CONSUMO INTERES

2.5.1 INITIAL EXPERIENCES OF MUSIC

Both ministers described briefly their general childhood and teenage experiences of music, which largely reflected the prevailing culture in which each grew up. More specifically, one had sung in a church choir with other family members from childhood through to marriage, and understood something of musical theory and technique, whereas the other had no background in classical music and preferred a contemporary style of music with which she was familiar. The former returned to choral singing following university studies, while the latter discovered the great choral masterpieces for the first time through joining her local choral society, in response to a family tragedy. However, through coming to faith she became increasingly involved in her local parish church, where the well-attended principal acts of worship were predominantly informal in style. Although hardly different from the music she was used to hearing every day, she now found some popular contemporary worship songs lacking in thoughtfulness and substance, often set to music of matching superficiality. Instead she found herself drawn more to hymns from the Celtic tradition, and to a choral tradition she had hardly known previously. This was not a rejection of contemporary worship styles, simply a recognition that it did not reflect or express fully how she felt at that time. She also learned a great deal from the way this evangelical parish combined both traditional and contemporary music in its worship, and carried that principle

through into her own liturgical ministry. Her colleague, by contrast, found that a move to a different congregation highlighted concerns about the choral tradition she had only recently left, with its ‘middle-of-the-road’ tradition offering little sense of change or awareness of current liturgical trends. Significantly, both ministers described growing in their awareness of the importance of music within liturgy and worship, not wanting to discard earlier experiences, but to explore other possibilities with the congregation.

2.5.2 CONGREGATIONAL EXPECTATIONS AND AVAILABLE RESOURCES

The two congregations from which these ministers originated displayed equally diverse expectations. In the large, evangelically inclined congregation were many talented and committed individuals with sufficient time and money to invest in its worshipping life, and during the first minister’s active membership there had been a marked shift from an organ-dominated liturgical experience to one where listening to the organ had almost become a pleasant occasional alternative to the regular instrumental music group. This reflected changes both in the accepted style of music for worship and in the technology for sound reproduction, which because of their resources and ethos, the congregation subscribed to as ‘progressive’ and accessible - a statement of missionary vision and intent.

This was in marked contrast to parish with a central, choral tradition, where if developments elsewhere were reluctantly acknowledged, there was also a sense that liturgical change had to be resisted if the church was to fulfil its primary purpose as a place of stability and security. Its primary musical resource was a fine ‘Father Willis’ organ of which the church is justifiably proud, only quite recently supplemented by an electronic keyboard or occasionally other instruments. The choir took its role of leading worship very seriously, but the minister who grew up here felt that over the years clergy had left most musical decisions to the organist, leading to occasional tensions and little sense of dialogue between the two. Although acknowledging some more recent developments, she commented succinctly: “when I go back there now, I still can’t see much evidence of change”. A slightly more adventurous liturgical approach had yet to result in an instrumental group or investment in new technology.

2.5.3 MUSIC. LITURGY AND VOCATION

For both recently appointed ministers the call to public ministry became real after moving to another parish. For one a house move brought her back to her childhood home area and a church

she knew well, although the contrast between the two congregations could not have been sharper, reflecting the breadth of Anglican experience and practice. From a large, distinctively evangelical congregation with a contemporary worship style, she moved into a much smaller worshipping community based in an ancient village church building bypassed by developments in worship, music and technology, though proud of the traditions it had maintained. Musical life was dominated by organ and choir, but their level of competence was hardly comparable, while worship songs were mostly unknown territory, resisted on both musical and theological grounds, although Taizé chants had gradually gained acceptance. Initially this felt rather dry and lifeless, though with a sense of ‘being at home’ as an Anglican, and in this smaller setting, playing a greater pastoral role led to an unexpected vocation to ordained ministry. If not entirely satisfied with the musical aspects of worship in either congregation, experience of both developed into a personal awareness that a blend of liturgical and musical styles was her preferred style, a view reinforced by the variety of experiences available during formation.

For the second minister the move to another congregation was brought about by impending marriage to a practising Methodist. Her previous experience had been confined largely to one setting, but any initial uncertainty about worshipping with an ecumenical congregation soon gave way to feeling comfortable with a distinctive, occasionally quirky mixture of styles and traditions. A rapidly developing sense of vocation led to a steep learning curve as she embarked on formation, but exploring the greater range of liturgical and musical possibilities in her new setting proved stimulating and enriching, while working as assistant manager of a Christian bookshop developed an unusually broad knowledge of texts and resources for worship. Experience of parenthood contributed a new dimension in an awareness of the liturgical and musical needs of parents and young children and their parents as part of the worshipping community. Both new ministers found through their vocation and formation that building on previous experience enabled them to adopt a more inclusive approach to music in worship.

2.5.4 ADAPTING TO AVAILABLE RESOURCES

Despite contrasting initial and subsequent experiences of liturgy and music, both ministers learned in the same worship environment to work with a large and flexible group of instrumental musicians, skilled at offering a musical ministry across a range of traditions and expectations. Both regarded this adaptability as a great asset, extending the choices available, although realising the demands placed on them to make a suitable selection from such a range of

alternatives. This practical experience of using resources more effectively has been taken by both and applied to development of the liturgy and music in two very different contexts.

