s p l a y i n g the utm ost im pu dence, u n t i l i t ends by o v e r t u r n i n g e v e r y t h i n g , b o t h i n p u b l i c and i n p riv a te. “ C h a r l e s K i n g s l e y a l s o was a w a r e o f t h i s p o w e r . He w r o t e : “T h e r e i s s o m e t h i n g v e r y w o n d e r f u l a b o u t m u sic. Words a r e w o n d e r f u l e n o u g h , bu t m u s i c i s more w on derfu l. I t s p e a k s n o t t o o u r t h o u g h t s a s words d o ; i t s p e a k s s t r a i g h t t o our h e a r t s an d s p i r i t s , t o t h e v e r y c o r e a n d r o o t o f o u r s o u l s . n^
^ H u b er t V. T a y l o r , -“The M i n i s t e r and H i s M u s i c , 11 Our S i n g i n g Church ( P h i l a d e l p h i a : B oard o f C h r i s t i a n E d u c a t i o n , P r e s b y t e r i a n Church i n t h e U n i t e d S t a t e s o f A m e r i c a , n . d . ) , p . 14.
7
The p r e v e n t i v e and t h e r a p e u t i c b e n e f i t s o f m u s i c have lo n g b een t a l k e d a b o u t. The b a s i c r e a s o n f o r the a r t s through th e a g e s has b een th e r e s u l t a n t m ental h y g ie n ic e f f e c t s , A common c r e a t i v e u r g e , d e s i r e f o r d i v e r s i o n , and s e a r c h f o r s a t i s f a c t o r y exp ression e x is t s in a l l p eop le. M u sic g u a r a n t e e s th e f u l f i l l m e n t o f t h e s e u r g e s and t h e r e i n l i e s i t s g r e a te r em otional v a lu e . I t has been the em otion al g o v e r n o r o f the p e o p l e th r o u g h the a g e s and to d a y t h is is i t s c h ie f fu n ctio n .^ M odem s c i e n c e w i t h i t s e x a c t m e t h o d s o f m e a s u r i n g p h y s i o l o g ic a l a c t i v i t i e s i s d a ily confirm ing a s f a c t what h a s b e e n s u s p e c t e d t h r o u g h t h e c o u r s e o f h i s t o r y ; t h a t m u s i c p l a y s a g r e a t p a r t i n human h e a l t h , h a p p i n e s s , and e f f i c i e n c y , ^ S-ome c o n c l u s i o n s drawn from s c i e n t i f i c are as fo llo w s:
experim ents
(1 ) m usic lo w e r s th e t h r e s h o l d f o r s e n s o r y
s t i m u l i o f d i f f e r e n t moods;
(2 ) m usic a f f o r d s th e p h y s io
l o g i c a l b a s is fo r the g e n e sis
o f em otion;
or d e c r e a s e s m uscu lar energy;
(4 ) m usic a c c e l e r a t e s b r e a th in g
and d e c r e a s e s i t s
(5) m usic i n c r e a s e s m etabolism
reg u la rity ;
(3) m usic i n c r e a s e s
a s shown by t h e work o f T a r t c h m a n o f f and D u t t o n ;
(6)
it
is
a lm o s t c e r t a i n t h a t m usic c a u s e s c h e m ic a l r e a c t i o n w i t h i n th e body,^ The r e a s o n f o r p o i n t i n g o u t t h e s e f a c t s h e r e i s a t t e m p t t o make s c i e n t i f i c a l l y
to
sound t h e c la im s o f th e v a lu e
o f m u s i c i n t h e w o r s h i p s e r v i c e by w r i t e r s who some m i g h t
^ E , T, G a s t o n , ’'Music For H e a l t h , ” M usic E d u c a t o r s J o u r n a l , XXXI (March, 1 9 4 5 ) , p . 2 4 . ^ Edward P o d o l s k y , M u sic For Your H e a l t h (New Yo rk: B e r n a r d Ackerman, I n c . , 1 9 4 5 ) , p . 2 2 . 4 I b id . , pp. 27-28.
8 c l a i m t o be c a r r i e d a w a y by t h e i r own i d e a l i s t i c
thoughts
i n s t e a d o f b a s i n g t h e i r t h i n k i n g upon p r o v e n f a c t s . L a w r e n c e T i b b i t t s a y s t h a t w o r s h i p i n g God i s em otional e x p e r ie n c e .
S in gin g a l s o i s
i e n c e and t h e two go hand i n h a n d .
an
an e m o t i o n a l e x p e r
When t h e p r e s e n t day
c l e r g y and m i n i s t e r s o f m u s i c r e a l i z e t h e v i t a l f o r c e t h e y have i n t h e m usic o f the c h u r c h , and u s e i t a s s u c h ,
they
w i l l f i n d a n e x c e l l e n t means o f o p e n i n g t h e d o o r s i n t h e h ea rts of the con gregation .^ M usi c h a s no i n h e r e n t r e l i g i o u s v a l u e s o f i t s but i t
own,
i n t e n s i f i e s t h o s e i d e a s and f e e l i n g s w h i c h a r e a s s o c i a t
ed w i t h i t .
F or t h i s r e a s o n i t
in flu en ce fo r r e lig io n . con sciou s o f r e lig io u s
h a s become a m o st i m p o r t a n t
I t makes m ank ind more i n t e n s e l y t r u t h s and e m o tio n s.^
The w o r s h i p e x p e r i e n c e h a s a d i s t i n c t i v e a n d c h a r a c t e r istic
mood a n d i t
in ten sify
is
t h i s mood.
t h e f u n c t i o n o f m u s i c t o embody and T h e r e f o r e m u s i c to b e r e l i g i o u s
be I n c o n s o n a n c e w i t h t h e g e n e r a l mood o f w o r s h i p .
7
t h e d i g n i t y an d s o l e m n i t y o f t h e s a c r e d and r e l i g i o u s
^ Lawrence T i b b i t t , C hoir G uide, I I (F eb ru ary,
should H ow e ver , i s not
,rR e - V i t a l i z i n g Church M u s i c , ff 1949), p. 25.
^ Edward D i c k e n s o n , Mu s i c i n t h e H i s t o r y o f t h e W e st e r n Ch urch (New Y o r k : C h a r l e s S c r i b n e r 1s S o n s , 1 9 1 3 ) , p p . 395-397.' ^ J o s e p h N. A s h t o n , M usic i n W or sh ip ( B o s t o n : P ilg rim P r e ss, 1 9 4 3 ), p . 9.
The
9 p r o p e r l y m o u r n f u l a nd d e p r e s s i v e . e x a l t i n g and i n s p i r i n g . be j o y ,
con fid en ce,
On t h e c o n t r a r y ,
In church m u sic ,
rapture, a sp ir a tio n ,
it
is
then,
th e r e should
p o ise,
and e a r n e s t
ness . J o s e p h W. C l o k e y s a y s : W or ship i s h o n o r p a i d t o God. You may w o r s h i p i n t e r n a l l y and e x t e r n a l l y . I f you w o r s h i p e x t e r n a l l y y o u r w o r s h i p m ust be i n t e r n a l a s w e l l t o b e o f v a l u e . To w o r s h i p e x t e r n a l l y f o r sh o w , t h a t i s h y p o c r i c y . A nything t h a t i s i n t e r n a l 'is a b s t r a c t , i n t a n g i b l e , d i f f i c u l t o f a t t a i n m e n t , e a s y to l o s e . E xtern als are of great help in s t a b i l i z i n g the in t e r n a l. They can s t i m u l a t e a n d i n t e n s i f y . I t i s th at q u a lity w h i c h g i v e s them r e a l v a l u e . . . . M usic i n t h e Church i s a form o f e x t e r n a l w o r s h i p . I t s purpose i s t o s t i m u l a t e , s t a b i l i z e , and i n t e n s i f y i n t e r n a l w o rsh ip •
Worship h a s two d i r e c t i o n s , from man t o God a n d fr o m God t o man. A hymn o f p r a i s e , a p r a y e r , t h e r e c i t a l o f th e Creed— th e s e a r e m an-to-G od. The r e a d in g o f th e H oly S c r i p t u r e s , t h e b e n e d i c t i o n , th e a b s o l u t i - o n - - t h e s e a r e God-to-man. W henever t h e d i r e c t i o n i s m a n - t o - m a n , t h a t i s n o t w orsh ip . I f much m a n - t o - m a n d i r e c t i o n c r e e p s i n t o a r e l i g i o u s s e r v i c e , w o r s h i p w i l l b e c row d ed out. The d i r e c t i o n o f s e c u l a r m u s i c i s m a n - t o - m a n . I t s u se in church I s a l l too p r e v a le n t. Few c h u r c h e s escape I t a lt o g e t h e r . Many w o u l d b e b e t t e r o f f i f t h e y were to e l i m i n a t e m usic e n t i r e l y . To b e g i n a w o r s h i p s e r v i c e ,
t h e r e seerns t o be a n e e d
f o r p r e p a r in g th e c o n g r e g a tio n fo r w orship; t h e Lord i s
fo r althou gh
o m n i p r e s e n t , man i s n o t a l w a y s r e c e p t i v e t o H i s
8 J o s e p h W. C l o k e y , I n E v e r y C o r n e r S i n g (Hew York: Morehou se-Gorham C o . , 1 9 4 5 ) , p p . 4 - 5 .
10 presence.
A c u r t a i n must be drawn t h a t w i l l
shut out a l l
s e c u l a r t h o u g h t s and a s s o c i a t i o n s f r o m t h e m ind s o f t h e p e o p l e a n d make them r e c e p t i v e p ra ise,
to the f e e l i n g s o f hum bleness,
and c o n t r i t i o n t h a t a r e t o f o l l o w .
T h eir minds must
be u n i f i e d and d i r e c t e d t o w a r d t h e a l t a r and i t s the C h r is tia n church.
The p r e l u d e i s t h e v e i l
sym bols o f
th a t should
b ring t h i s about. Someone h a s s a i d
t h a t one o f t h e g r e a t e s t
f o r judging the e f f e c t i v e n e s s is
t h e d eg ree to which i t
criteria
o f m u s i c i n a m o v in g p i c t u r e
i n t e n s i f i e s and e n h a n c e s t h e
a c t i o n ta k in g p la c e w ith ou t a t t r a c t i n g a t t e n t i o n to i t s e l f . T h i s p r o b a b l y c o u l d be a n e x c e l l e n t m e a s u r i n g s t i c k for
the p r e lu d e .
wI t
s h o u l d b e more e m o t i o n a l i n n a t u r e
t h a n l e a r n e d ; more s w e e t and s o l e m n t h a n f a n c i f u l ; m ed itative
more
t h a n b o i s t e r o u s a n d l o u d ; more n o b l e t h a n a m a z i n g . "
I t s h o u l d be
p o sitiv e
w i t h t o n a l b e a u t y and have t h e s t r e n g t h
t o command a t t e n t i o n w i t h o u t b e i n g so demanding t h a t i t a ttr a c ts a tten tio n .to
t h e p l a y e r or t h e composer o f the m u s ic .
