CROSSACCENT 2 PRELUDE. Editorial Comment Jennifer Phelps Ollikainen 3 TAKENOTE 23 THANKYOU 56 SOUNDFEST. New Music 72 POSTLUDE

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1 vol 24, no 1 SPRING 2016 CroAccent i publihed three time per year by the Aociation of Lutheran Church Muician. Subcription i included with memberhip in ALCM. Librarie may ubcribe at $60 per year by contacting the Buine Office. Copyright 2016 Aociation of Lutheran Church Muician. The view expreed on the page of the journal are thoe of the author and do not reflect official poition of the editorial board of the journal or of the Aociation of Lutheran Church Muician. Thi periodical i indexed in the ATLA Religion Databae, a product of the American Theological Library Aociation, 300 S. Wacker Dr., Suite 2100, Chicago, IL 60606, USA. atla@atla.com, ISSN Editor: Jennifer Phelp Ollikainen Muic Editor: Lara Wet Book Editor: Paul Grime Copy Editor: Anne-Marie Bogdan Graphic Deign: Kathryn Hillert Brewer Editorial Office Jennifer Phelp Ollikainen, Editor 1127 Magazine Road Green Lane, PA croaccent@alcm.org Editorial Board Kent Burreon Paul Frieen-Carper Joeph Herl Nancy Raabe Stephen Roebrock Advertiing Office Cheryl Dieter, Advertiing Coordinator 810 Freeman St. Valparaio, IN ad@alcm.org ALCM Buine Office Cheryl Dieter, Buine Manager Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN office@alcm.org The Aociation of Lutheran Church Muician i a ervice and profeional organization that work to trengthen the practice of worhip and church muic of all North American Lutheran. Memberhip i open to any peron or intitution whoe interet are in harmony with the Aociation goal. Addre all change of addre, ubcription, and buine correpondence to the ALCM Buine Office. CROSSACCENT journal of the aociation of lutheran church muician 2 PRELUDE Editorial Comment Jennifer Phelp Ollikainen 3 TAKENOTE The Joy of Regional Conference Nancy Raabe and other 6 The COUNTERPOINT Church Morning Song: Guiding Our Feet into the Way of Peace Benjamin M. Stewart Sacred Harp and Performance: An Introduction to Practice and Performance Theory in Shape-Note Singing Jon Gathje Liturgy a Creation: How Ritual Communicate, Situate, and Order Meaning Kyle K. Schiefelbein Silence and Song: Attending to the Full Voice of the Aembly Chad Fothergill 23 THANKYOU Thank you to Our 2015 Donor CHORUS Church Muician a Deacon? Scott Weidler Inpiring Young Muician Molly Maillette BOOKREVIEWS Rejuvenating Senior Voice by Michael Kemp More Firt Peron Singular by Carl Schalk Church Muician by Paul Wetermeyer Inide the Wetminter Conducting Intitute 56 SOUNDFEST New Muic 72 POSTLUDE From the ALCM Preident-Elect Julie Pott Grindle Cover art: After the Storm un rie in the Smoky Mountain. Photo by William Britten. ALCM OFFICERS Preident: Anne Krentz Organ Preident-Elect: Julie Pott Grindle Secretary/Treaurer: Kevin Barger Director at Large: Scott Hylop, Michael Krentz Region 1 (Northeat) Preident: John Weit Region 2 (Southeat) Preident: Sarah Hawbecker Region 3 (Midwet) Preident: Linda Martin Region 4 (Wet) Preident: Kim Cramer Spring 2016 CroAccent 1

2 PRELUDE The Rev. Dr. Jennifer Phelp Ollikainen Editor, CroAccent What doe liturgy create? How doe liturgy create? Thee are the quetion at the center of thi iue of CroAccent. God grant the gift of alvation proclaimed in the word and in the adminitration of the acrament. And God entrut the creation of worhip ervice to the gift, kill, and planning of human. We are created by God and we create with God. We begin in creation. Benjamin Stewart offer a reflection about inging the palm, particularly Palm 146, while exploring mall family graveyard in the Appalachian mountain. Singing daily prayer in creation, Stewart reflect how the context of the palm ung in nature plant the word deeper, revealing inight that may not otherwie be evident. We explore how meaning i created by worhip through ritual. Kyle Schiefelbein explore how ritual make meaning, in particular ritual in worhip. Schiefelbein lead u to examine how muic accompanie, upport, and i central to our worhip ritual. By exploring how ritual make meaning in worhip we may approach the craft of haping and upporting the aembly ong a church muician in more intentional way. We learn how the practice of hape-note inging developed in the United State with the article by Jon Gathje. Shape-note inging practice welcome inger who participate imultaneouly a performer and a audience and who gather for vatly different reaon ranging from the expreion of Chritian faith to participation in a folk tradition. The emphai on full-voice participation in the group over beauty or precie execution lead u to examine how member of our aembly participate in worhip in Lutheran congregation. We lament that a human being our creation of worhip i not alway worthy of glory. Chad Fothergill examine how our worhip practice may unintentionally create ilence in the choir of creation. We are challenged to examine which voice peak the loudet and which voice are not heard in the muic of our worhip. Creation extend to the church through which we tructure our minitrie. In the Choru ection, Scott Weidler lift up a propoal being made to thi ummer Churchwide Aembly of the Evangelical Lutheran Church in America. It i a propoal to unify the three lay roter of that church (aociate in minitry, diaconal miniter, and deaconee) into one, a new roter of deacon. Weidler explore the quetion thi propoal create for muician, ome of whom are currently rotered a aociate in minitry. Inpiring young people to explore their vocation a a church muician celebrate the gift given to the whole community and create a new level of engagement in creating worhip. Molly Maillette decribe the joy and benefit of the Lutheran Summer Muic Academy for young people. God create. And God invite u into thi creative proce a we hape and cultivate worhip in congregation. May God guide our work and trengthen our witne to Jeu Chrit through worhip and ong. 2 Spring 2016 CroAccent

3 TAKENOTE The Joy of Regional Conference In tournament lingo, the term regional refer to the intermediate tage of a competition. But in the world of ALCM, the even-year regional conference are prized jut a much a the biennial conference. For in the regional, among like-minded peer in the ame general part of the country, we are invited to make new connection, be trengthened piritually in worhip, learn from the widom and expertie of other, improve our own kill, and fortify network of upport that will utain u through all the challenge of muic minitry. The 2016 ALCM regional are almot upon u! Regitration for thee ummer event i eay at More information on each region offering, fee, lodging, and chedule i alo available on the webite. Following are conference highlight; if you re like me, after reading thee you ll probably wih you could attend them all. Nancy Raabe Region 1: July 6 8 Trinity Englih Lutheran Church, Fort Wayne, IN Let All the People Praie You: Singing through the Generation Our time together will celebrate the gift of ong for all God people through plenarie, workhop, worhip, and concert. Preenter and artit include Bihop Robert Rimbo (ELCA Metropolitan New York Synod) and hi on, Jutin Rimbo; Sigrid Johnon; John Ferguon; Kevin Hildebrand; and The King Singer. An added feature of thi conference i a track for children led by Karol Kimmell and Johua Pedde. Make ure your children, grandchildren, or congregation children will attend! Thorough decription of workhop and preenter, a chedule, and even a virtual tour of Fort Wayne are found on the ALCM webite. Be ure to come early on Wedneday, July 6, for an organ crawl and for choral, keyboard, and handbell reading eion. Trinity Englih Lutheran Church will be our primary hot, and the Hilton Hotel offer high-quality accommodation at an affordable price. Jennifer Baker-Trinity Region 2: June St. Andrew Lutheran Church, Franklin, TN Soli Deo Gloria! Bach for Everyone Join u in beautiful Franklin, jut outide Nahville, for an intenive two-and-a-half-day hand-on encounter with the muic of Johann Sebatian Bach. Rick Erickon, director of the Houton Bach Choir, will lead the conference choir, which will prepare Cantata no. 4, Chrit lag in Todebanden, for a public veper ervice on Tueday evening. Rehearal will deal not only with muical iue but alo with homiletical and tranlation iue. Two morning prayer ervice and a cloing eucharit will ue Bach muic in a variety of very practical way and will be led by Bihop Julian Gordy (ELCA Southeatern Synod). Bach Break offer workhop on other topic, including children muic, copyright law, reource for mall choir, reource for intrumentalit in worhip, and more. Spring 2016 CroAccent 3

4 TAKENOTE A Bach for Everyone concert will take place Monday evening. We encourage conference regitrant a well a local area muician to apply to perform. The program planner are eeking diverity and creativity in term of performer, intrument, and muic. We want to hare the muic of J. S. Bach with a many people in a many way a poible. Pleae ee the application on the conference webite. Regitration include all lunche and dinner, and the hotel i only $89 per night, which include breakfat. The worhip ervice, workhop, reading eion, bibliographie, and handout, in addition to the invaluable handon experience of inging under Rick Erickon leaderhip, will end you home inpired and armed with practical idea. Sarah Hawbecker, Preident, Region 2 Region 3: July Lutheran School of Theology at Chicago, Chicago, IL Blowin in the Wind Stirred, Anointed, Fahioned, and Swept into Service by the Holy Spirit Our keynote peaker and preacher i Bihop Brian Maa (ELCA Nebraka Synod). Workhop will be led by Mark Bangert, on Luther; Keith Hampton, on Gopel muic; Jaon Japeren, on art and worhip; and Jonathan Kohr, on pot-traditional muic and worhip. Michael Burkhardt will lead a children workhop, a hand on experience focuing on children in worhip: preparing, praiing, proclaiming, and praying. In addition, the attendee at a two-part workhop will become the leaderhip choral and intrumental enemble for the conference hymn fetival. Thi fetival, on the evening of July 27 at Fourth Prebyterian Church in downtown Chicago, will feature Burkhardt. (Tranportation will be provided.) An Augburg Fortre Summer Clinic take place at the eminary July and overlap with the firt day of the conference. Linda Martin, Preident, Region 3 Region 4 will have two regional conference: July St. John Lutheran Church, Sacramento, CA For the Sake of. Worhip i, firt and foremot, for the ake of God that i, we worhip God out of repect and thank for all that God ha done. Worhip i alo for the ake of the aembly God action in word and acrament to build a community of diciple. How doe thi happen in practice? All the thing we do from one Sunday to the next for worhip planning ervice and eaon; electing muic and hymn; rehearing choir, cantor, and intrumentalit; writing ermon; working with taff and worhip committee; negotiating divere expectation and need urrounding worhip and worhip genre; putting Lutheran identity into the worhip equation all thee thing are done for omeone ake. The quetion i: for whoe ake? One of the goal of thi conference i to help worhip leader align their paion and art in minitry within the context of community in Chrit a they ak What i thi for the ake of? in their own context. The keynote peaker, Sandra Dager, i not only a pator with a degree in liturgical tudie but alo a certified kinethetic energy pattern coach. A a pator, liturgical coach, and worhip conultant, Dager draw from her muical gift, patoral experience, and training in embodiment to help pator, eminarian, and lay leader improve the quality and effectivene of their liturgical leaderhip. Dager will alo lead two workhop, titled The Reurrection of the Body from the Grave of Potural Miue, and God Word. Your Voice. Jae Park, St. John Lutheran Church, Sacramento 4 Spring 2016 CroAccent

