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All active clergy were invited to respond to the questionnaire, and although only six returned it, their views formed a representative cross-section of this typical group of Church of England ministers. In a more condensed format the questions covered similar ground to those which structured the more detailed dialogue with two new ministers.

Of the six respondents:

• the first was a very experienced priest in a parish in the less affluent part of town, with residents from more than 40 nationalities

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Other major institutions include a large acute hospital trust, two large prisons, and a major independent school, with one of the largest populations anywhere in the United Kingdom of people with learning difficulties and mental health problems.

• the second was also an experienced priest in a mixed parish with a large housing estate, an Ecumenical Partnership with the local Methodist Church and an innovative Messy Church programme

• the third priest had recently been appointed to a fairly affluent suburban parish having served in a more challenging area, although the ‘broad church’ tradition he inherited was struggling to progress, and tensions had become evident

• the fourth respondent was serving her deacon’s year outside of her evangelical tradition in a town centre parish with a strong choral tradition, with which she was unfamiliar and not entirely comfortable

• the fifth respondent was a female priest in a sector chaplaincy role, perhaps the toughest in the Deanery, which she fulfilled alongside her roles as wife and mother of school-age children

• the sixth priest, also female, had spent her career as a senior Civil Servant, and returned to serve her affluent suburban home parish after retirement

All six respondents have now moved on from the posts they held at the time of completing the questionnaire, but they represent both the variety of churches across the Deanery, and a wide range of theological traditions and approaches to ministry - their combined views can be taken as a fair indication of wider clergy need regarding music and worship

2.7.1 DEVELOPMENT OF PERSONAL TASTE

Three respondents claimed to have been brought up surrounded by classical music, although only one (a child of the vicarage) had experience of singing in a church choir or received formal musical training. Choirs dominated music in three of their parishes, two were struggling to find an organist and at that time none had a regular instrumental group. All six described how their tastes and preferences had changed over time, especially in respect of music for worship, and most expressed frustration that their present liturgical circumstances were proving both musically unrewarding, and difficult to change. Having grown up in a clergy household two were more sympathetic to traditional hymnody, while those more familiar with a contemporary musical idiom appreciated music in a different style. All preferred a synthesis of different styles whenever possible, and were enthusiastically open about coming to terms with new material, while regretting having insufficient time to explore this. A number stated clearly that their personal

preferences were not reflected in their choices of music for worship, while only one acknowledged listening to “CDs with a Christian flavour” for personal devotion.

2.7.2 MUSICAL PREFERENCES IN WORSHIP

Having grown up familiar with classical music, four claimed they had grown into listening to it as a devotional exercise. Almost all felt at home with the reflective style of music from sources such as Taize and Iona, and some mentioned ’gentler evangelical choruses’ as an inspiration, though not all congregations appeared willing to adapt to these. Even for personal devotion however, worship songs were used, along with instrumental tracks or classical repertoire, in preference to traditional hymnody. The one priest with musical training and choral experience had also played in a rock band, but summed up the implicit paradox: “worship music isn’t to please me as such.” While rejoicing in a variety of musical styles and experiences, all recognised that their calling on every occasion was to choose music for worship on the basis of nurturing and building the Christian community, rather than personal taste.

2.7.3 CHOOSING MUSIC

Only one respondent did not take final responsibility for choosing music for worship, on the basis of her relative inexperience, although this was experienced negatively, as she felt the choir exercised too much control. However, all were aware of the constraints placed on them by the capability of the players, the resources available and the perceived formational needs of the congregation. Most were clear that the president and preacher should have first claim on choosing music, whatever the inherited expectation, not least to ensure hymn-texts were consistent with liturgical texts, readings and overall theme. All expressed apprehension about keeping up to date with new hymns and songs, as equally about managing musicians and using hymnody as a part of congregational formation.

2.7.4 MAKING BEST USE OF RESOURCES

Three of the six respondents had access to very limited available resources, and struggled to maintain a musical tradition, while two of the others enjoyed the services of a competent choir and organist. The fourth respondent, in a large town centre church with a strong choral tradition, was unsure how it would ever be possible to develop the existing tradition or exercise any direction over the musicians. The third respondent, despite the services of an enthusiastic and

flexible choir and organist, despaired of being able to use this to encourage congregational participation. In marked contrast the fifth respondent, despite having the most limited resource, often found herself deeply moved by the participation level of the congregation.

2.7.5 FORMATION AND CONFIDENCE IN CHOOSING MUSIC

Two respondents felt ‘confident enough’ to deal with music and worship on their own, both being experienced priests who had received ‘some basic instruction’ or formation, either during Initial Ministerial Education, or since then on their own initiative. The others, regardless of any personal connection with music, expressed the hope that an ‘expert’ would be on hand to advise, guide or help them, even to make the choices on their behalf. Awareness of available resources across the six respondents was at best patchy, with even those claiming some level of knowledge or previous experience recognising their own limitations. Most significant, regardless of length of experience, four of the six respondents claimed to have received no formal input on music, the remaining two nothing more than the most basic background. This is in line with the comments of the two new ministers in their dialogue, and while it is possible to extend personal development through reading or seeking advice, the pressures of other parish duties mean it is unlikely that this will become a first priority.

2.7.6 GAPS IN FORMATION AND WHAT MIGHT FILL THEM

Responses to this question were particularly varied, both individually and more generally. The following are noteworthy:

• Help with recruiting and developing instrumentalists and choir members • Coaching in singing in public or how to act as cantor

• Regular updating about resources

• Continuing exposure to a wide range of worship music and contexts – observing good practice

• Working alongside other musical expertise locally

• Confidence in knowledge of Church of England choral tradition in order to motivate change and development.

Although trained in different places across more than two decades, with varying levels of personal musical formation, and exercising their liturgical ministries in quite dissimilar contexts, the answers given by all six respondents exhibited a surprising consistency:

• Only two had received even basic initial training in the musical aspects of liturgy, and all were aware of large gaps in knowledge and experience

• Only one was able to access musical expertise and direction in their immediate context

• Only one regularly used contemporary technology for projecting the texts of hymns and liturgy

• Whatever the local mythology around guitars or drumkits ‘taking over worship’, all respondents were encountering difficulties in establishing and maintaining a reliable, creative instrumental group to accompany and support worship.

A few years later, of the fifteen Deanery churches only four have a competent and active instrumental group, at least four do not have the services of a regular organist or keyboard player, and six still enjoy a robed choir, others forming an occasional singing group. Almost all report continuing difficulties in recruiting new members.

2.7.7 FURTHER ISSUES TO BE ADDRESSED FROM THIS SET OF RESPONSES:

• What formational tool might be most helpful in enabling more experienced ministers to upgrade and update their knowledge of music and liturgy without eating into limited time or resources?

• How can ministers be helped to stay up to date with the many changes in liturgical and musical resources, and to identify how these might enhance different styles of worship?

• How can ministers be enabled to negotiate with liturgical musicians on an equal footing, sharing equally in the task of ministering to a congregation and acknowledging each others’ responsibilities and competence?