I t s t h e m e s and h a r m o n i e s and rhythm s s h o u l d be k e p t fro m a n y t h i n g t h a t w o u ld r e c a l l t h e mere p o p u l a r c o n c e r t or t h e t h e a t e r . U s u a l l y i t s h o u l d be s o m e t h i n g w r i t t e n f o r t h e o r g a n an d c h u r c h u s e r a t h e r t h a n a n a d a p t a t i o n fro m o t h e r m u s i c a l l i t e ra tu re.^ 0
0 Waldo S e l d e n P r a t t , M u s i c a l M i n i s t r i e s o f t h e Church (New York: G. S c h i r m e r , 1 9 2 3 ) , p . 1 2 8 . 'L0 h o c * c i t .
9
11
N o t h i n g c o u l d be f u r t h e r f r o m t h e p u r p o s e o f t h e p r e l u d e th a n h e a r i n g an a r i a
fro m some o p e r a ,
t h o u g h t s w o u ld r e c a l l t h e
f o r im m ediately
i n c i d e n t s o f th e opera perform ance;
o r , h ea rin g som ething se m i-p o p u la r , because turn to secular a c t i v i t i e s • in the s e r v ic e a t a l l i s
t h o u g h t s w ould
The o n l y e x c u s e f o r h a v i n g m u s i c
to a id i n d i r e c t i n g the th ou ghts
o f th e w o r s h ip e r toward s a c r e d m e d i t a t i o n and t o t h e p r a i s e o f G o d .11 H o w ever,
i n p r e s e n t p r a c t i c e t h e p r e l u d e i s an e x
p r e s s i o n t h a t i s ham pered b y b o t h t h e m i n i s t e r and c o n g r e gation*
The m i n i s t e r b u s i e s h i m s e l f a t t h e p u l p i t i n s t e a d
o f s e t t i n g an e x a m p l e a n d l e a d i n g t h e c o n g r e g a t i o n i n t o qu ite m ed itation . announcem ents,
the m orning program,
n o ticin g c lo th e s, fostered
The c o n g r e g a t i o n b u s i e s i t s e l f by r e a d i n g
and o t h e r t r i v i a l m a t t e r s .
th at th e p relu d e i s
serv ice i t s e l f .
g r ee tin g neighb ors,
som ething e x t r a ,
The a n s w e r a g a i n i s
The n o t i o n i s o u tsid e
the
one o f e d u c a t i o n ,
i n s t r u c t i o n , and m a k in g p e o p l e more a w a r e and more c o n s c i o u s o f the s e r v i c e and a l l
its
im p lica tio n s* ^
The same t h i n g s may be s a i d e v e n m o re b i t t e r l y a b o u t t h e p o s t l u d e , t h a t m u s i c a l m e d i t a t i o n o r commen t a r y a t t h e end o f t h e s e r v i c e w h i c h p r a c t i c a l l y u n i v e r s a l custom s o f d i s c o u r t e s y have reduced t o a c o n d i t i o n o f u t t e r and d i s g r a c e f u l u s e l e s s n e s s i n
P ratt, ^
lo c. c it ♦
OR- c i t . , p .
129*
12
ways t h a t n e e d no d e s c r i p t i o n . T h e s e c o n d i t i o n s a r e n o t what t h e y s h o u l d b e . E i t h e r t h e p r e lu d e and p o s t l u d e a re s i g n i f i c a n t , , o r t h e y a r e n o t w o r t h an o r g a n i s t rs w o r k i n g u p o n or worth co u n tin g a s p a r t o f th e s e r v i c e .1 3
,
I t w o u ld se em t o be much more a p p r o p r i a t e t o l e a v e t h e s a n c t u a r y q u i e t l y d u r in g t h e p o s t l u d e , m a i n t a i n i n g an a ttitu d e of qu iet r e f le c t io n
i n k e e p i n g w i t h t h e mood o f t h e
p o s t l u d e m usic a t l e a s t u n t i l a l l It is
have l e f t
the sanctuary.
t h e n t i m e enoug h t o w e lcom e s t r a n g e r s a n d t o g r e e t
f r i e n d s an d n e i g h b o r s . Th ere h a s b e e n a g r e a t d e a l p r o c e s s i o n a l , and i t s p r a c t i c e p l e t e l y a g r e e d upon.
of d i s c u s s i o n about th e
w i l l p r o b a b l y n e v e r b e com
I t se e m s t h e m o s t s a n e way t o a p p r o a c h
t h e s u b j e c t w o u l d be t o a g r e e
th a t i t s p r a c t i c e depends
upon the n e e d s o f th e i n d i v i d u a l c h u r c h . the f u n c t io n o f g e t t i n g there i s
the c h o ir in t o
an e a s i e r and l e s s
in to p la c e,
It
sh o u ld perform
the c h o ir l o f t .
c o n s p i c u o u s way o f g e t t i n g
If them
i t p r o b a b l y w ou ld s o l v e many p r o b l e m s t o d i s p e n s e
w ith th e p r o c e s s i o n a l .14 N o t h i n g i s im p r o m p t u . E v e r y t h i n g m ust b e c a r e f u l l y p l a n n e d and r e h e a r s e d . The m e c h a n i c s s h o u l d be e i t h e r c o n c e a l e d o r e l s e s y m b o l i z e d so t h a t t h e y h a v e mean i n g . . • • The r e l i g i o u s a t m o s p h e r e s h o u l d b e e s t a b l i s h e d as soon a s a w o r sh ip er e n te r s th e b u i l d i n g . A l l o f the ap p o in tm en ts s h o u ld be checked t o s e e t h a t
13 P r a t t ,
o£.
c i t ..
p.
14 A s h to n , o p . c i t . , p p .
130. 60-61.
13 th e y enhance w o r s h i p . ^ The p r o c e s s i o n a l may s y m b o l i z e t h e a p p r o a c h t o t h e a l t a r by t h e p e o p l e and i f upon t r a d i t i o n a l r i t u a l ,
the r e s t o f th e
the proper s t y le
w o u ld p r o b a b l y be i n f o r m a l w a l k i n g . f o r m a l a t m o s p h e r e and a p p e a r a n c e i s
se r v ic e i s based of p r o c e ss io n
H o w e v e r , i f a more d esired ,
t h e m a rc h e d
p r o c e s s i o n a l w i l l p r o b a b l y b e more i m p r e s s i v e a n d t h e u n i f o r m i t y more d e s i r a b l e .
The c h u r c h i s
b u i l t upon r u l e s
of
l a w a n d o r d e r l i n e s s a n d so one w o u ld e x p e c t u n i f o r m i t y a n d o rd erlin ess
to be n a t u r a l i n a w orship s e r v i c e .
I t i s natural
to presume t h a t t h e c h o r a l c a l l
to
w o r s h i p s h o u l d be done w i t h s i n c e r i t y a n d c o m p l e t e u n d e r stan ding of purpose. ca ll
There has p r o b a b ly j u s t p r e c e d e d a
t o w o r s h i p by t h e m i n i s t e r ,
so t h e c h o i r w i l l make more
r e a l and i n t e n s e t h e f e e l i n g t h a t t h e s p i r i t o f God i s p r e s e n t a n d t h a t t h e w o r s h i p e r i s now r e c e p t i v e t o i t . ^ The n e x t m u s i c a l s t e p i n t h e p r o g r e s s o f a w o r s h i p e x p e r i e n c e w i l l p r o b a b l y b e a n a n t h e m b y th e c h o i r . c h o i r members a r e a p t t o f o r g e t
th a t they are s in g in g f o r the
p e o p l e a n d n o t t o th e m . The e a r l y C h r i s t i a n s s a n g t h e l i t u r g y i n i t s en tirety . The w h o le c o n g r e g a t i o n p a r t i c i p a t e d i n
1s ^
C lokey, Ashton,
. o jd . o jd
ci_t. , p . 7 . c i t . , p.
The
62.
14 P salm s, c a n t i c l e s , hymns, l i t a n i e s , a n d r e s p o n s e s . They a r e s t i l l t h e r i g h t f u l p r o p e r t y o f t h e c o n g regation . I t i s a p l a i n e v a s i o n o f duty to s i t b y i d l y and a l l o w t h e c h o i r t o do t h e s i n g i n g . Does anyone im a g in e t h a t he n e e d n o t p ray b e c a u s e t h e m i n i s t e r i s h i r e d t o do i t f o r him? T h i s s o r t o f th in king i s v i c i o u s . I t r e d u c e s w orship t o th e l e v e l of a su p e r s titio n . The p e o p l e t h e n s h o u l d be t h e o n e s who e x p r e s s t h e i r p r a i s e and t h e r e s p o n s e t o p r a y e r s and r e a d i n g s from t h e S crip tu re.
In a l a r g e c o r p o r a te w orship s e r v i c e
te c h n ic a lly im p ossib le;
th is
is
so t h e c h o i r e x p r e s s e s f o r them by
s i n g i n g c a r e f u l l y s e l e c t e d anthem s,
the p r a is e ,
the a d o r a tio n ,
and t h e p r a y e r s w h i c h t h e p e o p l e w o u ld offer.'*-® The o p e n i n g a nth em i n t h e o r d e r o f w o r s h i p w i l l be o b jective in i t s
theme and s p e a k o f God i n w o r d s o f g r e a t
beauty couched in an a p p r o p r ia te m u sica l s e t t i n g . What makes g o o d m u s i c ? One may a s k w h a t makes a g o o d sermon o r a g o o d p a i n t i n g ? . . . T h e r e i s a r t i n c o m p o s i n g a good s e r m o n . We r e a l i z e i n s t i n c t i v e l y a good sermon. We g r a s p t h o s e t h i n g s a u t o m a t i c a l l y w ithout p r o o f. We l e t o u r s e l v e s g o . We e n j o y t h e e x e r c i s e s o f o u r own f a c u l t i e s , s u c h a s : sen sa tio n , e m o t i o n , and r e a s o n . We a r e g i v i n g and n o t a l o n e a t the r e c e i v in g end. An i n v i s i b l e t h r e a d i s sp u n b e t w e e n t h e s p e a k e r and t h e l i s t e n e r , n o t a s o u n d i s h e a r d , a n d we f e e l c l o s e r t o t h e Lord o f H o s t s . A g o o d anth em c r e a t e s t h e same r e s p o n s e . . • p r o v i d e d t h e r e i s a b i l i t y on t h e one h a n d , a c c e p t a n c e on t h e o t h e r , a n d g o od w i l l on b o t h s i d e s . I*7 C l o k e y , 1® P r a t t ,
ojd. ojd.
c i t . , p. c it ., pp.
9. 90-93.
19 F r a n s H o f f m a n , " S t a n d a r d s i n Church M u s i c , " E x e r p t s f r o m A Symposium On Church Mu s i c , S o u t h e r n C a l i f o r n i a A r i z o n a C o n f e r e n c e , Boar d o f Lay A c t i v i t i e s , M e t h o d i s t C h u r ch , 1943.