5 Augut Concordia Univerity of Edmonton, Edmonton, Alberta, Canada The Church Year a Miional Thi annual worhip and muic ympoium gather muician and worhip leader from Alberta and beyond to broaden their horizon, to hare information and contact, and to have fun! Thi year ympoium feature Kyle Johnon, from California Lutheran Univerity (CLU), Thouand Oak, CA. He teache organ leon and other muic clae there and i alo the founder and director of the CLU Chapel Choir, a cro-cultural enemble coniting of tudent, faculty, taff, adminitrator, and local reident. Johnon will be offering four workhop during the two day. On Augut 19 there will be a two-hour organ workhop (note the additional fee), followed by an evening hymn fetival, From Darkne to Light. On Augut 20 he will focu on ome practical apect of the church choir, including repertoire and it ue in the church year. Johnon will alo bring to light hi chetnut that he ha ued with hi choir, a well a repertoire that he ha found for mall choir drawn from larger work. Everything will be conidered from the viewpoint of the church year. Saturday ympoium will alo involve other workhop preenter and will conider how the church year enable our worhip and our miion. Nancy Raabe TAKENOTE Get Real Are you purchaing ound, or ample of ound?...real pipe lat for centurie. How many electronic organ will your congregation purchae before they realize that a pipe organ lat generation? NORTH AMERICA S PREMIER PIPE ORGAN BUILDING AND SERVICE FIRMS Pleae watch and hare our hort video at: Call today for APOBA free 66+ page color propectu APOBA.COM PROUD SPONSOR OF THE ALCM Spring 2016 CroAccent 5

6 COUNTERPOINT The Church Morning Song: Guiding Our Feet into the Way of Peace The un rie after a torm at Great Smoky Mountain National Park. William Britten by Benjamin M. Stewart A Strange and Familiar Pilgrimage Thi eay i a reflection on the liturgical experience of inging morning prayer while backpacking alone on a 300-mile trip in the wild. My abbatical reearch focued on quetion of ecology and mortality, o I planned the hike for November, when the landcape eem to die down and the lectionary turn to image of aint, harvet, and lat thing. The route I choe wound through Great Smoky Mountain National Park. Beide being one of the mot biodivere environment in the world, over 150 backcountry cemeterie are hidden in the hill of the national park, mot of them mall, remote, and a century or more old. I viited dozen of them a part of my reearch on the natural burial movement. There wa another reaon for chooing the Smokie: November i gun-hunting eaon in the South, o even though I wa intereted in pondering human mortality (including my own), I wa drawn to the no-hunting policy of the 800-quare-mile national park. There are unique hazard to peronal reflection on liturgical experience. They can turn an 6 Spring 2016 CroAccent

7 Reflecting on thi hike make me newly grateful for the muician without whom I would not have been able to carry the church ong into the wild. individual experience into pectacle. The narrator can become the focu. Idioyncraie are eaily made exotic. The public, hared dimenion of liturgy can be obcured. And certainly, a liturgical, mortuary backpacking trip may eem foreign. The otherne of a national park i given legal tatu. Backpacker often cultivate an air of counterculture. But I hope that the park and the mode of tranport decribed in thi eay will erve a doorway into ome of the univeral dimenion of earthly life: the cycle of the day and eaon, our creaturely life under un on the fragile earth, mortality and the reilience of life by the power of the Spirit. If there i a countercultural element among the experience in thi eay, it i likely the liturgical practice of daily prayer, omething hared with many reader of CroAccent. Over the year church muician have o formed our communitie in morning prayer that mot of u now carry the office in our heart and bone. The opening entence, the Venite, the Benedictu, the interceion, Luther morning collect I wa formed in thee ong and practice by muician at everal Lutheran eminarie. Many of u have been haped by the leaderhip of muician at the Intitute of Liturgical Studie at Valparaio (IN) and in the Aociation of Lutheran Church Muician. Each of u likely ha a community of muician that come to mind a our teacher in daily prayer. I could have acquired mot of the backpacking kill I needed for my trip in a weekend workhop at the REI tore. The liturgical training goe deeper and take longer: year, decade. Reflecting on thi hike make me newly grateful for the muician without whom I would not have been able to carry the church ong into the wild. The work of church muician help make the gopel portable for the faithful: into Palm 148 COUNTERPOINT 1 Hallelujah! Praie the Lord from the heaven; praie God in the height. 2 Praie the Lord, all you angel; ing praie, all you hot of heaven. 3 Praie the Lord, un and moon; ing praie, all you hining tar. 4 Praie the Lord, heaven of heaven, and you water above the heaven. 5 Let them praie the name of the Lord, who commanded, and they were created, 6 who made them tand fat forever and ever, giving them a law that hall not pa away. 7 Praie the Lord from the earth, you ea monter and all deep; 8 fire and hail, now and fog, tempetuou wind, doing God will; 9 mountain and all hill, fruit tree and all cedar; 10 wild beat and all cattle, creeping thing and flying bird; 11 overeign of the earth and all people, prince and all ruler of the world; 12 young men and maiden, old and young together. 13 Let them praie the name of the Lord, whoe name only i exalted, whoe plendor i over earth and heaven. 14 The Lord ha raied up trength for the people and praie for all faithful ervant, the children of Irael, a people who are near the Lord. Hallelujah! Palm Prayer God Mot High, by your Word you created a wondrou univere, and through your Spirit you breathed into it the breath of life. Accept creation hymn of praie from our lip, and let the praie that i ung in heaven reound in the heart of every creature on earth, to the glory of the Father, and the Son, and the Holy Spirit, now and forever. Amen. (Evangelical Lutheran Worhip [ELW]) Spring 2016 CroAccent 7

8 COUNTERPOINT The mound along the graveite at Mingu Slave Cemetery within Great Smoky Mountain National Park demontrate repect to thoe who could not afford a fancy headtone. Photo Remembrance the wood, ye, and alo into the home, to the hopital, maybe whipered at work or on the bu, ung in a faraway worhipping community, carried to the graveide. Palm 148: The Comic Call to Prayer At night I lept under a imple flat tarp. Sleeping in the open meant that cricket, field mice, gomokie.knoxnew.com/profile/remembrance and a gorgeou menagerie of pider rightfully felt at home where I lept, coming and going through the night out of the autumn duff. Becaue no tent wall confined me I could open my eye to ee wonder that rivaled my dream: a deer tiptoeing through crohatched moon hadow under a rhododendron thicket, a hooting tar while I rolled over. November night in the Smokie are long o I uually woke before light. Mot morning I lipped on fleece mitten and a headlamp (et to red-light mode to preerve my night viion) and pulled out a beat-up copy of the palm. From my bed I prayed a imple form of Laud, the ancient early morning office anchored in the Laudate palm, It would be undertandable if the church had choen gentle, retrained palm for early morning monatic prayer. In order to roue a community day after day thee palm needed to bear the weight of repetition. One might expect teadine and moderation. Intead, from their firt downbeat, the Laudate palm ound the univere like a gong. Within moment of beginning each day prayer, Palm 148 had me calling out to ea monter and to the moon, to every tree, every creeping and flying thing, and every human being about the plendor of God flaring through heaven and earth. If our current conolidated form of Matin i the church unrie prayer, Laud ha been it comic alarm clock. 8 Spring 2016 CroAccent

9 In the tender compaion of our God, the dawn from on high hall break upon u, to hine on thoe who dwell in darkne and the hadow of death, and to guide our feet into the way of peace. On my firt morning I woke to rain falling on the tarp, an oddly tympanic accompaniment to my chanted palm tone. Jut eight vere into that firt palm I ang, Praie the Lord fire and hail, now and fog, tempetuou wind, doing God will. I miled, delighted: the wild weather outide my tarp wa included a a miniter in Laud! By the fifth traight morning of rain, however, my mile had become wry. Vere eight, on that firt morning of rain, expreed the wonder I felt in a hining wilderne charged with the grandeur of God. After many day of rain, the vere felt more like a piritual director reminding me to honor the divine in a difficult and eccentric neighbor, one who alway eemed to be loitering right outide my door. There were morning during thoe three week on the trail when I woke to find frot crytal primatic on every urface around me, or when owl called to each other from tree on either ide of my little bedroom, or when Venu and Jupiter roe together brightly harp in the dark of early morning. On thoe morning Palm 148 gave me language grand enough for the univere around me: a comic choir parkling, hooting, crawling, and riing in the ky. Latecomer to a Century of Sunrie One morning the firt few mile of trail wound through hallow creek bain, motly keeping low where the cold, katabatic air tayed. I could ee the un beginning to touch ome of the tree higher in other bain. My blood wa till moving lowly, and I longed to get into that unlight from the hadow. I had heard the previou day about a mall cemetery in thi area and oon I came to a rough, unmarked ide trail cutting uphill through the mountain laurel. Thi wa the type of trail that ometime led to the Smokie backcountry cemeterie. I had begun to learn where to find thee cemeterie. There were very few of them among the highet peak. The climb from the old farmtead would have been too much. Cemeterie uually weren t near the river bottom either, where flood might wah over the grave. Typically they were laid out along a houlder or carved out of a knob ome ditance above the old home ite. I could ee uch a houlder above me. A the trail climbed through an irregular et of witchback, I wa glad to ee the unlight moving down the mountain, getting cloer to me. The trail turned one lat time and creted onto the houlder. I lipped into the back row of maybe ten grave, a century old, jut a the un wa firt breaking through the bare tree acro the valley. I watched the face of thoe eat-facing tone receive their firt light of the day. For a century they had watched and waited for every dawn. The unrie meant that it wa time to ing. Among thoe tone and in that light I ang we ang, I believe the Benedictu, the claic canticle of both morning prayer and Chritian burial: in the tender compaion of our God, the dawn from on high hall break upon u, to hine on thoe who dwell in darkne and the hadow of death, and to guide our feet into the way of peace (ELW, p. 303). A in mot of the cemeterie I viited, half of the tone tood over the grave of children. The Spanih flu of epecially cratered the mountain cemeterie. I imagined parent laying a firt, econd, third child into the ground under thoe tree. At each death they dug the line of the grave toward unrie. They raied tanding tone to keep vigil for a greater dawn. The un of righteoune hall rie, with healing in it wing (Malachi 4:2). I wondered: wa I tanding at leat partly in the light for which they have been watching and waiting? Certainly ome of the hope in which they lived and died have been fulfilled. Minitrie of healing including prenatal care, vaccination, nutrition, hygiene and anitation, antibiotic now illuminate the daily live of thoe who live beneath the Smokie today. When I ing the Benedictu thee day I ee in my mind eye the grave acro the Smokie COUNTERPOINT Spring 2016 CroAccent 9

10 COUNTERPOINT Photo Jim Rigby, The Remembrance Project, Mingu Slave Cemetery on the North Carolina ide of the Great Smoky Mountain National Park i tended by decendant of thoe interred there. turned toward the dawn in hope. Around the world Chritian have turned the bodie of their dead toward the riing un. For thoe of u who till walk above the ground in the light, how do we relate to the hope of our ancetor in faith? In what hope will we eventually lay our own bodie down? From the Shadow into the Way of Peace When the nighttime darkne tretched beyond ten hour, I ometime began walking before dawn. I never hiked longer than an hour before firt light, but every tep in that tunnel of darkne felt weighty. It wa a challenge to land foottep by the relatively dim light of my headlamp. And I wan t concentrating only on the trail. My thought trained out againt the dark. In addition to the bear I encountered mot day, I had been warned about the elf-harpening tuk of the wild boar who were legendarily tingy about haring their nighttime peronal pace. Becaue the lat few night on the trail were clear and I wa camping near the cret of the Smokie, my final morning hike begun in darkne allowed me to ee the day open below me. When I et out on the trail in darkne I ang to warn off the boar and the bear. I ang almot any et of ong I could tring together, loudly. But a oon a the faint, thin band of light began to appear in the eat, liturgical ong eemed mot fitting. I watched the world appear and become pieced together in beauty by the unrie. The danger of the night receded. The Benedictu even drew my hiking feet into the thankgiving: the dawn wa breaking to hine on thoe who dwell in darkne and to guide our feet into the way of peace. Singing the Benedictu in the wild after coming out of the dark of early morning gave me a renewed ene of my dependence on the un and on God. A our creaturely needine and vulnerability before God i met by the riing un, the liturgical etting of the wild doe not hame u creature. Rather we are held in the beauty of the dawn. 10 Spring 2016 CroAccent