2.5.5 MUSIC FOR WORSHIP AND PERSONAL TASTE

Personal preference in music for liturgy and worship is shaped and determined by the same factors which influence musical preferences outside of the church. Both ministers had developed generally eclectic and broad tastes, though without any specific or formal musical education. For one an unexpected appreciation of classical music had grown - especially great choral works - and an affinity with more reflective, less triumphalist expressions of music in worship. While still valuing traditional hymnody and some contemporary songs, her priority became music which provoked deeper reflection on belief and faith, regardless of style or composition date.

The other valued her experience of singing in a church choir, even if classical choral music did not become first choice for personal reflection or relaxation. She was less concerned to maintain a specific musical style or tradition, preferring to use a wide range of material reflective of other texts within worship. Both valued ministry in an environment with such a flexible musical resource and a congregation who enjoyed open and varied worship, but recognized that not all its members would necessarily like every musical item chosen. Their aspiration was therefore to create enough variety for everyone present to feel some of their preferences had been met.

2.5.6 POSITIVE AND NEGATIVE REACTIONS TO CERTAIN STYLES OF MUSIC, HYMNS AND SERVICE SETTINGS

Every Christian minister’s experience of worship forms an ever-increasing set of preferences and ‘pet hates’. But behind these specific, probably indelible memories of occasions which leave a positive or negative impression, lie rather more elusive factors. A distressing event can become linked inextricably with a song or musical style, not in itself necessarily of poor quality, but rejected or set aside because of past associations. Equally, joyful or peaceful times also become connected with a particular musical sound-world, whether or not intended by the writer or composer.46 Neither minister expressed a strong preference for a particular style of music,

46 _{Famously Beethoven’s 5}th _{symphony symbolised for a generation the end of the Second World War, it’s rhythmic}

motif representing ‘V’ for ‘Victory’ in Morse Code, even though the composer’s nephew Czerny reportedly said that it meant “nothing more than the call of the yellowhammer”! (The First Four Notes Matthew Guerrieri 9)

although one loved jazz and blues a great deal more than opera. In addition to her growing love of classical music, the other developed a liking for music in the Celtic tradition, particularly that of the Iona Community, alongside any music involving the human voice.

Neither felt that preparing music for worship required them to divide it into artificially opposing categories. While actively enjoying a range of styles and approaches to music in worship, the critical factor for both was the integrity of the text and music in the context of a particular act of worship. Experience of choral singing had given both an understanding of musical shape and structure, an insight into harmony, and an intuitive awareness of whether the music suited the text it carried. Both therefore responded negatively to superficial theological content, in which immediate experience is placed above theology or reflection, and thus against music which matched this in banal melody, insipid harmony or mind-numbingly repetitive rhythmic patterns. For both, exploration of vocation combined with theological formation enabled them to see beyond the surface comparisons a congregation might make, to a deeper understanding of the needs of every congregation and worshipper, and how music might help meet those needs.

2.5.7 THE VALUE OF A MUSICAL ‘TOOLKIT’ FOR MINISTERS PREPARING ACTS WORSHIP

These two sets of experiences described above demonstrate the importance and value of a musical component as part of liturgical formation, since the development of musical understanding and a capacity to identify, access and evaluate resources is an ongoing process, something to be worked on throughout the initial formation process and continued thereafter over the course of ministry.

It should be noted that one new minister had received no formal input about music within liturgy at any point during her pre-ordination formation, while the other recognised the severe limitations of one one-hour input. Both were emphatic about the usefulness of a resource such as a Toolkit, citing various concerns which, as ministers entering full-time ordained public ministry with very little background, they would value being addressed in an accessible and practical format. The following summarises these briefly:

• Knowing the congregation

Without guidance it is far from easy for any minister, even with some musical knowledge, to reflect on a congregation’s assumptions and expectations in the light of their own previous experience and competence. “How far can a congregation be

pushed”, one asked, “and is it ever possible to anticipate their response?” On a deeper level another important question was also raised of what motivation or rationale might lie behind any attempt to enforce major changes in style or taste, and both felt strongly it was better to minimise the potential for worshippers to feel they have endured an unnecessarily negative experience.

• Nurturing good relationships between ministers and musicians

A particular concern was how to identify areas of potential sensitivity or conflict, not least when ministering in an unfamiliar context or tradition, or in one with a history of troubled relationships

• Understanding how to integrate the musical and textual aspects of liturgy in order to create a ‘desired flow’ of experience and formation for worshippers

Both were concerned to understand the potential impact on worshippers of choosing and arranging a particular set of liturgical materials and resources in a specific order, together with the negative consequences of making choices with which the congregation cannot identify or relate.

• Making appropriate choices from a wide range of material

Both expressed concern at being able to identify and select appropriate material from the plethora of liturgical and musical resources now available. Particular issues raised included: knowing how to look out texts, music and activities which might contribute to a coherent whole;

identifying material which might be inappropriate, or ‘too single-tracked’; using Psalmody creatively;

varying Eucharistic material in a constructive way;

effective use of indexing, in particular hymn tunes and metres.

using music more imaginatively to help worshippers to engage with the liturgy as a whole; for example, as a background to meditation or prayer activities, lighting candles or reflecting on an image.

2.5.8 ISSUES FOR FURTHER REFLECTION:

• How can ministers and congregations adapt the present trend towards worship combining a wide variety of musical styles and inputs without creating a feeling of fragmentation or blandness?

• Is it necessary for a congregation to preserve a distinctive musical tradition in order to maintain cohesiveness and sense of identity?

• Should ministers and congregations give issues of personal preference and taste lower priority than textual or contextual relevance? How might they distinguish between these?