15 The m o st s u b t l e d i s t i n c t i o n o f a l l i s t h a t b e t w e e n g o o d m u s i c a n d b a d m u s i c , . . . One t h i n g s h o u l d b e k e p t i n mind, h o w ev er. The p u r p o s e o f w o r s h i p i s t o e l e v a t e , n ot to d eg ra d e. The q u a l i t y o f t h e m u s i c u s e d s h o u l d be a b o v e r a t h e r t h a n b e l o w t h e c u l t u r a l l e v e l o f the c o n g r e g a tio n . I f t h e m u s i c se e m s t o be "over your h e a d ” th e b e s t p la n i s to r a i s e your h e a d .2^ T h er e may b e a s e c o n d anth em o r s o l o in c o n tra st to the f i r s t ,
w h ic h w i l l b e
o f a more r e f l e c t i v e
them e; f o r
by now t h e w o r s h i p e x p e r i e n c e h a s r e a c h e d t h e p l a c e o f r e p e n t e n c e and c o n t r i t i o n a s t h e p e o p l e lo o k a t t h e m s e l v e s i n t h e i r r e l a t i o n s h i p w i t h God. W orsh ip • . . m u s t i n c l u d e r e s p o n s e t o t h e r e v e l a t i o n a n d c a l l o f God a s w e l l a s e x p r e s s i o n o f r e l i g i o u s d e v o t i o n an d t h a n k s g i v i n g . It is p s y c h o l o g i c a l l y t r u e t h a t an e m o t i o n t h a t d o e s n o t f i n d some a v e n u e o f e x p r e s s i o n m u s t a t r o p h y a n d p erish . I n o u r Church p r o g r a m we e n d e a v o r t o s t i r t h e h e a r t s o f p e o p l e , t o move them t o w a r d God, t o arouse f e e l in g s o f p e n ite n c e , th a n k sg iv in g , e x u lta tio n . But we h a v e g r a d u a l l y rem oved more a n d more o f t h e means f o r t h e e x p r e s s i o n o f t h e s e f e e l i n g s . The o l d t e s t i m o n y m e e t i n g s , t h e "Amen c o r n e r , ” t h e o r i g i n a l c o n c e p t io n o f the p r a y e r m e e t i n g , th e r e s p o n s i v e r e a d i n g , ha ve b e e n by many d r o p p e d a l o n g t h e way, and now t h e r e i s a t e n d e n c y t o u s e f e w e r and f e w e r hymns i n t h e s e r v i c e s o f w o r s h i p . . . . L e t u s n o t remove t h e a v e n u e s u p o n w h i c h o u r h e a r t s may move t o w a r d f u l l e r l i f e i n o u r w o r s h i p . Let u s p r o m o t e h y m n - s i n g i n g a s a m ain a v e n u e o f c o n g r e gation al exp ression . ^ The o l d hymns a r e c e n t u r i e s o l d a n d came f o r t h from r i c h s p i r i t u a l e x p e r i e n c e . 22
M artin Luther a r r e s t e d t h i s
2 and a r e f u r n i s h e d w i t h an a d e q u a te l i b r a r y o f s e r v i c e m u s ic . T h eir d u tie s a re:
(1)
t o r e h e a r s e each week;
(2) to
sin g
66 Sund ay m o r n i n g ; and ( 3 )
t o p r e s e n t two s p e c i a l
concerts
du rin g the y e a r . !l ’he j u n i o r c h o i r i s
a g r o u p o f y o u n g p e o p l e who a r e
d i r e c t e d by t h e m i n i s t e r o f e d u c a t i o n . m a l l y o r g a n i z e d and t h e i r s i n g i n g o f h y m n s. g ation al
They a r e n o t f o r
work I s u s u a l l y l i m i t e d t o t h e
ri !h e i r m a in d u t y I s t o l e a d t h e c o n g r e
s i n g i n g i n t h e Sunday e v e n in g s e r v i c e .
The m u s i c c o m m i t t e e . d u ties are:
(1)
f o r th e m usical
to o v e rse e equipm ent;
There i s
a m u s i c c o m m i t t e e w h ose
th e m u s ic a l program; (3)
(2)
to care
to in te r v ie w p r o s p e c t iv e
e m p l o y e e s i n t h e m u s i c d e p a r t m e n t ; and ( 4 )
t o make t h e i r
recom m endations t o t h e o f f i c i a l b o a r d . The c o n g r e g a t i o n a l m u s i c . p a t i o n i n hymn s i n g i n g i s used is is
n o t one o f t h e
The c o n g r e g a t i o n a l p a r t i c i
term ed a s f a i r *
The
hymn bo ok
r e v i s e d hymn b o o k s s u g g e s t e d b u t r a t h e r
one t h a t h a s l o n g b e e n u s e d I n t h i s c h u r c h .
For th e e v e n i n g
s e r v i c e an e v a n g e l i c a l t y p e o f hymn book i s u s e d f o r t h e hymn sin g in g . The m u s i c u s e d .
Some a n t h e m s l i s t e d a s u s e d by t h e
c h o i r w e r e "G-od So L o v e d t h e W o r l d ” b y S t a i n e r , a nd an arrangement o f
"A M i g h t y F o r t r e s s i s
Our G o d . 11
Hymns m e n t i o n e d
w e r e " H o l y , H o l y , H o l y , ” " S t a n d Up , S t a n d Up For J e s u s , " a n d "0 Worship t h e K i n g . "
67 The m u s i c i n t h e o r d e r o f w o r s h i p * w orship t h e r e i s a n th em i s
a p ro cessio n a l fo llo w in g
sung by th e
Communion i s
The i n s t r u m e n t a l m u s i c . i n s t r u m e n t a l m usic i n
One
t h r e e hymns i n c l u d i n g t h e h e ld e a ch Sunday. No p a r t i c u l a r u s e i s made o f
t h e m u s i c pr o g r a m o f t h i s
o n ly r a r e ly i s an in stru m en ta l serv ice.
the p r e lu d e .
ch o ir along w ith th e u su a l r e sp o n se s.
The e n t i r e c o n g r e g a t i o n s i n g s communion hymns.
In th e order of
solo used in
c h u r c h ^nd
the w orsh ip
The n e e d f o r a n o r g a n t h a t w ould b e t t e r s e r v e a
w o r s h i p s e r v i c e was e x p r e s s e d .
CHAPTER XI CHURCH G The m e m b e r s h i p ,
C h u r c h G h a s an a c t i v e
enrollm en t of
a b o u t s e v e n h u n d r e d e n t h u s i a s t i c members who s u p p o r t w e l l t h e i r c h u r c h * s c o n t r i b u t i o n t o c o m m u nity l i f e The b u d g e t . f o r the church i s
th is area.
The t o t a l b u d g e t f o r t h e a n n u a l e x p e n s e s forty-on e
m usic departm ent r e c e i v e s op eration .
in
I t may b e
thousand d o l l a r s
o f w hich the
t w e lv e hundred d o l l a r s f o r . I t s .
i n t e r p r e t e d fro m t h e s e
fig u r es that
a b o u t two a n d n i n e t e n t h s p e r c e n t o f t h e t o t a l
budget I s used
f o r t h e s u p p o r t o f t h e m u s i c d e p a r t m e n t a s c om p are d t o t h e standard of ten p er c e n t n ation .
s e t by th e l a r g e c h u rch e s o f th e
The a v e r a g e p l e d g e o f e a c h member t o w a r d t h e t o t a l
ch u rch program i s a b o u t f i f t y - n i n e d o l l a r s a y e a r . The c h u r c h m u s i c i a n s ,
1‘h i s
church h i r e s an o r g a n i s t
and a c h o i r d i r e c t o r t o p l a n a n d d i r e c t i n th e w orship s e r v i c e .
t h e work o f t h e m u s i c
The work o f b o t h m u s i c i a n s i s
of
c o u r s e on a p a r t t i m e b a s i s an d t h e y a r e drawn f r o m t h e com m u nity f o r t h i s
serv ice.
but not the organ;
he h a s n e v e r had a n y s p e c i f i c
or t r a i n in g in sa c re d m usic,
The d i r e c t o r p l a y s t h e p i a n o courses
b u t r a t h e r depend s upon h i s
m u s ic i a n s h i p and ch u rch e ^ e r i e n c e
own
t o g u i d e him i n h i s w o r k .
69 The d u t i e s m in ister
of the c h o ir d i r e c t o r .
o f m usic i n c l u d e :
The d u t i e s
of the
(1) d i r e c t i n g a w eekly r e h e a r s a l;
( 2 ) d i r e c t i n g t h e m u s i c on Sund ay m o r n i n g ; t h e m u s i c f o r ^und ay e v e n i n g .
( 3 ) and d i r e c t i n g
T h e r e a r e no w e e k d a y s e r v i c e s
t o p l a n f o r a n d no o t h e r s p e c i a l p r o g r a m s o r c o n c e r t s a r e req u ired . The s a l a r i e s .
The m i n i s t e r o f m u s i c i n t h i s
church
r e c e i v e s an a n n u a l s a l a r y o f s i x hundred d o l l a r s i n r e t u r n fo r h is se rv ic es.
The o r g a n i s t r e c e i v e s a s a l a r y o f t h r e e
h u n d r e d d o l l a r s f o r p l a y i n g f d r a w e e k l y r e h e a r s a l a n d two s e r v i c e s on S u n d a y . The c h o i r s .
In t h i s
la r g e church th ere i s
one c h o i r
o f a b o u t t w e n t y members w i t h a g e g r o u p s r a n g i n g f r o m h i g h sc h o o l to a d u l t s .
T h ey a r e a v o l u n t e e r g r o u p who h a v e a
v a r i e t y o f i d e a s a s to th e p u rp o se o f m usic i n t h e w orsh ip serv ice
such a s :
(1 ) m usic i s
fo r the
w o r s h i p o f God;
t h e m usic s h o u ld c r e a t e a - s p i r i t o f w o r sh ip ; the s e r v ic e
sh ould s e r v e th e Lord;
(4)
th e m usic i s
con gregation fo r p e r mood;
(8)
t o g l o r i f y God; the m essa g e ;
th e m usic i s
(7)
(6)
(3) m usic i n
th e m i n i s t r y o f m usic
h a s b r o u g h t many t o a s a v i n g k n o w l e d g e o f (5)
(2)
Jesus C h rist;
th e m usic p r e p a r e s t h e
t h e m u s ic awakens t h e p r o
f o r th e g e n e r a l enjoym ent;
(9)
t h e m u s i c b r i n g s a m e s s a g e t o t h e l i s t e n e r who may n o t l i s t e n t o t h e s p o k e n word;
(10)
th e m usic adds t o th e
effectiv e-
70 n e s s o f the
s e r v i c e a n d i n many c a s e s i s
just as effectiv e
a serm on i n r e a c h i n g t h e m a sses f o r C h r i s t ;
(11)
as
th e m usic
l e a d s th e c o n g r e g a t i o n i n w o r s h ip ; and (1 2 th e m usic g i v e s t o t h o s e who a r e t a l e n t e d a n o u t l e t f o r t h e i r e n e r g i e s w i t h o u t t h e i r having to r e s o r t to
t h e a t e r s and n i g h t c l u b s .