11 The Benedictu of morning prayer repeatedly call u to be tudent of the hope of the ancetor whoe grave face eat and of the hope of all of u mortal who dwell in the hadow of death. Guided by the Grave I remember the clumine of getting oriented to the firt cemetery I dicovered on the hike. It wa my firt full day of hiking. I wa at the edge of the cemetery, hunched over with my back to it, digging through my backpack until I finally found my compa, towed at the bottom of my pack. I reacquainted myelf with it. (I ve rarely ued one, and even my little experience wa ruty.) I held it flat, got the needle to float, and then watched it pin toward north. I turned the dial with the four direction tamped on it until the letter N came around to the tip of the needle. Then I looked (ye, I had to look for it I wa that out of practice) for the E on the dial. In thi firt cemetery I wondered if what I had read would be true: would thee grave point toward the riing un, toward eat? Still hunched over facing away from the cemetery, I extended my arm in line with the E axi on the compa. I pointed my finger to hold the direction. Keeping my arm a till a I could, I craned my neck to look over my houlder. When I aw the grave, the hock of our alignment regitered in my body. They had been pointing eat all along. For a century. They eemed patient. I wa an awkward compa uer, o after confirming the orientation of a few more cemeterie, I wa relieved to return the compa to the bottom of my pack. The diviion of labor wa unuual but felt appropriate: in getting direction on my hike, I wa relying on regular aitance from the dead. In that firt cemetery I had only begun to be aware of how the dead would be my guide. Part of what wa guiding them o that I, in turn, could follow wa a practice that extended from thoe Appalachian hill acro centurie and an ocean to early Chritian communitie inging the Benedictu and turning the bodie of the living and the dead in prayer toward the dawn. The final cemetery I viited, near the edge of the park a I hiked out on my lat morning, wa bluntly labeled the lave cemetery. The gravetone here, like ome of thoe I had een elewhere in the park, were uncut and unengraved tanding fieldtone. It wa an unettling experience at the very end of my hike to find myelf feeling more than ever the neophyte a I ang the Benedictu a final time with the company of enlaved ancetor in faith, acro the troubled boundary of race, hakily learning again to ing God promie to et u free from the hand of our enemie, free to worhip you without fear, holy and righteou before you all the day of our life. I tood in the morning light among the tone till looking eat. In what hope had thee aint lived and died and turned toward the dawn? Some of thoe hope eemed to have dawned brilliantly in recent year. Some till eemed not yet on the horizon. The Benedictu of morning prayer repeatedly call u to be tudent of the hope of the ancetor whoe grave face eat and of the hope of all of u mortal who dwell in the hadow of death. Appropriately, morning prayer give u an opportunity to recommit to thi olidarity every morning, founded on the olidarity of God with u even in the hadow of death. On that final morning of the hike, a I walked out of the cemetery to head home to Chicago, the Benedictu ummoned me into yet another un-dawning ong: Sing a ong full of the faith that the dark pat ha taught u; ing a ong full of the hope that the preent ha brought u; facing the riing un of our new day begun, let u march on till victory i won (ELW 841, Lutheran Service Book 964). Benjamin M. Stewart i aociate profeor of worhip at utheran School of Theology at Chicago. He i the organizer for the conference Earth to Earth: Natural Burial a Spiritual Practice, Nov. 5 6, 2016, at that eminary. COUNTERPOINT Spring 2016 CroAccent 11

12 COUNTERPOINT Sacred Harp and Performance: An Introduction to Practice and Performance Theory in Shape-Note Singing Dayle Dryer lead a tune from the Sacred Harp at the All-Day Shape Note Sing in Lawrence, Kana, November by Jon Gathje Introduction Man can t do good enough to deerve a reward a good a thi. 1 Brethren, we have met to worhip And adore the Lord our God. Will you pray with all your power, While we try to preach the word? All i vain unle the Spirit Of the Holy One come down; Brethren, pray, and holy manna Will be howered all around. 2 On any given Sunday, hidden on a back road deep in the outhern United State, a mall, paringly deigned, cinder-block building it with it door and window thrown open for the ake of freh air to enter and the beckoning of ong to exit. The walk toward the door give an ever-greater ene of urgency a the ound doe not waft over the hearer but rather plow through them. The ound i a phyically palpable a it i piercingly audible. It i the ound of voice, the only intrument on hand in thi packed church houe, inging no mild-mannered church hymn but a full-voiced hout of praie, lament, and adoration to God and to thoe around them. They re there to fellowhip, and they re there to ing, and the majority of em i there to ing praie to the Lord Spring 2016 CroAccent

13 Among the word being ung are the vernacular of Iaac Watt and Charle Weley, 19th-century farmer-poet, word of death and of alvation, of unbridled joy and of unpeakable pain. The muic ung i the tonal language of the earliet truly American muic, of William Billing fuging tune and the hymn of revival and country preacher. Thoe gathered will pray and they will eat, but motly they will ing. For hour on end they will ing. They will ing in their new dree bought epecially for thi occaion. They will ing the fa-ol-la. They will ing any of the hundred-or-o ong called out by the leader who tand in the middle of them. No one in thi gathered congregation will merely it and liten. Thi i not the place for pectating. A one writer opine, they have not been willing to exchange their birthright of inging for the meager me of litening pottage. 4 Above all, their voice ring out to God. A one of the inger peak proudly: it hard to eparate, the way I wa raied, Sacred Harp inging, from a type of a worhip ervice ( Awake, My Soul ). Two thouand mile away, acro the treet from the Santa Monica Airport in Lo Angele, CA, the entrance i different. The walk toward the inging i no longer urrounded by tree but by the fence of the next-door neighbor. The cinder block church ha been replaced by a mall, wood-frame building in the back yard of Bradford K Levy the hot. The little building contain old chair, a workbench, and a collection of boxe, and one might be comfortable calling thi location a hed. The ong are led through, part-by-part, until they are put together into the traditional, four-part harmony. Thi i a learner group, welcoming Holly, an early muic expert and ongwriter, a well a Ryan, a filmmaker who ha no previou experience reading muic and who i only in attendance for the ake of reearch for an upcoming project. Thee two brief example reveal the variety of event that may be called Sacred Harp or hape-note inging. 5 Individual come to numerou place throughout the United State to take part in thee inging event, often for vatly different reaon. A the firt illutration point out, hape-note inging, with it textual reliance on Scripture and Chritian ubject, can be a potently worhip-filled Chritian event. The econd illutration alo how that the Chritian nature and origin of the text and practice do not necearily require a firm commitment to thoe text and practice. Shape-note inging, although beginning in the colonial northeat, maintain it primary tradition in the outhern United State, COUNTERPOINT From Original Sacred Harp, Augut 1921 edition, page 3. Spring 2016 CroAccent 13

14 COUNTERPOINT epecially among Baptit congregation in rural area. However, the tradition ha moved both north and wet ince the 1960 and 1970, epecially in academic circle and among folk muic aficionado. 6 While the arrival (or perhap the return) of hape-note inging to the north ha taken a different path than ha the tradition in the outhern part of the United State, the imilaritie are readily viible. While the path to hape-note inging may not be the ame, the arrival point often look tremendouly imilar. The order of a inging event, or a inging convention in hape-note parlance, i a primary tradition for inger that generally occur unconteted. Singing convention are the central agencie of the movement. 7 The order i inging meal inging punctuated by prayer, and traditionally ong #59, Holy Manna, i ued to open the convention prior to the opening prayer. The cloing and farewell ong i alo traditionally precribed a ong #62, Parting Hand. 8 With the undertanding that vatly different hape-note inging individual (and hape-note inging communitie) are joining together around a common framework, thi article look to ugget how thoe in thi community might undertand their own participation in thee inging event. Thi article will argue, primarily through the practice theory of Catherine Bell 9 and the performance theory of Richard Schechner, 10 that hape-note inging i neither a completely Chritian ritual nor an entirely muical-academic entertainment. 11 Furthermore, thee event do not exit a either ritual/liturgy or theater/ play olely but rather on a continuum between thoe two pole, with a location that i uniquely ituated by each individual performance and undertanding. Finally, thi article will ugget that congregational inging and the individual in any given worhip ervice of the Chritian faith might alo recognize a variety of reaon for and undertanding of participation. By examining thi practice and tradition outide traditional Lutheran inging circle, we ourelve dicover new way to undertand participation in and through ong. Shape Note and the Singing School Shape-note inging and The Sacred Harp both have their root in Puritanim and Calvinim, temming directly from the edict againt particular form of congregational inging. Congregation were allowed to ing hymn with text either directly from biblical ource (with a heavy, if not total, reliance on the book of Palm) or cloely paraphraed. Calvinit and Puritan were concerned nearly completely with the Scriptural text, a both a theological doctrine and a practical matter, with muic ole purpoe being a vehicle for that text. 12 Beide the reliance olely on Scripture for text, intrumental muic wa alo removed in the early Calvinit tradition. Congregation were therefore left with little muical leaderhip for the hymn they ang, reulting in a practice known a lining out, where each line of the hymn wa ung by a miniter or ong leader and repeated back by the congregation. With thee combined factor exerting their influence a limited repertoire of text and a lack of intrumentation congregation were left with only a handful of well-known tune or hymn they could conitently ing together a a congregation (Mark and Gary, 63). The repone by miniter and community leader, concerned with the lack of congregational and individual muicality, wa to initiate an educational format where congregation member would learn how to read muical notation, with the hope that they would then be able to participate more fully in the worhip of the congregation. Thee inging chool, beginning in the northeatern United State at the beginning of the 19th century, revolutionized congregational inging and tirred an awakening in muical development and muic education. 13 Singing chool tarted appearing throughout the northeat and eventually appeared throughout the outhern tate a well. Each teacher or chool mater would create hi or her own book of tune, remain in one church, chool, or tavern for a matter of week, and provide a rudimentary muical education for thoe who were enrolled. Thee inger would then return 14 Spring 2016 CroAccent

15 to their congregation prepared to read muic (in the manner one could acquire after two week of intruction) and, hopefully, improve the level of congregational inging. Soon the widepread popularity of folk hymn coincided with two other development in American culture: the rie of the religiou camp meeting, with it ditinctive body of piritual ong, and the invention of haped notation. 14 In thi ytem of notation, the five-line taff and the rhythmic temming of traditional notation remained. Intead of the oval note head, though, thee note were arranged with a triangle, a circle, a quare, and a diamond, correponding to particular note in the muical key and named fa, ol, la, and mi. 15 What began a a muical education format in New England travelled through the entire country, into the Appalachian hill and further outh. A the 19th century moved forward, though, the muical tyle in the northern tate began to change. Muic education hitorian Mark and Gary expre ome of the nature of thi change: A the citie aborbed more European immigrant throughout the eighteenth and nineteenth centurie, urbanite developed appreciation for European muic. Interet in palmody and church hymn not only began to decline, but urban American came to didain it and to regard inging chool muic a that of the unophiticated and unrefined country people. [Singing chool] continued longer in the South becaue public chool in the North eventually uurped their function. (Mark and Gary, 94) The outhern tate, epecially Georgia, Alabama, and Miiippi, remained quite dedicated to the ong book introduced to them by the inging chool teacher, epecially The Sacred Harp. Mark and Gary note that, for a large part of the rural South, hape note entirely replaced conventional notation in the nineteenth century (80). With the movement of the inging chool teacher, the ongbook often became the very hymnal of the gathered church congregation they ought to educate. The Sacred Harp and Shape-Note Singing The Sacred Harp, firt publihed in Georgia in 1844 by Eliha King and Benjamin Franklin White, i one in a long line of ong book publihed by teacher for ue in their inging chool. It i, arguably, the mot influential imply becaue of the length of time it ha urvived. The current edition of The Sacred Harp i a reviion completed in 1991, the primary text of inging convention today. Six apect of hape-note inging commonly recognized by hape-note inger mut be noted prior to a dicuion of the ritual and performative apect of the practice. Thee are 1. a gathered community; 2. a particular ound and tyle; 3. a democratic nature of leaderhip; 4. diverity of inger belief and practice; 5. a Chritian and religiou origin; and 6. a tandardized order for the inging convention. Of coure, hape-note inging i not the only muical practice that include thee apect, but the unique blend of thee create an atmophere and a inging event unlike any other. COUNTERPOINT From Original Sacred Harp, Augut 1921 edition, page 232. Spring 2016 CroAccent 15