New members may j o i n t h e c h o i r on t h e a p p r o v a l o f t h e d i r e c t o r w i t h no s p e c i a l r e q u i r e m e n t s s e t u p . is
o r g a n i z e d w i t h t h e i r own o f f i c e r s
b u s i n e s s and s o c i a l
a ffa irs.
The c h o i r
in order to care f o r
T h ey a r e v e s t e d a n d t h e i r
d u t i e s a r e t o s i n g f o r b o t h t h e Sunday m o r n i n g a n a e v e n i n g serv ices. talen ted
T h e r e was a g e n e r a l e x p r e s s i o n t h a t t h e r e w e r e sin gers
i n t h e c o n g r e g a t i o n who s h o u l d b e s e r v i n g
in the c h o ir . The m u s i c c o m m i t t e e . g u i d e and d i r e c t
the p o l i c i e s
T h is a p p a r e n t ly i s
T h e r e i s no m u s i c
com m ittee to
o f the m usic i n t h i s c h u rc h .
l e f t up t o t h e m i n i s t e r who s u g g e s t e d
t h a t t h e y s h o u l d h a v e s u c h a c o m m i t t e e t o c a r e f o r t h e c h u r c h Ts m usic r e s p o n s i b i l i t y . The c o n g r e g a t i o n s 1 m u s i c . members o f t h i s
con gregation ,
Prom t h e
there
c o n t a c t s made w i t h
were s e v e r a l i d e a s p r e
s e n t e d a s to t h e p u r p o s e s o f - m usic i n t h e w orsh ip s e r v i c e such a s : sermon;
(1) (2)
t h e g o s p e l can be g iv e n i n son g a s w e l l as
g o s p e l songs p r o p e r ly sung,
can g i v e a m e s s a g e
t h a t may r e a c h a s o u l t h a t e v e n a s e r m o n may n o t ;
(3) m usic
71 ad d s v a r i e t y and i n s p i r a t i o n t o for
t h e s e r v i c e arid p r e p a r e s one
t h e p a s t o r ’ s se rm on; a n d ( 4 ) m u s i c I s
for
the w orsh ip of
God • The s i n g i n g p la c e in
o f g o s p e l s o n g s se e m s t o h a v e a n I m p o r t a n t
th e w orship s e r v i c e
of th is
church.
Th ey u s e an
e v a n g e l i c a l t y p e o f hymn b o o k I n s t e a d o f t h e n e w e r r e v i s e d hymn b o o k s r eco m m end ed . The m u s i c u s e d .
The m i n i s t e r o f m u s i c l i s t e d
a n t h e m s . u s e d "God So L o v e d t h e W orld" b y S t a i n e r ,
as
"There
I s a Balm I n G i l e a d " a r r a n g e d b y D a w son , a n d "God o f My • L ife"
by S c o t t - D a w s o n . The c h o i r l i s t e d
"Holy S i t y "
"God So L o v e d t h e World" b y S t a i n e r ,
by Adams, a n d "Hark, Hark My S o u l " by S h e l l y .
Members o f t h e c o n g r e g a t i o n c o n t a c t e d l i s t e d a s f a v o r i t e hymns "Only a S i n n e r S a v e d by G r a c e , " Land,"
"Sweet By a n d B y , "
"Beulah
"The O ld Ru gged C r o s s , " a n d
" S t a n d i n g On t h e P r o m i s e s . " The m u s i c i n t h e o r d e r o f w o r s h i p . the
service
I s more o r l e s s
In form al.
The a t m o s p h e r e o f
The c h o i r comes I n
q u i e t l y f r o m a s i d e e n t r a n c e i n s t e a d o f by a p r o c e s s i o n a l . Th ey s i n g one a n t h e m a n d t h e u s u a l r e s p o n s e s . is
Only o n e hymn
sung i n th e m orning s e r v i c e but In th e e v e n in g t h e y have
a r e a l song s e r v i c e o f g o s p e l s o n g s . w o r sh ip hour i s
Most o f t h e m o r n i n g
t a k e n up by t h e s e r m o n .
72 The i n s t r u m e n t a l m u s i c ,
T h e r e i s no s p e c i a l u s e made
o f i n s t r u m e n t a l m usic e i t h e r i n g r o u p s o r a s s o l o s .
The o n l y
r e f e r e n c e made t o i n s t r u m e n t a l m u s i c b y t h e c h o i r o r c o n g r e g a t i o n was i n t h e e x p r e s s i o n o f t h e n e e d f o r a new o r g a n .
CHAPTER XII CHURCH H The m e m b e r s h i p . g ressiv e
Church H I s a v e r y m o dern a n d p r o
o r g a n i z a t i o n w h i c h h a s gr ow n a n d e x p a n d e d w i t h t h e
Fresno comm unity.
T h i s c h u r c h h a s a membership- o f a b o u t
f i v e h u n d r e d s u b s c r i b e r s who r a n g e from a v e r a g e t o w e a l t h y i n t h e i r a b i l i t y to g i v e f i n a n c i a l program.
support to t h e i r church
They a r e w e l l e d u c a t e d ,
fr o m t h e c i t y * s
c u l t u r e d group o f p e o p l e
s u c c e s s f u l b u s i n e s s and p r o f e s s i o n a l f a m i l i e s .
The b u d g e t .
The t o t a l
church budget I s n e a r ly n in e t e e n
t h o u s a n d one h u n d r e d a n d n i n e t y - s i x d o l l a r s f o r t h e y e a r . Ab out o n e t h o u s a n d s i x h u n d r e d and t w e n t y d o l l a r s
Is given
In su p p ort o f t h e m usic program. A c c o r d in g to t h e s e fig^ ^ res, a b ou t e i g h t and t w o - f i f t h s p er c en t o f the
to ta l budget i s
a llo w e d for th e m usic o f the
c h u r c h a s c o m p a re d t o t h e t e n p e r c e n t s t a n d a r d s e t b y t h e large
churches o f the n a tio n .
The a v e r a g e d o n a t i o n t o t h e
total
c h u r c h p r o br a m f o r e a c h member I s
th ir ty -e ig h t d o lla rs
per year. The c h u r c h m u s i c i a n s . o f m u s i c who I s is a fu ll
T h is church h i r e s a m in is t e r
i n c h a r g e o f t h e w o r sh ip m usic program .
t i m e e m p l o y e e o f F r e s n o C o u n t y and i s
a p a r t tim e b a s i s by th e c h u r c h .
He
em ployed on
T his d i r e c t o r p l a y s b o th
74 p i a n o and o r g a n , h a s t a k e n c o l l e g e a n d h a s had s e v e r a l y e a r s
courses in
sa cred m u sic,
e x p e r ie n c e c o n d u c tin g church c h o i r s
i n Southern C a l i f o r n i a . An o r g a n i s t a l s o i n g s e r v i c e s an d t o The d u t i e s d ir e c to r are
(1)
is
h i r e d t o p l a y f o r t h e Sunday morn
r e h e a r s e w it h th e c h o i r once each week.
of the c h o ir d i r e c t o r .
The d u t i e s o f t h e
to r e h e a r s e th e c h o i r e a ch week;
d i r e c t them i n t h e Su nd ay m o r n i n g s e r v i c e s ; a little
ju n ior c h o ir.
(2)
and (3 )
to rehearse
T h e r e a r e no e v e n i n g o r m i d - w e e k
s e r v i c e s to p ro v id e f o r ,
b u t t h e y do h o l d d o u b l e s e r v i c e s
o n Su nday m o r n i n g s .
T h is i s
conducts a d u p lic a t e
Su nday m o r n i n g w o r s h i p s e r v i c e .
The s a l a r i e s .
to
t h e o n l y c h u r c h i n Ttresno w h i c h
The d i r e c t o r i s p a i d on a b a s i s o f
s e v e n t y d o l l a r s a month a n d i t
is
up t o t h e c h o i r a n d t h e
d i r e c t o r t o d e c i d e how l o n g t h e y t a k e o f f i n t h e summer. The d i r e c t o r i s a l l o w e d two w e e k s v a c a t i o n w i t h p a y , and i f t h e y s i n g t h e t w e l v e months h i s
s a l a r y w o u ld t h e n b e e i g h t
hundred and f o r t y d o l l a r s a y e a r .
The o r g a n i s t r e c e i v e s a
s a l a r y o f f o r t y d o l l a r s a m onth o r f o u r h u n d r e d a n d e i g h t y d o l l a r s f o r t w e l v e m o n t h s a n d two w e e k s v a c a t i o n w i t h p a y i n r e t u r n f o r p l a y i n g t h e d o u b l e S u n d a y m o r n i n g s e r v i c e s a nd r e h e a r s i n g w ith t h e c h o i r one e v e n in g each w eek. The c h o i r s .
The a d u l t c h o i r i s made up o f t w e n t y -
75 fiv e
volu n teer sin g e r s.
and t h e d i r e c t o r h a s
New members a r e a d m i t t e d b y a u d i t i o n
s e t up a s r e q u i r e m e n t s r e g u l a r a t t e n d a n c e
and t h e a b i l i t y t o p a s s h i s v o i c e t e s t . T h is c h o i r i s
organized w ith o f f i c e r s
b u s i n e s s and s o c i a l a f f a i r s . th eir m u sic. (2) to
own, a r e v e s t e d ,
T h ey h a v e a r e h e a r s a l room o f
and h a v e a g o o d l i b r a r y o f s e r v i c e
T heir d u tie s are sin g fo r
to p la n t h e i r
(1)
t o r e h e a r s e e a c h w e e k , and
the double s e r v i c e s
on Sund ay m o r n i n g .
T h ey
u s u a l l y p r e s e n t a t l e a s t two s p e c i a l c o n c e r t s d u r i n g t h e y e a r , b u t seem a b i t r e l u c t a n t t o th eir
own c h u r c h .
held a f t e r to
A short
e n g a g e i n many a c t i v i t i e s
s o c i a l w ith refresh m en ts i s u s u a l l y
each w e e k ly r e h e a r s a l t o promote f e l l o w s h i p
and
s t i m u l a t e r e g u l a r a t t e n d a n c e among t h e c h o i r m em b ers. a littd e
j u n i o r c h o i r h a s b e e n o r g a n i z e d and v e s t e d .
Th ey u s e a j u n i o r c h o i r c o l l e c t i o n t h e y h a v e no s p e c i a l d u t i e s sio n s as the d ir e c t o r
s e t up t o
o f s o n g s to s i n g
e x c e p t t o s i n g on s p e c i a l o c c a
A c o m m i t t e e o f c h u r c h members
s u p e r v i s e t h e g e n e r a l m usic p i c t u r e
church program.
'I’h e y a l s o
o f the
are r e sp o n s ib le fo r the care
and u p k e e p o f t h e m u s i c i n s t r u m e n t s , m u sician s,
from b u t
p l a n s f o r them.
The m u s i c c o m m i t t e e . is
o u tsid e
em ploying t h e church
and s o l i c i t i n g new c h o i r m e m b e r s .
The c o n g r e g a t i o n a l m u s i c . the c o n g r e g a tio n c o n ta c te d ,
A c c o r d i n g t o members o f
t h e hymn s i n g i n g i s
q u it e good
76 under the le a d e r s h ip
o f t h e c h o i r and. t h e r e i s
more s i n g i n g b y t h e p e o p l e .
be s a c r i f i c e d f o r o t h e r t h i n g s . u s e d by t h i s
for
S t a t e m e n t s w e r e made t h a t t h e r e
s h o u l d be more hymn s i n g i n g and t h a t i t
hymn b o o k s i s
a c a ll
should n ot a t a l l
One o f t h e recommended
c o n g r e g a t i o n f o r t h e i r hymn s i n g i n g .
The m u s i c u s e d . The d i r e c t o r l i s t e d a s a n t h e m s u s e d : "The C r u c i f i x i o n " b y S t a i n e r ,
"The L o s t C h o r d 11 by S u l l i v a n ,
" B a t t l e Hymn o f t h e R e p u b l i c " a r r a n g e d by R i n g w a l d , and " S a n c t u s " b y Gounod. The c h o i r l i s t e d
"Laudamus Te" a r r a n g e d by M u e l l e r
a n d "Clap Your Hands" b y C h r i s t i a n s e n among t h e i r f a v o r i t e s . Members o f t h e c o n g r e g a t i o n l i s t e d a s t h e i r f a v o r i t e hymns:
" I io l y , H o l y , H o l y , "
"A M i g h t l y F o r t r e s s i s
Our God,"
and "Beneath t h e C ross o f J e s u s . " The m u s i c i n t h e o r d e r o f w o r s h i p . a m a rc h e d p r o c e s s i o n a l
On s p e c i a l o c c a s i o n s
i s u s e d b u t most o f t h e tim e th e c h o i r
e n t e r s f r o m s i d e d o o r s and w a l k s q u i e t l y i n t o at
the choir l o f t
the c l o s e o f the p r e lu d e . One o r two hymns a n d t h e u s u a l r e s p o n s e s a r e s u n g .
Once i n a w h i l e v o c a l s o l o s a r e u s e d b u t r a r e l y i s a n instrum ental so lo used. The I n s t r u m e n t a l m u s i c .
There i s
no d e f i n i t e u s e made
o f in s t r u m e n t a l m usic i n th e program o f t h e c h u r c h .
However,
77 fo r sp e c ia l concerts,
i n s t r u m e n t a l m usic i s
som etim es u s e d .
The o r g a n h a s j u s t r e c e n t l y b e e n r e p a i r e d a n d a d d e d t o s o t h a t now t h e y c l a i m t o h a v e a n e x c e l l e n t o r g a n t o s e r v e i n t h e i r w orship
serv ices.
CHAPTER X I I I SUMMARY AND CONCLUSIONS The l a r g e r
c h u r c h e s o f F r e s n o a r e som e w h a t s m a l l e r
th an the a v e r a g e church o f th e n a t i o n d e s c r i b e d i n a p r e v i o u s chapter.
T h ey a r e c h u r c h e s t h a t h a v e grow n a n d e x p a n d e d
a s t h e c i t y h a s grown i n w e a l t h , a n d p o p u l a t i o n w i t h new mem b e r s c o m in g f r o m t h e e a s t a n d m i d d l e w e s t t o c o n t r i b u t e
th eir
s e r v i c e s and s u p p o r t . The f o l l o w i n g i s i n the
a summary o f c h u r c h m u s i c a s p r a c t i c e d
e ig h t churches s t u d ie d i n the Fresno a r e a : The m e m b e r s h i p .
sid ered v a r ie s
The m e m b e r sh ip o f t h e c h u r c h e s c o n
from f i v e
hundred to t w e n t y - t h r e e hundred as
co m p a red w i t h t h e two- t h o u s a n d a v e r a g e m e m b e r s h ip o f church o f the n a t i o n .
T h ey come f r o m t h e a v e r a g e t o v e r y
w e a lth y p r o f e s s i o n a l and b u s in e s s f a m i l i e s a resu lt
o f the c i t y .
t h e s e c h u r c h e s s h o u l d be f i n a n c i a l l y a b l e
s t r o n g and c o m p l e t e p r o g r a m s i n a l l The b u d g e t .
As
to support
departm ents.
The t o t a l c h u r c h b u d g e t s r a n g e f r o m
n in e t e e n thousand to f i f t y - t w o annual expenses.
the l a r g e
thousand d o l l a r s f o r t h e i r
I t was f o u n d t h a t
the a v era g e p le d g e per
y e a r i n e a c h c h u r c h r a n g e s f r o m t e n d o l l a r s a member t o fifty -n in e fifty
d o l l a r s a member a s
compared w i t h t h e a v e r a g e o f
d o l l a r s a member s e t b y t h e l a r g e
church o f th e n a t i o n .
79 The l a r g e s t m e m b e r s h i p s seemd t o h a v e t h e s m a l l e s t a v e r a g e p l e d g e s p e r p e r s o n , an d t h e s m a l l e r m e m b e r s h i p s a v e r a g e d c o n s i d e r a b l y more p e r p e r s o n t o w a r d t h e t o t a l As s t a t e d b e f o r e ,
the average la r g e
n a t io n a llo w s abou t t e n p e r c e n t o f the
Two o f t h e e i g h t
s t u d y a l l o w more t h a n n i n e p e r c e n t o f t h e
budget f o r m usic; a l l o w from f i v e
church o f the
t o t a l budget f o r the
o p e r a t i o n o f a c o m p le te m usic d e p a rtm en t. churches o f t h i s
church b u d get.
o n e a l l o w s more t h a n e i g h t p e r c e n t ;
three
t o s i x p e r c e n t ; a n d two a l l o w f r o m j u s t
under th ree to alm ost four p er cent o f th e t o t a l budget f o r th e m usic d e p a r tm e n t. The c h u r c h m u s i c i a n s ,
The c h u r c h e s s t u d i e d h i r e
c h o ir d i r e c t o r s and o r g a n is t s i n s t e a d o f th e d i r e c t o r - o r g a n i s t com bination t h a t i s part
tim e b a s i s
taken c o l l e g e
some t i m e s u s e d a n d t h e work i s
in a l l
cases,
o f th e d i r e c t o r s have
c o u r s e s i n s a c r e d m usic and f i v e
a r e ta k e n from t h e p u b l i c m unity,
liv e
of the d ir e c to r s
s c h o o l m u s i c t e a c h e r s o f t h e com
A ll eig h t d ir e c to r s
u n i v e r s i t i e s an d c o l l e g e s
on a
a r e c o l l e g e g r a d u a t e s from
in v a rio u s p a rts of th e country.
None h a v e D o c t o r f s d e g r e e s b u t t h r e e h a v e M a s t e r * s d e g r e e s w ith m a jo rs i n s a c r e d m u sic or m usic e d u c a t i o n ;
the oth ers
have B a c h e l o r ' s d e g r e e s w i t h m usic m a j o r s . A ll of the for
o r g a n i s t s have b een t r a i n e d
t h e i r p o s i t i o n s and a r e c o l l e g e
maj o r s .
sp ecifica lly
g r a d u a t e s w it h m usic
Two o f t h e c h u r c h e s h i r e a s s i s t a n t d i r e c t o r s who a i d i n th e m usic departm ent by t r a i n i n g o f the churches h ir e
so lo ists
who s u s t a i n
c h o i r s a n d do t h e s o l o work a s i t The d u t i e s
of the
th e youth c h o i r s .
is
t h e work o f
Three the
needed.
church m u s ic ia n s .
Two d i r e c t o r s
h a v e o n l y m u s i c f o r t h e Su nd ay m o r n i n g s e r v i c e t o p r e p a r e a n d present;
o ne d i r e c t o r h a s t h e m o r n i n g and e v e n i n g s e r v i c e s
to plan fo r ;
three d ir e c to r s are resp o n sib le
f o r m usic i n
t h e m o r n i n g s e r v i c e s and p r e s e n t tw o c o n c e r t s d u r i n g t h e y e a r one d i r e c t o r i s r e s p o n s i b l e f o r th e m u sic i n the m orning serv ice, presents a ju n io r ch oir;
two c o n c e r t s d u r i n g t h e y e a r , and d i r e c t s
a n d one d i r e c t o r p r e p a r e s m u s i c f o r Sund ay
m o r n i n g a n d e v e n i n g , p r e s e n t s two o r t h r e e
c o n c e r ts during
t h e y e a r , p l a n s a n d d i r e c t s m u s i c f o r W ednesd ay e v e n i n g s , and d i r e c t s
two y o u t h c h o i r s
on s p e c i a l
occasion s.
D u ties of the o r g a n is ts are m ainly to reh earse each week w i t h
t h e c h o i r a n d t o p l a y f o r t h e Sund ay s e r v i c e s .
T h r e e o f t h e c h u r c h e s h a v e n o e v e n i n g s e r v i c e a n d one c h u r c h h i r e s an a s s i s t a n t o r g a n i s t
to p l a y f o r th e even in g s e r v i c e .
The s a l a r i e s The s a l a r i e s from f o u r hundred f i f t y fifty
o f th e d ir e c t o r s range
d o lla rs a year to
t w e l v e h u n d r e d an d
d o l l a r s p e r y e a r depending upon th e d u t i e s r e q u ir e d
a n d t h e number o f m o n t h s s e r v e d .
The s a l a r i e s a r e p a i d on
a m o n th ly b a s i s and e a ch d i r e c t o r i s
a l l o w e d two w e e k s t o
81 a m o n t h Ts v a c a t i o n w i t h p a y . I n m ost c a s e s i t
i s up t o t h e d i r e c t o r a n d t h e c h o i r
t o d e c i d e how l o n g t o d i s b a n d d u r i n g t h e c lim ate i s
a f a c t o r which e f f e c t s
summer m o n t h s .
The
church a tte n d a n c e i n the
summer m o n t h s and m o s t o f t h e c h o i r s d i s b a n d f o r t w o w e e k s to
two m o n t h s . The o r g a n i s t s * *
s a l a r i e s ran ge from t h r e e hundred t o
t w e l v e h u n d r e d d e p e n d i n g u p o n t h e d u t i e s p e r f o r m e d and t h e number o f m o n t h s s e r v e d d u r i n g t h e y e a r . two w e e k s w i t h , p a y i s an a s s i s t a n t
to f i f t y
a l l o w e d and f o r a d d i t i o n a l
organ ist is
The c h o i r s .
tim e o f f
h ired .
The a d u l t
volu n teer sin g e r s.
c h o i r s v a r y i n s i z e from tw enty Only two c h u r c h e s h i r e
t o s t r e n g t h e n t h e work o f t h e i r
so lo ists
ch o ir.