16 COUNTERPOINT A Gathered Community Shape-note inging, above all ele, i participatory muic (Clawon, 140). All who attend inging convention are encouraged, perhap even expected, to ing no formal audience i preent. It i thi emphai on incluion and gathering that create an enemble that relentlely focue the community and it dicoure on the act of inging itelf (Clawon, 9). The gathering of the inging community i viible mot readily in the eating format of the inging convention. Referred to a the hollow quare, the four voice part are all eated in row in a center-facing quare alto facing tenor and treble facing bae. In the center tand the leader of each particular ong, urrounded on all ide by the inger. Sound and Style A perhap-apocryphal quote ha been attributed to the dean of hape-note inging, Hugh McGraw: I wouldn t cro the treet to liten to Sacred Harp inging, but I d travel five hundred mile to ing it myelf. 16 Not only i the participatory nature of hape-note inging referenced but alo the aethetic value placed within it. In the word of a hearer of hape-note inging, each individual ing a loudly a poible, preenting a olo to God, and him deaf. One outide admirer ha called it Napoleonic Warfare with note. 17 From a third peron, a lifelong inger of hape-note muic, the point of the ound i to be able to achieve a tone quality through volume that burn out the chaff ( Awake, My Soul ). Simply put, the aethetic value of hape-note muic doe not follow the path of Wetern choral and claical muic. To judge the high volume, trident tone, and leniency toward pitch with the ame value will certainly lead to unhappy and impertinent concluion (Jackon, 126). Cloely related, the compoitional tyle of hape-note muic dwell in a tyle that doe not follow the common practice of Wetern claical muic. After all, the primary occupation of a majority of the earliet muically uneducated compoer wa farming! (Steel, 33). The parallel fifth and octave, unexpected voice croing, and unprepared and unreolved dionance all point toward a compoitional tyle that wa not trained but rather grew out of the folk muic urrounding the compoer. Democratic Nature A mentioned previouly, the leader of an individual ong tand in the middle of the hollow quare, waving hi or her arm in an upward and downward motion to propel the muic forward. Thee leader rotate through, and all who are willing to lead a ong are welcomed, even novice. There are elected leader at each convention, and they primarily hold role in title only, keeping track of the ong ung and keeping a lit of which leader have tood to teach their leon (Miller, 56). Although the democratic nature of hapenote inging i often touted, iue of expertie do exit that give rie to a core group of inider (although outider are freely welcomed a that expertie i acquired). Sight-reading demand practice, epecially with the hape notation; leading demand undertanding of tempi and ong election; and keying (the practice of giving tarting pitche) demand awarene of the group individual voice. Shape-note inging, while democratic in it leaderhip within the practice, require utained effort and practice to achieve fluency (Miller, 94). Diverity While maintaining it heavily Chritian order, practice, and ong choice, hape-note inging encompae a variety of participant: Today the inger who gather at annual Sacred Harp convention include young children born into rural Southern inging familie ; Southern urbanite in earch of regional cultural heritage; American folk muic fan from college-age to graying; Chritian and Jewih inger who have grown diatified with their intitutional religiou experience; early-muic lover who think the open harmonie and traight-tone inging have a medieval ound; and young punk muician who appreciate the volume, rawne, and do-it-yourelf anticommercial etho of Sacred Harp. Generational, religiou, political, 16 Spring 2016 CroAccent

17 and geographical difference would ordinarily prevent thee people from croing path at all, let alone forming a tight-knit community. Their idea of jut what the tradition i are a divere a the inger themelve. (Miller, 4) Chritian Origin The origin of inging convention i the inging chool flowing out of the congregational life of a church community. From the particularly Chritian ong text to the group practice of prayer, hape-note inging i a hitorically Chritian event. 18 While it i not public worhip in the form that traditional churche have weekly relied on nor doe it have a et congregation, the content of the muic, the attitude of ome inger, and the nature of the convention mark hapenote inging a religiouly potent (Marini, 86). For ome, hape-note inging hold not only a Chritian ideal but i alo a location for converion and witne (epecially directed toward non-chritian within the inging convention). Ruth Denon Edward, lifelong hape-note inger and author of the preface to the 1991 edition of The Sacred Harp, ha written the following: Muic i a God-given faculty that by ounding it melody and harmony open the door to human heart and oul and bring man back to hi firt relationhip with God. 19 Terry Wootten, another lifelong hape-note inger, make a le-poetic reference to bringing man back to God : referring to the Chritian ideal expreed by ome participant (a oppoed to thoe without Chritian belief), eventually ome of it ll rub off on them ( Awake, My Soul ). For other who do not participate in hapenote inging a Chritian, their tolerance and repect for the Chritian practice within hapenote inging i a matter of courtey for the tradition and for thoe who do practice with a Chritian belief ytem (Clawon, 80; Miller, 53). Nonethele, Chritian influence run firmly throughout hape-note inging hitory and current practice. 20 Bradford K Levy one of tradition and practice and i an agreed-upon et of expectation for each inging convention, continuing in the tradition by the very practice of thoe engaged in inging. 21 The inging convention have largely carried the tradition of hape-note inging into the preent day with a conitent order, a relied-upon ong book, and individual dedicated to hape-note inging (Miller, 16). The practice of inging meal inging punctuated by prayer provide the framework for inging convention. Whether for worhip or for muical experience, hitorical tradition or political choice, notalgia or entertainment, hape-note inging continue to build on a framework that remain conitently Chritian in it practice. It i here that we turn to practice and performance theory to eek to undertand the way in which participant might undertand their involvement in hape-note inging. Practice and Ritualization At the center of both practice theory and performance theory lie an individual an embodied individual engaged in creative, ritualized action. Practice and performance theorie deftly recognize that ritualized action begin with an COUNTERPOINT Joe Caad and David Yoe lead a tune at the All-day Shape Note Sing gathered in Lawrence, Kana, November People take turn picking and leading tune. A novice may have a more experienced inger join them in leading the tune. Standardized Order The order for a hape-note inging convention i Spring 2016 CroAccent 17

18 COUNTERPOINT Pleaance Crawford Waterville Shape Note Singing occur on the econd Sunday of each month in Waterville, Maine. The inging i done for the joy of inging, rather than performance, with one part eated on each ide of the quare. individual embedded within an environment and one contributing to the creation of the environment around it a well (Bell, Ritual Theory, 93). Thee theorie invite focu on people and their action, rather than overarching framework or cheme (Bell, Ritual, 82). Bell move forward to call thi individual action ritualization. To implify her own definition of ritualization a a trategic way of acting in pecific ocial ituation (Ritual Theory, 67), he proclaim ritualization to be ued omewhat more imply to emphaize ritual a activity (ibid., 89). It i thi implified definition that will be ued for the remainder of thi dicuion. Ritualization require activity, performance, and action ritualization relie on performance for it very exitence (Rappaport, 37). Through thee performance and action, ritualization achieve it goal: the creation and production of a ritualized body (Bell, Ritual Theory, 98). Ritualized bodie thoe who have engaged themelve in repeated ritual action are the creator of ritual that fahion the world (Bell, Ritual, 23). Ronald Grime, in Deeply into the Bone, peak about thee repeated action with a truly embodied image of ritualization, alluding to the book title: thee rite are now driven deeply, by repeated practice and performance, into the marrow. 22 Shape-note inging and the vat diverity of motivation for participation undercore the importance of the individual in creating ritual event, particularly a thoe ritual event are experienced and undertood by the individual who have helped create them. Singer are engaged a ritualized bodie, contantly creating meaning for themelve and for each other. Indeed, part of that creative movement i the creation of a ritualized community, but hapenote inging i ultimately a community built around individual action and conviction rather than well-defined doctrine (Bealle, 24). A noted earlier, hape-note inging i above all a participatory, active, and performed event. Each individual i expected to participate and in 18 Spring 2016 CroAccent

19 o doing create their own ritual undertanding of the action in which they participate. A one inger noted: We learn through omoi. It i the active engagement with the muic, the community, and one own action that give meaning to the event. Performance Performance i an incluive term (Schechner, xvii). When we peak of performance and of activity we peak of ritual and ritualization, of play and celebration, of theater and dance. 23 Undertanding, therefore, that all of our ritualized action create a ritual body that interact with and form the environment around it, we can therefore define a performance broadly a all the activity of a given participant on a given occaion which erve to influence in any way any of the other participant. 24 It i with thi undertanding of performance that we turn toward the foundational work of Richard Schechner. Schechner and hi background of theater and anthropology have given rie to the field of performance theory, which hold many commonalitie with practice theory. Firt and foremot, the central location of performance theory i in the individual action and practice of an embodied individual. In hi work Introduction to Performance Theory, Schechner introduce ritual and theater and remind the reader, If the performance purpoe i to effect tranformation to be efficaciou the performance i a ritual (Schechner, 130). What Schechner might mean by efficacy will be taken up at a later point. In contrat, at the other end of the polarity i theater that which i entertainment. For Schechner, although he ha identified ritual a efficaciou and theater a entertaining, the plit between ritual and theater i not nearly a neat a one might imagine: No performance i pure efficacy or pure entertainment. 25 While Schechner point to both end of the pectrum, efficaciou ritual or entertaining theater, it eem much more appropriate, then, that each individual performance find it place omewhere in between the two on a continuum. Perhap it i within Bell and Grime work that we might unlock what Schechner mean by efficacy. 26 For Bell, the efficacy i the creation of a ritualized being, not only through ritual but alo through theater. For Grime, the efficacy i in the individual undertanding of neceity the doing of omething that mut be done and the liturgical direction toward an ultimate other. The ritual i not efficaciou baed on it outcome but rather on the comic audience and the neceity of it exitence. The ritual i liturgically neceary becaue it i divinely oriented a well a ultimately being an activity that, by it and our own nature, can t not be performed. Many muician and artit would recognize the neceity of performance a nothing hort of demanding their complicity in the work. Schechner and Grime have given profound inight into the performed action of hape-note inging. While ome inger are quite at home in their ritual/liturgical undertanding of the inging convention with the Chritian God a referential frame, other are comfortable viewing the performed activitie in other theatrical/celebratory way (ecular, hitorical, notalgic, and o on). The tradition of the inging convention i a curiou blend of acred and ecular, ritual and theater, liturgy and celebration. The continuum i wide and o are the location on it of each individual who engage in the performed action of a hape-note inging. Miller ak, What i being performed? I it religiou faith? Patriotim? Facination with the pat? An idea of the rural South? (Miller, 188). The repone, located within each individual participant in a convention, can only be ye. For thoe who work regularly with hape-note inging cloe couin, congregational inging, the undertanding of what i being performed by each of the participant in worhip might well be a divere. Iue of Performance When one encounter the word performance, one can be immediately thrut into the mindet of theater, performing art, or athletic contet. Certainly thee are all performed event, but the word implie much more, a tated in the previou ection. Two iue related to performance mut be dicued to form a more coheive COUNTERPOINT Spring 2016 CroAccent 19

20 COUNTERPOINT view of the theory, epecially a it play out in hape-note inging: the preence (or lack) of an audience and the concept of performance a a final product. Many view exit of the relationhip between performer (the embodied individual engaging in a performance) and audience. For Rappaport, the audience i wholly other they do not participate in the action (Rappaport, 41). Schechner view land quite cloe to Rappaport, at leat in term of entertainment/theater: the audience remain eparate from the performer (Schechner, 152). Schechner, although giving ome impreion that the audience and performer often blur together (epecially in ome of hi own theatrical work), doe not provide a helpful an approach in thi cae for hape-note inging. Shape-note inging, a we have een, emerge a a performance that i decidedly lacking any traditional verion of an audience. The inger, located in the hollow quare, are not faced outward toward a litening audience, but rather toward each other a litening performer. For thoe to whom thi performance fall nearer to the efficaciou ritual end of the pectrum, their performance may indeed have an audience outide the quare a well. It i in Grime definition of liturgy that we ee the ritual directed outward toward a receiving Chritian God. Grime i alo quick to note that all performed activity mut be received by other, perhap the wholly other, perhap the ancetor, perhap the power that be, perhap a therapit, or perhap only the tourit and anthropologit (Grime, 59). In the cae of hape-note inging, the performed activity i alo directed to the fellow performer themelve. 27 Shape-note inging i telling torie to one another, often conflicting in their undertanding, but nonethele inging to and for one another. The performer are the audience. The econd iue i that of rehearal and performance. No traditional notion of performance exit in hape-note inging. A final or finihed product i never available. Thi i quite imilar to Schechner view of hi theatrical work a a rehearal being performed in preparation for the next rehearal (Schechner, 202ff). Bell, in the language of ritualization, alo make it clear that the proce i inherently circular: the purpoe of ritualization i to ritualize peron, who deploy cheme of ritualization (Ritual Theory, 128). To Bell, the proce i the performance (Ritual, 324). So it i with hape-note inging. Individual are uhered into their performance through the rehearal of hape-note and melodic line from a book that ha been in ue for nearly two hundred year. The tune that are carried by the voice one week are carried over to the next inging, each one becoming a more ritualized and reheared part of the individual inger and the community. In each cae, no final performance exit, for each lean forward into the next rehearal. Concluion Shape-note inging and The Sacred Harp exit a hitorical tradition, a worhip ervice, a community gathering, a muicological novelty, and a familial requirement. The reaon and motivation for participating are vat, but the nature and order of the inging convention remain. Each event remain largely religiou, at leat inofar a the ung text, prayer, and order are concerned. But even though the event look much the ame acro geography and time, we are unable to locate a conitent or univeral motivation for participation. It i here that practice theory and performance theory are mot helpful. While the community of inger i tremendouly important, it i the performance of individual that give rie to that community. It i in the doing and the performance of the muic rather than in a ingular group undertanding of the event that the individual create the community to which they belong (Clawon, 4). The work of Bell, Schechner, and Grime have given u new lene through which we might view the action and performance of a hape-note inging. The dichotomie made between ritual and theater, efficacy and entertainment, liturgy and celebration, audience and performer, finality and rehearal imply do not exit. Rather, each individual performance find itelf on a continuum between two extended polaritie. Seated 20 Spring 2016 CroAccent

21 next to each other may be inger ening their performance a efficaciou ritual with God a audience and inger ening their performance a hitorical theater with an eye toward novelty. The group performance cover all of thee individual location on each performative continuum. Finally, thi article appear in a journal for thoe who are practicing church muician. It i certainly groly implitic to replace the word hape-note inging with congregational inging throughout, but the imilaritie do eem too cloe to avoid notice. The practice of group inging (a cappella or accompanied), an ordered form, and a connection to both efficaciou ritual and playful theater are imilarly preent in both etting. Individual gathering (or gathered) together in worhip are often a varied in their undertanding a are the participant in inging convention. We would certainly be wie to remember that while ome ing to a litening God and hear the word of God proclaimed through ong, other may well join in for the love of inging, for the deire of a community to which to belong, or a an obligatory ritual. For thoe in a Lutheran worhip context (or thoe in any cloely related liturgical or theological etting), a few quetion can be raied in conideration of our own practice: 1. Many church muician may recognize a decreae in the muical literacy of their congregation: might hape-note inging lift up the idea that muical participation and muical literacy may not alway go hand in hand? Moreover, might hape-note inging provide a template for how to reintegrate muical literacy in the congregation? A an example, hape-note practice alway begin by inging the note name (fa-o-la-mi) through the entire ong prior to the inging of the hymn text a a way of teaching pitch relationhip. Could thi example be a poible addition to congregational practice? 2. Individual regularly come to worhip with varying expectation about and undertanding of how and why they participate. Might hape-note inging offer u an image of an open-armed welcome into the worhip of God for all who participate, no matter how or why they come? 3. Many individual in congregation believe they are unable to carry a tune or have even been aked by wrong-headed teacher, friend, or family to refrain from inging! Recognizing the importance of participation over product in hape-note inging (a well a participation over the performer/audience divide), how might we reconider muical participation more broadly for the ake of thoe who might well participate, were it not for our regular focu on product and performance? How might all of the noie and crie, ong and melodie be encouraged and welcomed into the one voice of the body of Chrit? Dwelling with thee quetion a muician, a Chritian, a worhipper ourelve, how bleed we will be to ing with that one voice: O gloriou day! O bleed hope! My oul leap forward at the thought When, on that happy, happy land, We ll no more take the parting hand. But with our bleed holy Lord We ll hout and ing with one accord, And there we ll all with Jeu dwell, So, loving Chritian, fare you well. 28 Note Jon Gathje i pator of St. Paul Lutheran Church of Palo Verde (CA) and received hi mater in muic from the Univerity of Nebraka Lincoln. He i currently a PhD candidate in Chritian worhip at Fuller Seminary. 1. Awake, My Soul: The Story of the Sacred Harp, DVD, 2 dic, directed by Matt and Erica Hinton (Atlanta: Awake Production, 2006). Quote from Terry Wooten. 2. Holy Manna, #59 in Hugh McGraw et al., ed., The Sacred Harp (Bremen, GA: Sacred Harp Publihing Company, 1991). 3. Folktream, Sweet I the Day: A Sacred Harp Family Portrait (2001), acceed November 1, 2012, COUNTERPOINT Spring 2016 CroAccent 21

22 COUNTERPOINT 4. George Pullen Jackon, White Spiritual in the Southern Upland: The Story of the Faola Folk, Their Song, Singing, and Buckwheat Note (Chapel Hill: Univ. of North Carolina Pre, 1933; reprinted, Hatboro, PA: Folklore Aociate, 1964), Shape-note inging i perhap the mot general term to decribe thi tyle. Often it i alo referred to a Sacred Harp inging becaue of the mot common ongbook ued, The Sacred Harp. For the purpoe of thi tudy, italic will be ued when referring to the book. Sacred Harp inging, a a generalization, will ue The Sacred Harp, but that i certainly not a hard-and-fat rule. Among the betknown tune from the hape-note tradition in our hymnbook are Foundation (ELW 796, LSB 728, CW Supp. 768), Holy Manna (ELW 771, LSB 540, CW Supp. 750), and Land of Ret (ELW 628, LSB 673, CW 215). 6. Stephen A. Marini, Sacred Song in America: Religion, Muic, and Public Culture (Urbana: Univ. of Illinoi Pre, 2003), Buell E. Cobb, Jr., The Sacred Harp: A Tradition and It Muic (Athen: Univ. of Georgia Pre, 1978), The Scred Harp, 25. Reader can find a more in-depth lit for organizing the convention here, a well a a thorough method for learning for beginning muician. 9. Catherine Bell, Ritual Theory, Ritual Practice (Oxford: Oxford Univ. Pre, 1992), and Ritual: Perpective and Dimenion (New York: Oxford Univ. Pre, 1997). 10. Richard Schechner, Performance Theory, rev. ed. (New York: Routledge, 1988). 11. Laura Clawon, I Belong to Thi Band, Hallelujah!: Community, Spirituality, and Tradition among Sacred Harp Singer (Chicago: Univ. of Chicago Pre, 2011). Clawon remind the reader that ome individual do view hape-note inging a an entirely Chritian and religiou ritual (xii xiii). What cannot be claimed i that it i a Chritian or religiou ritual for all involved. 12. Michael L. Mark and Charle L. Gary, A Hitory of American Muic Education, 2nd ed. (Reton, VA: MENC, 1999), Several famou name in early American muic and early American muic education are known from thi ytem of inging chool: William Billing and Lowell Maon were both prominent inging chool mater, a wa the church leader John Tuft. 14. David Warren Steel and Richard H. Hulan, The Maker of the Sacred Harp (Urbana: Univ. of Illinoi Pre, 2010), Thee hape continue to be ued in The Sacred Harp and other ong book (including ome denominational hymnal, uch a in the Churche of Chrit). 16. Kiri Miller. Traveling Home: Sacred Harp Singing and American Pluralim (Urbana: Univ. of Illinoi Pre, 2008), Jeffrey Bryan, Bucket of Hoove and Other Old Worn Out Storie (Chicago: Shook Foil Book, 2012), Kindle edition, John Bealle, Public Worhip, Private Faith: Sacred Harp and American Folkong (Athen: Univ. of Georgia Pre, 1997), xiii. 19. Ruth Denon Edward, Muic, in Hugh McGraw, et al., ed., The Sacred Harp (Carrolton, GA: Sacred Harp Publihing Company, 1991). 20. Duncan Vinon, A Far from Secular, Operatic, Rag-time, and Jig Melodie A I Poible : Religion and the Reurgence of Interet in The Sacred Harp, , Journal of American Folklore 119, no. 474 (Fall 2006): Vinon argue that the tradition ha begun to quietly move away from an explicit Chritian undertanding. I find thi to be largely, if not unequivocally, untrue, judging by the word of current participant and by the incluion of prayer, a well a by the very preface to the ongbook o often ued in the inging convention. 21. Roy Rappaport, Ritual and Religion in the Making of Humanity (Cambridge: Cambridge Univ. Pre, 1999), Ronald L. Grime, Deeply into the Bone: Re-Inventing Rite of Paage (Berkeley: Univ. of California Pre, 2000), Victor Turner, From Ritual to Theatre: The Human Serioune of Play (New York: PAJ, 1982), Erving Goffman, The Preentation of Self in Everyday Life (Garden City, NY: Doubleday, 1959), Schechner, 130. Turner alo expree iue of the liminal between ritual and art (90 91). 26. Schechner i never quite clear what he mean by efficaciou in hi own writing. 27. Bell might refer to thi a a form of reflexivity a ene of mirroring that enable the community to tand back and reflect upon their action and identity (Ritual, 75). It i certainly not only the community that gaze reflexively but alo the individual performer a well, reflecting on their action and their identity within the group. 28. Parting Hand, #62 in The Sacred Harp. 22 Spring 2016 CroAccent

23 THANKYOU to Our 2015 Donor! THANKYOU The following made contribution between January 1t and December 31t 2015 to upport ALCM Annual Fund, Biennial Conference, and the Cantor Connection: Columbu chapter. Contribution made in honor of (IHO) and in memory of (IMO) individual are o noted. We are grateful for the upport thee gift provided ALCM lat year. SPECIAL GIFTS/ GRANTS Metropolitan New York Synod of the ELCA - $15,000 Thrivent Financial - $10,000 Barbara Klingick - $2,500 ANNUAL FUND DONORS $1,000-$1,500 Kevin and Beth Barger Robert & Linda Kempke Michael and Linda Krentz Gregory and Ann Peteron Bill and Nancy Raabe IHO 2015 National ALCM Conference Kathryn Zita Weyland $251-$500 Karl & Daniele Bruhn IMO Helen Kemp, family friend David L. Clarke Kim Cramer Katherine Croier IMO her huband, Carl Croier Julie Grindle Sarah Hawbecker Ronald E. Koch Wanda Krentz Linda Martin John Morri Craig Mueller and Ernet Vaeur Anne Krentz Organ Jame & Stephanie Rindelaub David Ritter Thoma Schmidt $101-$250 Arletta Anderon Mary Anna Annderon Gary and Lorraine Brugh Alice Caldwell Carol Churchill David Cunfer Cheryl Dieter Shirley Epeland IMO her huband Rev. Loren Epeland Robert Buckley Farlee Gail A. Gaaway Norman & Ethel Geit Holy Trinity Lutheran Sanctuary Choir IHO Alan Hair Scott Hylop Eunice Kanning IMO Jan Bender, her teacher Karron G. Lewi IMO her huband, John D. Lewi Virginia & Mark Meyer IMO Dorothy Ann Reynold, couin John Weit $51-$100 Carol Carver Frederick Gable Mary Lowry Marian Meton Frederick Niedner Kathleen Rife White Brian Wentzel Mark Bangert David L. Beyer David J. Suan Patrick Bier Timothy Braband Steven F. Wente William Beermann & Cheryl Dieter IHO Philip Gehring 90th birthday Marcia Lofdahl Helen Iveron-Metzger Karen J. Anderon Daniel Aune Barry Bobb Paul Bouman Terea Bower Ronald Burmeiter David Cherwien Marilyn Comer David Dare Sandra D. Deiter John Ferguon David Fienen Philip Gehring Suan Gerrard Elie Hoermann Cynthia Holden IHO The Rev. Brian Noack Carolyn Jenning George F. Joyner Shirley Keiter Jame & Eileen Klein June Miller Lincoln Noecker Rev. Loui Nuechterlein Martin Ott Donald Rotermund IMO Dr. Richard Hillert Mark Sedio John A. Seet Clarance M. Smith Edward and Hildred Tornberg Paul Weber Scott Weidler J. David Wertz IHO intallation of David Turner a director of muic at Ebenezer Lutheran Church, Columbia, SC Wayne Wold Deborah Zudell-Dickey IMO her parent Martha M. & Robert J. Zudell Spring 2016 CroAccent 23