One c h u r c h a p p r o a c h e s t h e m u l t i p l e h i r i n g an a s s i s t a n t
In most c a s e s ,
c h o i r s y s t e m by
d i r e c t o r and an a s s i s t a n t
o r g a n i s t who
o r g a n i z e a n d r e h e a r s e t h r e e y o u t h c h o i r s w h ic h c o n t r i b u t e r e g u l a r l y to th e church w orship three
serv ices;
one church has
c h o i r s u n d e r t h e d i r e c t i o n o f one l e a d e r ;
c h u r c h h a s tw o c h o i r s u n d e r one d i r e c t o r ;
and,
another two c h u r c h e s
have y o u th c h o i r s n o t too w e l l o r g a n iz e d u n d er th e d i r e c t i o n of selec ted lea d ers. A l l o f th e c h o i r s a r e v e s t e d and a r e f u r n i s h e d w ith a s u p p l y o f s e r v i c e m u s i c s e l e c t e d by t h e d i r e c t o r s .
A ll
the
82 c h o ir s are organized w ith o f f i c e r s
to conduct
th e ir b u sin ess
and s o c i a l a f f a i r s . One c h o i r s i n g s f o r b o t h t h e m o r n i n g a n d t h e e v e n i n g s e r v i c e b u t t h e y p r e s e n t no s p e c i a l p r o g r a m s o r c o n c e r t s d u rin g the y e a r .
A ll
th e m orning s e r v i c e s
the other c h o ir s are r e s p o n s ib le f o r o n ly and they a s s i s t w ith th e even in g
service'.T/daen t h e y a r e n e e d e d .
.Most o f t h e g r o u p s g i v e c o n c e r t s
d u r in g t h e y e a r and s u p p o r t i n t e r - c h u r c h f e s t i v a l s . The m u s i c c o m m i t t e e .
A l l b u t two o f t h e c h u r c h e s h a v e
m u s i c c o m m i t t e e s w h o se d u t i e s a r e i n g e n e r a l t h e m u s i c p r o g r a m s and t o a s s i s t m u sicia n s.
to s u p e r v i s e
i n em ploying t h e church
One o f t h e c h u r c h e s w i t h o u t a m u s i c c o m m i t t e e
e x p r e s s e d t h e n e e d f o r one and t h e o t h e r c h u r c h h a d a g r o u p of o ffic ia ls
w i t h i n th e ch urch t h a t assumed a m usic c o m m i t t e e ’s
d u ties. The c o n g r e g a t i o n a l m u s i c .
Four o f t h e c h u r c h e s u s e
t h e r e v i s e d h y m n a l s t h a t h a v e b e e n recommended f o r c o n g r e g a t i o n al
sin g in g .
The o t h e r f o u r s i n g f r o m h y m n a l s w h ic h h a v e b e e n
i n u s e f o r many y e a r s a n d i n c l u d e a more e v a n g e l i c a l t y p e o f hymn t h a n i s
r e c o m m e n d ed ,
a h
o f t h e ch u rch es have a se c o n d
hymn b o o k w h i c h h a s a more s u b j e c t i v e t y p e hymn w h i c h t h e y p r e fe r to use fo r the
even in g
serv ices.
The
u s e d i n t h e morning s e r v i c e s a r e a s f o l l o w s :
hymn b o o k s flThe O f f i c i a l
E p i s c o p a l H y m n a l , ” ,fThe B a p t i s t H y m n a l , ” ”The P i l g r i m H y m n a l , ”
83 "Hymns o f t h e C h r i s t i a n L i f e , "
"The P r e s b y t e r i a n H y m na l,"
"The Modern H y m n a l," "The M e t h o d i s t H y m n a l ," a n d " P r a i s e Him H y m na l."
For t h e e v e n i n g s e r v i c e s
f o l l o w i n g hym nals: Service,'" P raise"
these
"The S e r v i c e H y m na l,"
"Vesper C him es,"
churches use
the
"T rium ph a nt Song
"The Modern Hymnal," "Hymns o f
(Numbers One and Two C o m b i n e d ) , a n d "The A b i n g d o n
Song B o o k . " The m u s i c u s e d .
The hymns s u n g i n t h e d i f f e r e n t
c h u r c h e s v a r y w i t h t h e hym nal i n u s e .
H o w e v e r , t h e one
hymn m e n t i o n e d m o s t s e e m e d t o be " H o l y , H o l y , H o l y . "
Three
o t h e r hymns c h e c k e d m o s t by b o t h c h o i r s a n d c o n g r e g a t i o n s w e r e "A M i g h t y F o r t r e s s i s
Our Co d ,"
" A l l H a i l t h e Power o f
J e s u s r Name," and "When I s u r v e y t h e Wondrous C r o s s . " The m u s i c i n t h e o r d e r o f w o r s h i p .
A l l b u t one o f
t h e ch u r c h e s have a fo rm a l o r d e r o f w o r sh ip . w o r s h i p f o r one c h u r c h i s six
o f f i c i a l and f i x e d .
The o r d e r o f For t h e
other
c h u r c h e s t h e o r d e r o f w o r sh ip i s p l a n n e d by t h e p a s t o r s
and m i n i s t e r s o f m u sic t o f i t
the needs o f t h e ir p a r t ic u la r
situ a tio n . Four o f t h e e i g h t c h u r c h e s have p r o c e s s i o n a l s to g et the ch oir in to p la c e . c e s s io n a l w h ile
One o f t h e s e i s a w a l k e d p r o
the o th e r th r e e a r e marched.
f o u r c h o i r s come i n q u i e t l y f r o m s i d e p la ces
in the c h o ir l o f t .
in order
The o t h e r
doors and ta k e t h e i r
84 In th e morning s e r v i c e s ,
a ll
th e churches use r e sp o n s e s ,
t h e c h o i r s s i n g f r o m one t o two a n t h e m s , a n d t h e c o n g r e g a t i o n s sin g
fro m one t o t h r e e hym ns. Two o f t h e c h u r c h e s b r o a d c a s t
th e ir serv ices
over
l o c a l r a d io s t a t i o n s and t h e i r w o r s h ip s e r v i c e s must be tim ed to f i t
the r i g i d
c a r e s h o u ld be taken to
schedu le of th e b ro a d ca st.
Great
see th a t the b r o a d ca st o p e r a tio n
d oes n o t i n t e r f e r e w ith th e w orship o f t h e c o n g r e g a t i o n s . The i n s t r u m e n t a l m u s i c .
No e x t e n s i v e u s e
i n s t r u m e n t a l m usic i n any o f t h e c h u r c h e s . of it
i n t h e e v e n i n g s e r v i c e s and f o r s o c i a l
i s made o f
Some u s e i s
made
fu n ctio n s.
The
p h y s i c a l and m e c h a n ic a l o p e r a t i o n s o f i n s t r u m e n t a l m usic a s w e l l a s t h e l a c k o f t e x t make i t w orsh ip s e r v i c e
than v o c a l m u s ic •
h a d an o r c h e s t r a
less
su ita b le
fo r the
For a w h i l e one c h u r c h
o n c e e a c h month f o r t h e e v e n i n g s e r v i c e s .
Members f r o m f o u r c h u r c h e s e x p r e s s e d t h e n e e d f o r im proving
t h e i r c h u r c h o r g a n s o o n i n o r d e r t o c a r r y on t h e
work e f f e c t i v e l y * I .
THK C0 NCLU SIGNS
A ll o f the churches stu d ie d are a c c u te ly
conscious of
th e problem o f s e r v i n g th e needs o f a f a s t grow ing e n e r g e t i c little
city .
Three o f t h e
churches are a t p r e sen t ca rry in g
on e x t e n s i v e b u i l d i n g p r o g r a m s i n o r d e r t o m e e t t h e demands
85 made u p o n the m i n a l l
departm ents.
One c h u r c h h o l d s a
d o u b l e w o r s h i p s e r v i c e a n d a d o u b l e Su nday S c h o o l h o u r i n order to care fo r t h e ir reco rd a tten d a n ce. However, that
the t o t a l
from t h e f i g u r e s g a t h e r e d ,
churches
d o lla r s a year per
churches i s w ith in reach
f ig u r e s g ath ered , a l l o f th e churches
s h o u ld s t r e n g t h e n t h e i r m usic m usic b u d g e t.
n a t io n ’s la rg e
la r g e or s m a ll.
A ccording to th e
d e p a r t m e n t s by i n c r e a s i n g
the
O nly t h r e e c h u r c h e s c l o s e l y a p p r o a c h t e n p e r
c e n t o f the t o t a l budget gram.
s e t by th e
The a v e r a g e p l e d g e o f f i f t y
member s e t by t h e n a t i o n ’ s l a r g e of a l l
w o u l d se e m
church budget o f the churches c o n sid e r e d i s
som ewhat l o w e r t h a n t h e a v e r a g e church.
it
One o f t h e s e
f o r t h e su p p o rt o f t h e m usic p r o
t h r e e c h u r c h e s w h ic h g r a n t s n i n e and
four f i f t h s per cent
of th e t o t a l budget to
the support o f
m u s i c d e p a r t m e n t h a s d i v i d e d t h e d u t i e s b e t w e e n two d i r e c t o r s a n d two o r g a n i s t s . serv ices
T h e y r e h e a r s e and u s e
four c h o ir s.
effectiv en ess
r e g u la r ly in the
The s t a n d a r d o f work d o n e a n d t h e
o f t h e m usic program i n
t h i s church i s
ex cellen t.
The work o f t h e a d u l t c h o i r s v a r i e s w i t h t h e i n d i v i d u a l church s i t u a t i o n . o f work i s pastor,
I t w o u l d seem t h a t t h e h i g h e s t s t a n d a r d
done where a g r e a t d e a l i s
and c o n g r e g a t io n .
e x p e c t e d by th e d i r e c t o r ,
The q u a l i t y o f m u s i c u s e d a n d t h e
m u s i c a l p e r fo r m a n c e seems t o
depend upon t h e d eg ree o f u n d e r
s t a n d i n g and a p p r e c i a t i o n o f c h u r c h work by t h e d i r e c t o r a s
86 w e l l a ? t h e am ou nt o f m o r a l and f i n a n c i a l s u p p o r t g i v e n by t h e p a s t o r and c o n g r e g a t i o n . It is ch oirs
d ifficu lt
to ev a lu a te
t h e m u s i c u s e d by t h e
in th e v a r io u s churches but a few fundam ental q u e s t io n s
may b e a s k e d i n o r d e r t o a i d i n s u c h an e v a l u a t i o n s u c h a s : (1)
is
t h e anthem a showy, p a t r i o t i c , and o v e r l y d r a m a tic
p iece,
or w i l l i t
(2)
th e m usic a p t t o a r o u s e s e c u l a r t h o u g h t s , o r w i l l
is
i n s p i r e t h o u g h t s o f p r a i s e and d e v o t i o n ;
a id in condu ctin g the thoughts o f th e p eo p le and i t s
sym bols o f f a i t h
and s a c r i f i c e ;
o f t h e a nth em make t r i v i a l it
state
truths
(4)
to th e a l t a r does the t e x t
and s e n t i m e n t a l s t a t e m e n t s o r d o e s
o b je c tiv e ly in fin e p oetic
o f our f a i t h ;
(3)
is
sty le,
the m u sica l
the C h r is tia n
structure
o f the
a n t h e m s t r o n g and s t u r d y r h y t h m i c a l l y a n d h a r m o n i c a l l y , is
it
flim sy ,
it
t h i n , and l a c k i n g i n c h a r a c t e r to
or
support a
strong t e x t . It is
is
c e r t a i n t h a t m usic w i t h s e c u l a r c o n n o t a t i o n s
out o f p l a c e
i n a c o r p o r a te w orsh ip s e r v i c e .