24 THANKYOU $26-$50 Eldon Balko David Beecher Mark Bender Bruce A. Bengton Ina Berkey Lani Beuerman Ann C. Buland IHO Holy Trinity Choir & Bell for their performance of Robert Hobby Holy Light on 12/13/15 Roy W. Carroll IMO Ruth Hoftad Ferguon Virginia Cateel Charle A. Cohen Alan C. Collyer Victor Dal Pozzal George Detweiler Kent Eggert Paul Elener Sharon Freude Martha S. Gregory Timothy E. Guenther Andrew Heller Judith A. Holden Michael & Stephanie Horacek in recognition of the outtanding work and witne provided by their Miniter of Muic, Kevin Barger Ryan Hotler Jean Johnon Jame Johnon Linda Kepler Brian Laron Gordon Lathrop Judith A. Love Linda Maule Suan Nelon-Colaneri Nancy Olon William A. Pach Walter L. Pelz William H. Remele, Jr. Dr. Evangeline L. Rimbach A. Lee S. Rupert David Schack Robert & Virginia Schoenike Becky Schultz Meridith A. Stone IMO Rev. Glenn C. Stone Rev. Kevin L. Strickland IHO BethAnn Lynch Joyce Moon Strobel Sharmyn Thompon IMO her parent, Leter and Marjorie Thompon Audrie Scott IHO wedding of Nancy Albrecht and Thoma Tucker Chri Wallhauer Sylvia Bucher Weaver IMO her aunt and uncle, Clyde and Evelyn Bucher Dorothy Whiting $5-$25 Carole Arenon Linda Armtrong Wendy Bett Carol P. Blae Suan Briehl Linda Clark Jayne Southwick Cool Karen Couturier IMO loved one Patti Carlile Dandrea Nancy Delaney Karla Devine Tordi Fahringer Martha Fiher Reid Froiland Jame Gladtone Suan Hegberg Loi J. Hoger IMO her huband, Pator Donald Hoger Amanda Huberg Mount Olive Lutheran Church Floy M. Laquidara Anne Mangeldorf Darryl Miller Joan Nordtrom Michael L. Olon Paul R. Otte IMO hi dear friend, Ron Nelon Bärbel Otto Marilyn Patteron Carolyn Payne IHO the retirement of Pr. Dick Finch Omaldo Perez Rev. David Anderon & Joanna Pretz-Anderon Betty Rice Rodney J. Riee Sarah E. Rupert Anne Saylor Scott Skinner Milton Snyder Elizabeth Soladay Jame Stoebe Aaron Suntein Loi Waara Dexter Weikel Marjorie Wolf NATIONAL CONFERENCE DONORS Arletta Anderon Daniel Aune Marhall Bowen Gary & Lorraine Brugh Carol Churchill Marilyn Comer Suan Gobien Julie Grindle Ryan Hotler Adam & Valerie Hughe Barbara Klingick Wanda L. Krentz Sylvia Lueken John Morri Gregory and Ann Peteron Martin Seltz John Weit Paul & Sally Wetermeyer Steven Wilco CANTOR CONNECTION: COLUMBUS DONORS* Job & Marjorie Ebenezer Thoma Gerke Fred L. Heler John & Dolore Kneller Chad & Diane Loomi Mary McMullen Wet Franklin County Chapter Thrivent 24 Spring 2016 CroAccent

25 COUNTERPOINT Mater of Church Muic Summer GRADUATE MUSIC COURSE OFFERINGS Seion One (June 6 17) MUS 571 Muical Heritage of the Church 8:30 Noon Mary Schecher MUS 642 Form and Analyi 1:30 5:00 Lynn Little Seion Two (June 20 July 1) MUS 551 Advanced Choral Conducting 8:30 Noon Alexa Doebele MUS 522 Organ Literature 1:30 5:00 Irene Beethe MUS 541 Graduate Theory Review 1:30 5:00 Lynn Little Bell Week (July 4 8) MUS 546 Compoing for Handbell 8:30 5:00 (M, T, W, TH) & 8:30 12:00 (F) John Behnke Seion One and Two (June 6 July 1) MUS 511 Applied Voice Leon by Appointment Wendelin Lockett MUS 521 Applied Organ Leon by Appointment John Behnke/Jame Freee For general information, go to: or call North Lake Shore Drive, Mequon, WI Spring 2016 CroAccent 25

26 COUNTERPOINT John Joeph Santoro Liturgy a Creation: How Ritual Communicate, Situate, and Order Meaning by Kyle K. Schiefelbein Muician, pator, liturgical leader, and worhip committee thoe who are charged with the public worhip of the congregation have an important tak. It i more than upplementing the well-crafted ermon with beautiful muic and good choreography. The tak i one of haping meaning through word and action by which the community communicate meage about the life of faith and organize meaning about God and the human condition. Every part of the liturgy, from the prayer text to the muic to the way in which leader move throughout the pace, help create a ituation in which the worhipper participate in word and acrament, in which God peak to the worhipper through the word and the worhipper repond through prayer and praie. 1 If liturgy i more than jut an opportunity to fill up time before and after the ermon, then one mut aume that liturgy actually doe omething. Liturgy proclaim the gopel in a multienory and incarnational way through the ue of geture, muic, poken and ung text, and the like. Even more, the acrament are aid Liturgy proclaim the gopel in a multienory and incarnational way through the ue of geture, muic, poken and ung text. to be efficaciou (have an effect) if certain criteria are met, uually with regard to form (e.g., pecific word poken), matter (e.g., pecific element ued), and miniter (e.g., pecific peron preiding). 2 But apart from acramental efficacy, how doe the liturgy work? Thi quetion appear in my diertation about healing rite and anointing with oil. 3 Since healing, or more pecifically the anointing of the ick, doe not have acramental tatu in Lutheran theology or practice, it examination highlight the quetion. How do we determine that healing and anointing work (or doe not work)? It wa in trying to anwer that quetion that I articulated a multilayered undertanding of ritual efficacy, which I explore more generally in relation to liturgy in thi article. 26 Spring 2016 CroAccent

27 When we carefully oberve the way in which ritual work in our worhip, we more carefully hape worhip in way that upport proclamation, faith formation, and meaning. Ritual Efficacy In the late 1970 Sally Moore and Barbara Myerhoff poed the quetion of efficacy, uing the example of ecular ritual. Efficacy i uually outwardly defined for acred ritual, but Moore and Myerhoff wondered if a imilar quetion could be anwered for ritual that have no theological or religiou underpinning. An example of uch ritual include political or community ritual, ome of which we ee in the current election eaon. They propoed a ditinction between doctrinal and operational efficacy, the latter alo being applicable to ecular ritual. 4 In their paradigm, doctrinal efficacy can eaily be determined through the definition provided by the theological tradition. If certain condition are met (form, matter, miniter, proper reception, and o forth), then the acrament i aid to be efficaciou or that it worked in term of the doctrinal definition. On the other hand, operational efficacy deal with the pychological and ocial effectivene of a ritual. Invetigation of thi kind of efficacy focu on outcome and conequence, and efficacy i meaured in term of uccee and failure. Moore and Myerhoff eparation of doctrinal and operational efficacy i important ince it provide a point of departure for ritual criticim. Ritual criticim provide tool for aeing ritual in term of performance and communication. Some may think that religiou ritual are beyond uch criticim, but ritual cholar Ronald Grime note that although rite may be revealed by the god, [they] are alo contructed by human being and therefore imperfect and ubject to political manipulation. 5 An adherent to a particular doctrine might not be able to critique or evaluate the doctrine itelf, but by eparating the doctrinal from the operational, the adherent can critique and evaluate the tructure and enactment of that ritual. Ditinguihing between doctrinal and operational efficacy provide worhip leader and planner the opportunity to explore the how of liturgy, to ee what it doe, and to make it an efficaciou event. The next tak i to better identity what i meant by efficacy. In the recent collection of eay titled The Problem of Ritual Efficacy, anthropologit William Sax introduce the o-called problem by claiming that mot people operate with a repreentational undertanding of ritual. 6 He note that in the current pot-enlightenment context, which i characterized by rationalim, a majority of people aume that ritual are ineffective (or inefficaciou) becaue people believe that ritual are not meant to do anything. Intead, a ritual i meant to repreent omething outide of itelf. Such a belief allow ritual participant and leader to bypa or avoid the quetion of efficacy altogether. If thi undertanding of efficacy can be viewed a being on the over-rationalized ide of the cale, a conequentialit 7 phere can be een at the oppoite end. Some might claim that thi i the main pre-enlightenment undertanding of efficacy, which ha omewhat of a magic feel to it imply enacting the ritual caue the intended outcome to happen. Some of the earliet theorie of ritual efficacy follow from an undertanding of cauality, even if uch undertanding i implicit. 8 Thi make ene ince it would be the implet form of arguing for ritual efficacy: if a then b. Such an argument i a linear a it get. Rather than eeing efficacy a being on the extreme ide of the repreentational/conequentialit cale, I ugget phere of efficacy that peak to the multiple way that ritual can be operationally effective. In thi article, I extend ritual efficacy to encompa the liturgy in it entirety, ince ritual are normally component of liturgy. Liturgy 9 i a careful arrangement of contitutive part that themelve can be undertood a dicrete rite, ometime referred to a building block. 10 For example, the Prayer of Interceion in the Sunday liturgy erve a a rite that happen within the liturgy. Jut a liturgy i made up of variou contituent part, o alo i the purpoe and efficacy of thee variou rite COUNTERPOINT Spring 2016 CroAccent 27

28 COUNTERPOINT Ritual i a form of communication that convey information and tranmit ymbol. (and liturgy in it entirety) multifaceted and thu can be interpreted through the variou phere of efficacy. When we carefully oberve the way in which ritual work in our worhip, we more carefully hape worhip in way that upport proclamation, faith formation, and meaning. Ritual a Communication Thi firt alternative phere of ritual/liturgical efficacy tate that ritual action doe not do anything except illutrate the preaching or communicating of the text. Thu, in a way imilar to the repreentational model, the quetion of efficacy can be circumvented. Ritual communicate the identity of the group performing aid ritual, and thu ritual help maintain the tructure preent in the group. The text that are being communicated are the embodiment of the group ytem of belief, how that particular group i to think and act. 11 On a uperficial level, thi phere aume that the ritual action themelve are unneceary ince the primary mode of communication i verbal; the ritual geture reinforce what i being aid and heard. Thi i not to negate or John Joeph Santoro downplay the importance of language in ritual. Wheelock refer to it a informative peech or ordinary peech, which he eparate from ritual language or ituating peech (59). The latter will be conidered in the next ection. The characteritic of the former are quite imple: a ritual leader (addreer) ending a meage to a ritual participant (addreee), and the meage itelf (55). The meage include information that would help the addreee undertand what the addreer want, along with ome mechanical device that help in communication, which include the context to which the meage refer, any ort of common reference point with which the two can connect, and the phyical motion and pychological connection. Ritual i more than a upplement to the verbal communication of a particular tradition; it i a form of communication that convey information and tranmit ymbol. 12 Bell note that church ritual in the Reformation, epecially the Ma, aw ritual a communicating religiou meaning to eparate the acred from the profane (Ritual, 217). Thu thoe Chritian tradition that derive from the work of the Protetant Reformation continue to exhibit the communicative power of ritual. How i ritual a communication efficaciou? Communication cholar Edward Ficher note that communicative ritual i only efficaciou if it fit it time and i thu contextual. 13 If a ritual trie to function in a way that i no longer recognizable or comprehenible, then it will not be able to communicate what it intend. The problem alo come in interpreting uch communication even if the mechanic of communicating are fully functional. The proce of interpreting can alo create a problem in the ritual efficacy; the communication of meaning a a purpoe of ritual i dicued in a later ection. An example of thi problem i the Offertory. Hitorically, the preentation of gift to the altar-table wa utilitarian: the bread and wine that people had brought to church a offering had to be brought forward to ue in the Lord Supper; the bread and wine not elected for the Lord Supper would be given to the community and the poor. Eventually, acrificial allegory wa 28 Spring 2016 CroAccent