Chord11 by S u l l i v a n ,
" L a r g o 11 b y H a n d e l ,
The " L o s t
"Melody i n F" b y
R u b in s te in a r e exam ples o f s e c u l a r m e lo d ie s th a t have been u s e d In w orsh ip s e r v i c e s probab ly to o p a t r i o t i c
Anthems t h a t a r e
in th e ir a s s o c ia t io n s fo r proper use
i n a w orship s e r v i c e a r e a r ra n g ed by R ingw ald,
w ith sa cred t e x t s .
" B a t t l e Hymn o f t h e R e p u b l i c "
a n d " R e c e s s i o n a l " b y De K o v e n .
Anthems i n t h e p o p u l a r s t y l e
that are not a p p rop riate fo r u se
i n a c o r p o r a te w orship s e r v i c e
are
"My God a n d I" b y S e r g e i ,
87 "With A V o i c e o f S i n g i n g " b y S h e l l e y ,
"Hark, Hark My S o u l "
b y B u ck , and many o f t h e L o r e n z p u b l i c a t i o n s . as
"The C r e a t i o n " b y R i c h t e r ,
Such anthems
"The L o r d f s P r a y e r " by M a l l o t t e ,
a nd " S a n c t u s " b y Gounod may be c o n s i d e r e d t o o d r a m a t i c a n d t h e a t r i c a l t o be c o n d u c i v e t o a w o r s h i p s e r v i c e . I t may b e i m p o s s i b l e th is
sty le
demand
fo r the d ir e c to r
to alw ays a v o id
o f m usic i n th e ch u rch s e r v i c e s b e c a u s e o f th e
f r o m c h o i r m e m b e r s , c o n g r e g a t i o n m em bers, a n d e v e n
pastors.
However,
t h e d i r e c t o r s h o u l d be a w a r e o f t h e
sh ortcom in gs and, by a lo n g , ed u cation ,
slow p r o c e s s o f u n o b tr u siv e
r a is e the standard o f m u sical s e l e c t i o n u sed in
the s e r v i c e s . I t seem s t h a t a n o t h e r w eakness i n th e m usic d e p a r tm en ts o f the ch urches s t u d i e d i s ch o irs.
The e m p h a s i s i s
the a d u lt c h o ir . in terest
the lack of in t e r e s t
in youth
a l m o s t c o m p l e t e l y u p o n t h e work o f
More h e l p
s h o u l d be p r o v i d e d and more
c r e a t e d i n t h e young c h o i r w hich w i l l grow w ith
e x p e r i e n c e a n d s u p p l e m e n t t h e work o f t h e o l d e r g r o u p . in turn w i l l
g e t more p e o p l e p a r t i c i p a t i n g
T h is
i n t h e m u sic program
who w i l l bec ome m ore c o n s c i o u s o f t h e f u n c t i o n o f c h u r c h m u sic. Many p e o p l e may n o t r e a l i z e
the im p o rta n ce t h a t r e
l i g i o u s l e a d e r s p l a c e upon t h e pow er o f m usic i n t h e b u t by b e i n g made a p a r t o f t h e p r o g r a m ,
its
church;
in flu en ce w ill
e v e n t u a l l y r e a c h them a n d s t r e n g t h e n t h e s p i r i t u a l l i f e
of
88 t h e w hole c h u r c h . A nother w eakness t h a t seems t o be r a t h e r g e n e r a l i s t h e l a c k o f e n t h u s i a s t i c p a r t i c i p a t i o n on t h e p a r t o f t h e con gregation s. says,
T h is i s
i m p o r t a n t b e c a u s e a s Mr. Don K e t t r i n g
UA s i n g i n g c h u r c h i s
a s p i r i t u a l c h u r c h . ff
g a t i o n s m u s t b e t a u g h t and e n c o u r a g e d t o
The c o n g r e
s in g the b e st
s e l e c t e d hymns w h i c h s t a t e o b j e c t i v e l y i n a p r o p e r m u s i c a l settin g
t h e fu n d a m e n ta l t r u t h s and b e l i e f s
o f our f a i t h .
fo llo w s
t h a t t h e c h e a p c o m m e r c i a l f o o t t a p p i n g hymn t u n e s
It
w i t h c a t c h y v e r s e s a n d r e f r a i n s s h o u l d be a v o i d e d i n a w orship s e r v i c e . I t i s probable a ls o
that there
s h o u ld be a c l o s e r
w o r k i n g t o g e t h e r o f t h e p a s t o r and h i s m i n i s t e r o f m u s i c . O n l y one m i n i s t e r o f t h e c h u r c h e s s t u d i e d i n d i c a t e d t h a t h e a ssisted
w it h t h e c h o o s i n g o f t h e m orning anthem .
be t h a t t h e m i n i s t e r s
I t may
s h o u l d be more aw a r e o f m u s i c a s t h e i r
h e l p e r and s h o u l d make more e f f o r t
to in c lu d e
th e m usic i n
t h e i r p la n s f o r a c o r p o r a t e worship e x p e r i e n c e . In c o n c lu s io n t h e n , o f jRresno t o u t i l i z e the fo rc es
in order fo r th e se lea d in g churches
c o m p l e t e l y t h i s power and i n f l u e n c e f o r
of relig io n ,
it
se em s t h a t ( 1 )
the t o t a l
b u d g e t s h o u l d be i n c r e a s e d by a s u b s t a n t i a l In d ivid u al p led ge;
(2)
to ten p er cen t o f th e church m u sicia n s
th e m usic b u d g e ts total
church
in c r e a se in the
s h o u l d be i n c r e a s e d
church budget;
( 3 ) more t r a i n e d
s h o u ld be employed to p e r fo r m t h e expanded
89 d u t i e s o f the departm ent; o rganized w ith in serv ices;
(5)
t h e c h u r c h e s and u s e d r e g u l a r l y i n
t h e r e s h o u ld be b e t t e r
and u n d e r s t a n d in g o f t h e id e a ls
( 4 ) more s i n g i n g g r o u p s s h o u l d b e the
con gregation al p a r t ic ip a t io n
f u n c t i o n o f church m u sic;
and (6 ) t h e
o f m u sic d e d i c a t e d t o c r e a t i n g a r e a l v/orship e x p e r i e n c e
s h o u l d be k e p t b e f o r e t h e p e o p l e a t a l l and p a sto r*
t i m e s by t h e d i r e c t o r
BIBLIOGRAPHY
A.
BOOKS
A s h t o n , J o s e p h N . , M u s ic i n W o r s h i p . P re ss, 1943. 232 p p .
Boston:
The P i l g r i m
B e r g , D a v i d E r i c , M u sic o f t h e C h u r c h , V o l . V I I , F u n d a m e n t a l s o f M usical Art S e r i e s . New Y o r k : Caxton I n s t i t u t e , I n c ., 1927. 86 p p . Blackw ood, Andrew W., The F i n e A r t o f P u b l i c W o r s h i p . Yo rk: A bingdon-C okesbury P r e s s , 1939. 247 p p . C l o k e y , J o s e p h V/., I n E v e r y C o r n e r S i n g . house-G-orham C o . , 1 9 4 5 . 86 p p .
New Y o r k :
New-.
More-
D i c k i n s o n , Edward, M u sic i n t h e H i s t o r y o f t h e W e s t e r n C h u r c h . New Y o r k : C h a r l e s S c r i b n e r ' s S o n s , 1 9 1 3 . .426 p p . H u n te r , S t a n l e y A rm stro n g , M usic and R e l i g i o n . A bingdon P r e s s , 1 9 3 0 . 231 p p .
New Y o r k :
K e t t r i n g , D o n a l d D . , S t e p s Toward a S i n g i n g C h u r c h . d elp h ia: W estm in ster P r e s s , 19 4 8 . 342 pp.
P h ila
M arks, H a r v e y B . , The R i s e a n d Growth o f E n g l i s h Hymnody. P h ila d elp h ia : B la k is to n C o., 1937. 288 p p . M cCutchan, R o b e r t Guy, Hymns i n t h e L i v e s o f Men. A bingdon-C okesbury P r e s s , 1 9 4 3 . 20 8 p p . M cK in ney, B. B . , a n d A l l e n G r a v e s , L e t U s S i n g . Broadman P r e s s , 1 9 4 2 . 174 p p .
New Y o r k : N a sh v ille: f
P o d o l s k y , Edwardj Music f o r Your H e a l t h . A c ke rm a n , I n c . , 1 9 4 5 . 134 p p . P r a t t , Waldo S . , M u s i c a l M i n i s t r i e s Y ork: G. S c h i r m e r , I n c . , 1 9 2 3 .
New Y o r k :
i n th e Church. 198 p p .
Bernard New
R e y n o l d s , Isha m E . , Church M u s i c . N a sh v ille: Sund ay S c h o o l Board o f B a p t i s t C o n v e n t i o n , ( n . d . ) 1 2 1 p p . , M u s i c and S c r i p t u r e s , . 1942. 16 0 p p . S w is h e r , W alter S . , son C o ., 19 2 9.
N a sh v ille:
Mu s i c i n W o r s h i p . 208 pp .
Broadman P r e s s ,
B oston:
O liver D it -
B.
PERIODICALS
G a s t o n , E . T . , “M usic f o r H e a l t h , ” M usic E d u c a t o r s J o u r n a l , XXXI (M arch, 1 9 4 5 ) , 2 4 . H o f f m a n , F r a n s , tfS t a n d a r d s i n Church M u s i c , ” E x e r p t s fro m A S t o p o s l u m on Ch urch M u s ic , S o u t h e r n C a l i f o r n i a - A r i z o n a C o n f e r e n c e , B oard o f Lay A c t i v i t i e s , M e t h o d i s t C h u r c h , 1943. T a y l o r , H u b e r t V. , “The M i n i s t e r .and H i s M u s i c , ” Qur S i n g i n g Church, P h i l a d e l p h i a : B oa rd o f C h r i s t i a n E d ucation , P r e s b y t e r i a n Ch urch i n t h e U . S . A. p p . *13-28. T i b b i t t , L a w r e n c e , “R e - V i t a l i z i n g C h urch M u s i c , ” The C h o i r G uide, I I (February, 1 9 4 9 ), 25.
APPENDIX
TABLE I ANALYSIS AND COMPARISON OF MUSIC DEPARTMENTS OF FRESNO CHURCHES WITH NATIONAL AVERAGE Church Membershipi Budget Average Pledge Per Yr.
Music Budget
Percentage) S a l a r ie s o f Budget D i r . Org.