29 attached to the meaning of the Offertory, which caued the rite to be omitted in the Reformation tradition. When the practice of collecting the offering and bringing it forward wa reintroduced, the preentation of the gift alo wa reintroduced. Yet ince people are not bringing bread and wine a offering, the proceion with the bread and wine may micommunicate thi original intention. The addition of variou elevation, uch a holding up the offering plate in front of the altar a poible attempt to further ritualize the Offertory caue greater confuion. Theologically faith come by hearing, and the oral/aural nature of pot-reformation ritual lift up the neceity of ritual a being a mean of communicating. The upicion by ome that ritual ha power in itelf often force ritual to be coupled with language that dicloe omething about God and omething about the participant. 14 Thu one of the purpoe of ritual i to communicate, but a the remainder of thi article note, ritual can draw imultaneouly on multiple phere in order to fully paint the purpoe and efficacy of liturgy. Ritual a Performative Speech ( Speech-Act ) The approach above dealt pecifically with ritual a communication. The performative peech phere hare ome of the characteritic of the communicative model, except the object of the communication actually doe omething beyond communicate meage. Thi peech goe beyond jut imply paraphraing a ritual taking place (Sørenen, 526). Thi concept i aociated with J. L. Autin and John R. Searle, philoopher of language whoe undertanding of how language doe thing ha been appropriated by tudent of ritual. Autin decribed what he called performative utterance in which aying omething doe omething (Bell, Ritual, 68). For example, a liturgical leader aying I ble you caue a bleing to happen. Unlike the communicative model, peech-act do not convey imple tatement of fact, but they actually do omething (Wheelock, 52). A uch, every utterance ha a performative apect, even if the ritual (i.e., geture or movement or both) are minimal or even miing. Thi approach to efficacy can be expanded to ritual, ince ritual itelf can be een a a ymbolic language (Bell, Ritual, 69). In Autin paradigm, a peech-act alway ha three component (Wheelock, 52): 1. locutionary act: the biological and linguitic production of an utterance (ound, pronunciation, yntax, aying omething); 2. illocutionary act: the intended effect of the peaker for the hearer; and 3. perlocutionary act: the actual effect of the peaker for the hearer. It i in the illocutionary act where the efficacy originate, ince the act they [intend to] perform i brought to pa in peech (Latin: in locutione) (Sørenen, 525). Such an act i intentional, intended by the peaker and received by the hearer that i, if the peech-act i efficaciou. The iue of efficacy i located in the amene/difference between the illocutionary and perlocutionary act. When thee are the ame, the performance i labeled a felicitou: it ha worked omehow and omething ha happened (Wheelock, 53). The performance i infelicitou when the two act are different; thu it i infelicitou when the peaker intend omething different than what the hearer received. Jut a converation themelve are governed by rule of grammar and etiquette (or at leat they are uppoed to be), o too are peechact. Wheelock, quoting J. R. Searle, lay out particular rule in thi regard; in actuality they are more of a framework for a particular peechact (Wheelock, 53): 1. propoitional content of the utterance: decribe what i actually being aid; 2. preparatory condition: decribe what the context i; and 3. incerity of the peaker intention: decribe whether or not the peaker actually want to create a felicitou peech-act. The firt rule deal with the act itelf it content. What i at iue here i both the meage and the performance of that meage. Thee two component together create the ituation in which omething i or i not efficaciou. COUNTERPOINT Spring 2016 CroAccent 29

30 COUNTERPOINT Ritual not only tranmit the idea of a particular culture but they alo help hape thoe idea and contruct/create reality. The econd rule deal with the alreadypreent ituation in which the peech-act i occurring. If uch an act purpoe i to create a ituation (which I am arguing here), the ituation that i already preent can ait or hinder the act. Thi i imilar to the potential difference between the locutionary and illocutionary act, a decribed above. The third rule deal with the motivation of the act performer(). One who doe not intend to create a felicitou peech-act will certainly (and rightly) hinder the performative or ituational peech. Here i a major difference between doctrinal and operational efficacy: doctrine would tate that the efficacy of a liturgical act i not dependent on the dipoition of the performer. (For acramental act, thi undertanding came about early in Chritian hitory with the Donatit controvery.) Yet from an operational or ritual perpective, the act can fail if the performer intend it to do o or doe not care what it intend to do. 15 Thi phere of ritual efficacy, when applied to Chritian liturgy, require a particular grammar, which i a et of rule or criteria involving the whole peech event which make it poible for a performance to accomplih what i intended (Ware, 31). Such grammar, derived from a ritual tradition, i utilized for the ake or purpoe of a ritual to actually accomplih omething that expree a particular undertanding of ultimate concern (Ware, 70). For example, a peech-act contituted by prayer i different than one in the realm of government or law: praying through Chrit our Lord require the performer to deal with the central tenet of the Chritian tradition, epecially the Chritological emphae of the Lutheran tradition. Chrit-centered peech-act do bring in the added quetion of doctrinal efficacy that other type of peech-act do not have, epecially around the iue of Chrit work in the liturgy. 16 Ritual not only tranmit the idea of a particular culture but they alo help hape thoe idea and contruct/create reality. The rule and kill of peech-act place action on the lip of the ritual leader, who peak the action into exitence. Thi often occur through uing firt-peron indicative verb. Hitorically and theologically thi can be een in two main place in the Lutheran liturgy: I therefore declare to you the entire forgivene of all your in, in the name of the Father at the abolution, and I baptize you in the name of the Father for baptim with water. 17 The former ha quai-acramental tatu (ee Luther evolution in hi Babylonian Captivity of the Church 18 ), and the latter i explicitly acramental. Ritual peech-act go beyond Autin characteritic becaue they do not necearily require a peaker and a hearer ; rather, uch ritualized peech can be aid to or by oneelf, or both that i, outide of community worhip. An example of thi would be reciting the Creed, which begin with I believe (Wheelock, 58). A more expanive undertanding of peech-act would interpret thi a the peaker, peaking to the elf in the context of many people, acting out the individual belief. One of the main difference between the ritual a communication phere and the ritual a performative peech phere i that the latter convey little or no information, if one undertand information a being fact for contructing knowledge in regular converation. Wheelock note that practically every utterance of a ritual i uperfluou from the perpective of ordinary converational principle (56). The maxim that he identifie a part of ordinary peech quality, quantity, relation, hared code are not preent in peech-act. Yet by uing Gregory Bateon definition of information a a difference which make a difference, liturgical language and peech are certainly quite informative, uch a text that decribe God activity. 19 Ritual a Situating Speech Becaue ritual peech goe beyond the giver/recipient needed in Autin peech-act paradigm, Wheelock propoe that ritual peech (and by extenion, action) be een a ituating peech (59). 30 Spring 2016 CroAccent

31 Both model, peech-act and ituating, are illocutionary type of peech, but ituating peech preent the actual ituation through the peaking of the text (or doing of the ritual). A uch thi type of peech doe not necearily repreent the immediate context of the peaker, ince the peech itelf partially create the context. The peaking of the text preent the ituation (Wheelock, 60). Thi approach to ritual efficacy i imilar to what Bell call performance, in that the doing of the ritual hape the peron experience and bring order to the world (Ritual, 61). The operative act (declaration/performative) are produced by being aid to be produced. The efficacy of ritual in thi particular phere i evaluated in term of the ritual ability to create a particular ituation; thu thi model i eparated from the belief of ritual participant. Since ituating peech and action are different from ordinary communicative peech and action repreenting being and acting rather than jut knowing the ituation themelve are newly formed each time the peech i performed. The Trinitarian invocation at the beginning of ome liturgie i an example of the text that expree an already exiting reality to which attention need to be called; after the preiding miniter ay the text, the pace and time are deignated a being part of God time. The ame can be aid about the reciprocal greeting that occur at the beginning of worhip (Apotolic Greeting) or in the preface of the Great Thankgiving. One can correctly aume that the Lord i already with thoe in attendance, o the greeting do not need to caue that to happen. Rather, the text expree an already-exiting reality that demarcate the particularity of thi time for worhip. When thee word are accompanied by geture or ritual muic or both, they may expre or create the ituation in a different way than with jut poken text without geture. Thu one can peak of ritual a tranformative. The ituational approach alo create a ritualized body, which Bell call a body inveted with a ene of ritual. 20 The proce of ritualization produce thi particular body a the body interact with the ituation around it. The example that Bell give i that of kneeling: Kneeling doe not o much communicate a meage about ubordination a it generate a body identified with ubordination. 21 Thu the ritualized body in uch a ituation actually produce that particular body in eence, thi i it efficacy. Ritual a Communicating Meaning and Ordering Experience Sociocultural anthropologit F. Allan Hanon propoe what he labeled a emiotic approach: ritual are about meage and, in thi intance, meage having to do with the relationhip between ritual and ocial life, relationhip that are ignificant or meaningful. Hanon argue that the purpoe i to communicate meaning, but thi communication i different from the communicative type outlined earlier in thi article. A noted previouly, the communicative type i more didactic, like teaching or exhortation. The emiotic phere put forward by Hanon pertain to meaning that are largely about the world and the human condition a thee are culturally contructed (177). What ritual do from thi emiotic point of view i to communicate meage about the world and the human condition. At time thee meage need to change the ubjective orientation of the participant when their ituation become problematic (178). Thu Hanon argue that ritual can olve problem by ordering experience in a le problematic way. The ordering of thi experience allow rite to tell u omething COUNTERPOINT The Trinitarian invocation at the beginning of ome liturgie i an example of the text that expree an already exiting reality to which attention need to be called; after the preiding miniter ay the text, the pace and time are deignated a being part of God time. Spring 2016 CroAccent 31

32 COUNTERPOINT Member Benefit To Make You Say WOW! Weekly Reource Choral Preview Packet WOW! Thank o much. I ve been reminded of many, many thing that I need to ue and have been given ome excellent reource to teach with! I not only ue them in my children choir but I m uing lot of them in adult choir. Read & Search The Choriter Online Job Bank a Mentor Video Tutorial Choriter Guild memberhip tart at jut $6.50/month, $3/month for tudent. Explore all our benefit & join today CHORISTER Church Muic Intitute i a program of Shenandoah Univerity in Wincheter, VA and may be taken for credit CHURCH MUSIC INSTITUTE at Shenandoah Conervatory J. Thoma Mitt, Director Sing to the Lord...with Undertanding A tudy of the hitory and repertoire of Congregational Song and it role in choral and organ etting. JUNE 26 JULY 1 with DONALD MCCULLOUGH JULY 3 8 with EILEEN GUENTHER and JOHN WALKER Palmody, Traditional and Folk Hymnody, Global Muic In Their Own Word: The Power of Spiritual Hymn Fetival and Choral Service Sacred Harp Sing & Dinner on the Ground World Muic Service, Spiritual Concert, Lutheran HymnVeper Roundtable Dicuion Perpective in Church Muic Church Leaderhip: Rival or a Team? Vocal and Choral Technique Hymn Playing and Elementary Improviation Reading Seion of Choral and Organ Muic Viit or cmi@u.edu for more information. 32 Spring 2016 CroAccent