AVERAGP3 2 , 0 0 0
$100,000
$50
$10,000
#10 $1500 a ssist, $ 1 000 s o l o i s t s $51920
$1000 800
44
5
A
2,500
$ 23,000
$10
$ 1,455
#6
| 760
$ 600
45
1
B
1,700
$ 52,000
$30
$ 2,861
#5 1 / 2
$ 12 0 0
$ 12 0 0
40
3
C
1,400
$ 34,000
$24
$ 3,350
%9 4 / 5 a ssist.
$1250 $ 750
$ 350 $ 360
44
4
D
1,200
$ 52,000
$43
$ 2,000
#3 4 / 5
$ 840
$ 720
' 40
1
E
1,200
$ 25,000
$21
$ 2,335
#9 1 / 2 $ 600 a s s i s t . & 300 s o l o i s t s $ 360
$ 600
50
2
F
8 80
$ 33,000
$38
$ 1,965
fo5 9 / 1 0 $ 450 s o l o s i t s $ 720
$ 450
25
2
G
700
$ 41,000
$59
$ 1,200
%2 9 / 1 0
$ 600
$ 300
20
1
H
500
$ 19,196
$38
$ 1,620
%Q 2 / 5
$ 840
$ 480
25
2
Choirs Membership
No,
95 A Study of Music in the Fresno Churches. To t h e M i n i s t e r 1.
Do
3^ou
h a v e a M u s ic C o m m i t t e e ?
2.
What a r e t h e r e s p o n s i b i l i t i e s
of th is
com m ittee?
What p o s i t i o n s e x i s t i n y o u r c h u r c h m u s i c d e p a r t m e n t a n d what a r e t h e s a l a r i e s i f a n y ? a• a• b. b. % >_ c. c « d. d• $ 4.
Which o f t h e a b o v e h a s a d m i n i s t r a t i v e r e s p o n s i b i l i t i e s ?
5.
Which o f t h e f o l l o w i n g a r e among h i s d u t i e s and w h i c h a r e n o t s p e c i f i c a l l y among h i s d u t i e s ? ARE ARE NOT ________________ a . S u p erv isio n o f church sch ool m u sic. b. D i r e c t io n o f church sc h o o l m u sic. ______ _________ c . D irectio n of a d u lt ch o irs. ______ _________ d. O rg a n ist. ______ _________ e . D i r e c t o r o f m u s i c f o r e v e n i n g s e r v i c e . ______ _________ f . Plan m usic f o r m id-week s e r v i c e . g . O th e r d u t i e s . ________________
6.
Has t h e C h o i r D i r e c t o r h a d e x p e r i e n c e a s a n O r g a n i s t ? ___
7.
Does t h e p r e s e n t d i v i s i o n
8.
Are t h e m u s i c a l r e s u l t s
9.
I f not,
o f r e s p o n s i b i l i t y work?
sa tisfa cto ry ?
______ ______
what c h a n g e s c o u l d be s u g g e s t e d ? ______________ ______
1 0 . What was t h e b u d g e t f o r t h e m u s i c d e p a r t m e n t l a s t y e a r ? 11.
What was t h e t o t a l b u d g e t f o r t h e c h u r c h l a s t y e a r ?
1 2 . What i s
t h e a c t i v e m e m b e r s h ip o f
your church?
___
A Study of Music in the Fresno Churches, To t h e D i r e c t o r o f M usic 1.
What i s
t h e m e m b e r s h ip o f y o u r a d u l t c h o i r ?
2.
How may a new member j o i n y o u r c h o i r ?
3.
What a r e t h e r e q u i r e m e n t s f o r m e m b e r s h i p ?
4,
I s your c h o ir o rg a n ized w ith c h o ir o f f i c e r s ?
5,
I s your c h o ir v e s t e d ?
6,
Does t h e
7,
The M o r n in g S e r v i c e : a. How many a n t h e m s do y o u s i n g ? b. How many hymns do y o u s i n g ? c. Do y o u h a v e a p r o c e s s i o n a l ? d. Do yo u h a v e c h o i r r e s p o n s e s i n t h e s e r v i c e ? e. Do y o u u s e v o c a l s o l o s ? f. Do yo u u s e i n s t r u m e n t a l s o l o s ?
8,
What e x t r a a c t i v i t i e s during the year?
9,
What o t h e r c h o i r s do y ou d i r e c t a. b. c. d.
a d u l t c h o i r s i n g f o r t h e M o r n in g S e r v i c e ? E vening S e r v ic e ?
does your ch oir
engage in
i n your church?
1 0 . What a r e t h e i r d u t i e s ? 1 1 . What m u s i c do
you u s e f o r th e s e groups?
1 2 . Do y o u s u p e r v i s e
t h e m usic i n t h e ch u r c h s c h o o l ?
97 A Study of Music in the Fresno Churches, Continued 13.
Ylhat hymn b o o k s do y o u u s e i n t h e M ornin g S e r v i c e ?
14.
What hymn b o o k s do y o u u s e i n
15.
Do y o u p l a y t h e p i a n o ? _________
16.'
Are y o u a n O r g a n i s t - D i r e c t o r or D i r e c t o r ?
17.
Have y o u h a d c o l l e g e I f s o , what ty p e ?
- 18.
the E vening S e r v ic e ?
courses in
Do y o u r d u t i e s a s m u s i c d i r e c t o r fo r the fo llo w in g s e r v i c e s : a . M o rn in g S e r v i c e b . E vening S e r v ic e c . M id - w ee k S e r v i c e d . O thers ( l i s t )
The o r g a n ?
sa c re d m usic?
i n c l u d e p l a n n i n g m usic a. b* c.
19.
Do y o u h a v e a n y i n s t r u m e n t a l m u s i c i n y o u r p r o g r a m ? I f s o , w h e r e a n d how do y o u u s e i t ? __
20.
\7o u ld you l i s t p ast year? T ita l &. b. c. d. e. f . h. i . j« •
21.
Yfould y o u l i s t a .. b. c. d. e.
t e n o f your b e s t anthems sung d u rin g th e a. b. c. d. e• f . S* h. i. j •
Composer
t e n hymns w h i c h y o u u s e m o s t ? f . g. h. i • j.
a. b» c. d. e. f . gh. i • j*
P u b lish er
A S t u d y o f M u s ic i n t h e F r e s n o C h u r c h e s , How do yo u i n t r o d u c e new
h ym n s
to
C on tin ued
the con gregation
A S t u d y o f M u s ic i n t h e F r e s n o C h u r c h e s To C h o i r Members What a n t h e m s do y o u l i k e vice?
to s in g b e s t in th e church ser
b. c. d. What hymns do y o u l i k e a
.
c
What i n y o u r o p i n i o n i s a church s e r v ic e ?
t o s in g b e s t i n the church s e r v i c e (see attach ed l i s t ) f . g. h. i . j • th e pu rp ose o f h a v in g m usic in
What s u g g e s t i o n s do y o u h a v e f o r i m p r o v i n g t h e c h u r c h m u sic program?
A Study of Music in the fh?esno Churches To a Member o f t h e C o n g r e g a t i o n Do y o u l i k e
to
s i n g hymns i n t h e c h u r c h s e r v i c e ?
L i s t some o f t h e hymns y o u list). a• b. c. d. e•
lik e
to
sin g .
.
(See a t t a c h e d
.
f g« h. i • j-
Yitaat r e a s o n s w o u l d y o u g i v e f o r h a v i n g a c h o i r o r a n y o th e r s p e c i a l m usic i n a church s e r v i c e ?
What i s a f a v o r i t e a n t h e m y o u l i k e Why do y o u l i k e
it?
Do yo u l i k e t o h e a r a s o l o i s t Why? Do you l i k e Why?
the c h o ir to sin g ?
s i n g i n th e church s e r v i c e ______
instrum ental s o lo s
in th e church s e r v ic e ? ______
Do y o u h a v e a n y s u g g e s t i o n s f o r i m p r o v i n g y o u r c h u r c h m u sic program?
101
S u g g e s t e d L i s t o f Hymns 1. H o ly , H o ly , H oly. 2 . Mid A l l t h e T r a f f i c o f t h e W ays. 3v* „Come, Thou A l m i g h t y K i n g . 4 • D e a r L o r d and F a t h e r o f M a n k in d . 5 . P r a i s e God f r o m Whom A l l B l e s s i n g s Flow . 6 • The C h u r c h ' s One F o u n d a t i o n . 7 . For t h e B e a u ty o f t h e E a r t h . 8 . I L o v e Thy Kingdom, L o r d . 9 . A M i g h t y P o r t r e s s i s Our God. 1 0 . 0 Where a r e K i n g s and E m p i r e s Now. 1 1 . B l e s t Be t h e T i e s T h a t B i n d 1 2 . T h i s i s My F a t h e r f s W o r l d . 1 3 . P r a i s e , My S o u l , t h e Kin g o f H e a v e n . 1 4 . Where G r o s s t h e Crowded Ways o f L i f e 1 5 . When I S u r v e y t h e Wondrous C r o s s . 1 6 . Come, L e t Us Tune Our L o f t i e s t S o n g . 1 7 . In the C ross o f C h r is t I G lo r y . 1 8 . 0 W or ship t h e K i n g . 1 9 . 0 F o r a T h o u sa n d T o n g u e s t o S i n g . 2 0 . A l l H a i l t h e Power o f J e s u s ’ Name. 2 1 . F a i r e s t Lord J e s u s . 2 2 . Crown Him w i t h Many C r o w n s. 2 3 . Rock o f A g e s . 2 4 . My F a i t h L o o k s Up t o T h e e . 2 5 . F a i t h o f Our l a t h e r s . 2 6 . A r e Ye A b l e . 2 7 . L e a d On 0 K in g E t e r n a l . 2 8 . I n C h r i s t T h e r e i s No E a s t o r W e s t . 2 9 . God o f Grace a n d God o f G l o r y . 3 0 . God o f Our F a t h e r s . 3 1 . How F ir m a F o u n d a t i o n . 3 2 . S a v io u r L ik e a Shepherd Lead U s . 3 3 . The Son o f God Goes F o r t h t o War. 34. S o ld iers of C h rist, A rise. 3 5 . Beneath th e Cross o f J e s u s . 3 6 . J e s u s C a l l s U s , O’ e r t h e T u m u l t . Others
1. N icaea 2. S t . Agnes 3. T rin ity 4. R e st--E lto n 5 . Old 1 0 0 t h 6. 7. 8. 9. 10. 11. 12. 13. .1 4 . 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25v 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36.
A u relia D ix S t • Thoma s E i n F e s t e Burg S t . Anne D ennis Terra Beata R eg en t Square Germany E u ch a ri se Duke S t r e e t Rathbun Lyons Azmon C oronation C r u s a d e r ’ s Hymn Diadem ata Toplady O livet S t. C ath erin e Beacon H i l l L an cash ire S t. P eter Rhondda N a t i o n a l Hymn A deste F id e le s Bradbury A l l S a i n t s New S ilv er Street S t. C h ristop her G a lilee