33 about God, Chrit, church, acrament, and living a life of faith or a referring to thee realitie in ome way, 22 not jut by communicating that information but rather by organizing that information to bring meaning to one experience of thoe thing. The quetion mut be raied, though, whether it i actually poible to communicate meaning, ince it i alway meaning-to-omeone, a Grime ha noted (42). A uch, Grime and other have concluded that the uppoed meaning of the liturgy i a fiction. Liturgical cholar Michael Aune agree: it i evident, however, that worhiper/participant do not alway find thee baic ymbol [of the liturgy] to be clear. Nor do they alway interpret them in the ame way. Thu, it i difficult to ay that ritual have to do with the communication of hared idea, value, and aumption that are fundamental to a ociety. 23 Meaning themelve actually do thing a well. Meaning repreent the world, create cultural entitie, direct John Joeph Santoro one to do certain thing, and evoke certain feeling. 24 Meaning are not olely repreentational, jut a ritual efficacy i not olely in the repreentational phere. Ritual/Liturgical Efficacy and the Congregation Why might all of thi matter in the worhip life of the congregation? If it i true that ritual not only communicate but alo act, ituate, and help organize meaning, then our work a worhip leader and planner i even more important than we firt thought. A I tated in the opening paragraph of thi article, I view thi from an operational or ritual perpective, not a theological one. I am not advocating an ex opere operato ( by the mere performance of the act ) undertanding of ritual, in which the correctly performed rite i efficaciou jut by it performance; uch an undertanding ha alway been rejected by Lutheran. 25 Rather, I am propoing the neceity of attending to detail becaue ritual, in the ociopychological realm, ha the power to create. The example noted above are all major part of liturgy, from the opening greeting to the Offertory to the firt-peron acramental language. All thee building block of liturgy have the option for muical accompaniment. What would it mean to apply the ame framework about ritual efficacy to the muic that i elected to accompany thee ritual? In term of tyle, many muician intuitively know when a muical election doe not fit, but how could our election criteria be better informed by a concern about communicating, ituating, and ordering experience? How doe thi quetion change if muic itelf i thought of a ritual and embodie thee variou phere? In the end, it may not be poible to fully know if Lutheran worhip work or doe not work apart from the objectivity of the acrament. Since a component of meaning i alway meaning-to-omeone, it may require worhip leader to do ome invetigating in the congregation to figure out if worhip i effective in the ociopychological (operational) realm. Since Lutheran have alway confeed that God work through mean or intrument, 26 the COUNTERPOINT Spring 2016 CroAccent 33

34 COUNTERPOINT incarnational embodied apect of worhip are important for our work. Such invetigation mut be done in conjunction with tated theological and doctrinal claim. In the final analyi, the doctrinal and operational mut come together to paint the entire picture of worhip. Kyle K. Schiefelbein i coordinator of online and continuing education and adjunct profeor of liturgical and theological tudie at Pacific Lutheran Theological Seminary of California Lutheran Univerity in Berkeley, CA. Note 1. Thi Wort Antwort ( word anwer ) definition of worhip come from Luther ermon at the firt newly built Lutheran church in Saxony: Martin Luther, Sermon at the Dedication of the Catle Church, Torgau (1544), in Luther Work, American edition, vol. 51, Sermon I, ed. and tran. John W. Dobertein (Philadelphia: Fortre, 1959), An example of thi theological concern for Lutheran i in regard to the criteria for the entire action of the Lord Supper; ee Formula of Concord, Solid Declaration VII, in The Book of Concord: The Confeion of the Evangelical Lutheran Church [hereafter BC], ed. Robert Kolb and Timothy J. Wengert (Minneapoli: Fortre, 2000), Kyle K. Schiefelbein, Sin and Brokenne, Paage and Purpoe: Reform in Recent American Lutheran Rite for the Patoral Care of the Sick (PhD di., Graduate Theological Union, 2015), pecifically chapter Sally F. Moore and Barbara G. Myerhoff, Introduction, in Secular Ritual (Aen, The Netherland: Van Gorcum, 1977), Ronald L. Grime, Ritual Criticim: Cae Studie in It Practice, Eay on It Theory (Columbia: Univ. of South Carolina Pre, 1990), William S. Sax, Ritual and the Problem of Efficacy, in The Problem of Ritual Efficacy, ed. William S. Sax, Johanne Quack, and Jan Weinhold (New York: Oxford Univ. Pre, 2010), F. Allan Hanon, The Semiotic of Ritual, Semiotica 33, no. 1 2 (1981): Jørgen Podemann Sørenen, Efficacy, in Theorizing Ritual, ed. Jen Kreinath, Jan Snoek, and Michael Stauberg, vol. 1 (Leiden: Brill, 2008), Note the abence of the definite article the in front of thi word. Throughout thi article, liturgy i to be undertood a a genre of activity of the church, not a precribed order in which worhip occur. 10. For example, ee Michael B. Aune, Liturgy and Theology: Rethinking the Relationhip, part 2, Worhip 81, no. 2 (March 2007): Wade T. Wheelock, The Problem of Ritual Language: From Information to Situation, Journal of the American Academy of Religion 50, no. 1 (March 1982): Catherine Bell, Ritual: Perpective and Dimenion (New York: Oxford Univ. Pre, 1997), Edward Ficher, Ritual a Communication, in The Root of Ritual, ed. Jame D. Shaughney (Grand Rapid: Eerdman, 1973), George S. Worgul, From Magic to Metaphor: A Validation of Chritian Sacrament (New York: Paulit Pre, 1980), Jame H. Ware, Jr., Not with Word of Widom: Performative Language and Liturgy (Wahington, DC: Univ. Pre of America, 1981), A. P. Martinich, Sacrament and Speech Act, I, The Heythrop Journal 16, no. 3 (July 1975): Evangelical Lutheran Worhip, pp. 96 and 230. Similar language can be found in LSB, pp. 151 and 270, and in CW, pp. 16 and Martin Luther, Luther Work, American edition, vol. 36, Word and Sacrament II, ed. Abdel Ro Wentz (Philadelphia: Fortre, 1959), Near the beginning of the treatie, Luther write that the three acrament are baptim, penance, and the Lord Supper (18); at the end, he tate that trictly peaking only baptim and the Lord Supper are acrament, ince acrament require ign (124). 19. Gregory Bateon, Step to an Ecology of Mind (New York: Ballantine, 1972), Catherine Bell, Ritual Theory, Ritual Practice (New York: Oxford Univ. Pre, 1992), Ibid., Michael B. Aune, The Subject of Ritual: Ideology and Experience in Action, in Religiou and Social Ritual: Interdiciplinary Exploration, ed. Michael B. Aune and Valerie M. DeMarini (Albany: State Univ. of New York Pre, 1996), Aune, The Subject of Ritual, 163; emphai in original. 24. Roy G. D Andrade, Cultural Meaning Sytem, in Culture Theory: Eay on Mind, Self, and Emotion, ed. Richard A. Shweder and Robert A. LeVine (New York: Cambridge Univ. Pre, 1984), Augburg Confeion XIII, BC, 46.3 and 46n Augburg Confeion V, BC, 40.2 and Spring 2016 CroAccent

35 Silence and Song: Attending to the Full Voice of the Aembly COUNTERPOINT by Chad Fothergill In conidering the diverity of way that church muician nurture the collective voice of God people, equal and oppoite attention mut alo be directed toward way in which voice are hindered or fully ilenced. Thi happen in everal way, often unthinkingly: the volume of an intrument or an overly amplified leader obcure the aembly voice; poor teaching or poor introduction of a new hymn caue inger to give up in frutration; an organit affinity for her or hi intrument and it repertoire exclude the gift of everal fine intrumentalit and percuionit capable of leading aembly ong; poorly placed page turn in the bulletin caue the aembly to tumble through the creed and other poken text; the muic for an entire month hymn text, melodie, ervice muic, anthem i only of male authorhip and Eurocentric origin. Such cenario may eem improbable or outrageou, prompting coff or dimial that echo the incredulity of the diciple: Surely, not I? 1 Surely, not my aembly? Surely not! Yet the hitory of the church within and beyond muic and liturgy i filled with damaging ilence, in of omiion, and epiode of maliciou cenorhip, a reality made plain by hitorian Diarmaid MacCulloch: The hitory of Chritianity i full of thing caually or deliberately forgotten, or left unaid, in order to hape the future of a Church istock/mark Wilon Spring 2016 CroAccent 35

36 COUNTERPOINT Zophar the Naamathite aid to Job, be watchful that your babble doe not put other to ilence (Job 11:3). or Churche. Intitution religiou or ecular create their own ilence, by excluion and by hared aumption, which change over time. Such ilence are often at the expene of many of the people who could be thought of a actually contituting the Church; intitutional need outweigh individual need. Some are conciou ilence of hame and fear at the intitution of the Church not living up to it own tandard of truth and compaion; and there ha often been a particular pain meted out to thoe who make the ilence end. Life i rarely comfortable for the little boy who ay that the emperor ha no clothe. 2 While I can t imagine that any of u would eek to intentionally mute the voice of a iter or brother, ilencing may happen more than we realize or are willing to admit. Too many of u know torie firthand or overheard of intentional ilencing enacted by muician, congregational committee, and clergy alike in order to preerve power, influence, or the tatu quo. But more often the ilencing of voice i inadvertent: a byproduct of inattentivene; of not litening deeply enough; of letting perfection, howmanhip, and fervor for rubric get in the way of proclamation and prayer; of letting Good morning, it great to have you in worhip today or ome other flummery tand in for The Lord be with you. Or, a Zophar the Naamathite aid to Job, be watchful that your babble doe not put other to ilence (Job 11:3). Thee other comprie not only voice phyically preent in our repective communitie but the Spirit-filled voice, heart, and hand that have given u the ong we ing and the material we ue; hidden hand that provide tring, paper, pipe, mallet, hammer, ink, pick, clapper, leather, oil, and electricity that alo upport the voice of the gathered aembly. All of thi lead to two thread of inquiry that intertwine throughout the following paragraph, one concerned with developing an awarene of ilencing behavior and the other focued on deep and attentive litening. How do we participate in (or perpetuate) the ilencing of voice in our communitie? Do we focu o much on meeting the expectation of upervior, colleague, and aemblie that we imply forget to liten? Do we give verbal or printed acknowledgment where acknowledgment i due? How might we become better litener? In hi 2015 book Church Muician: Reflection on Their Call, Craft, Hitory, and Challenge (ee review on page 53), Paul Wetermeyer poe thi quetion another way: how might we bet attend to ethnic, linguitic, ociological, pychological, muicological, [and] ethnomuicological characteritic of our repective communitie? 3 Here Wetermeyer invoke the dicipline of ethnomuicology, a field of tudy centered around a reearcher immerion in a geographically or linguitically defined area. Virtually all ethnomuicologit are taked with aembling an ethnography, a decription of the hot community or region with pecial emphai on muical cutom and repertoire. Ethnographie, in turn, are founded on fieldwork, an all-encompaing term for the variety of technique ued to gather decriptive material; thee technique may include oberving, recording, reflecting, reviiting, re-evaluation, etablihing and maintaining relationhip, and navigating the peronal and profeional ethic that arie from the paradox of being a imultaneou outider (viitor) and inider (member). A Wetermeyer implie, a church muician attending to the need of her or hi community utilize imilar approache and methodologie throughout the cycle and rhythm of the church year: obervation and experience yield reflection; relationhip are cultivated; and balance are truck between ervant and leader, between the performative and participatory, between ene of call and fulfillment of contract. Accordingly, technique from the ethnomuicologit fieldwork toolkit might help u think critically about the way we hear and repond to the voice of our repective communitie, helping to amplify or unmute otherwie ilenced voice and truly attend (more about thi word hortly) to the unity and diverity of Chrit body that ing together in worhip with thouand tongue and one voice. 36 Spring 2016 CroAccent

37 Ethnomuicology, Fieldwork, and the Church Muician: Congruence and Divergence For much of the 20th century, the work of ethnomuicologit wa largely equated with the tudy of global muic, a multipurpoe ynonym for regional repertorie uually excluded from the large body of o-called Wetern art muic. Though ome early ethnomuicological tudie ought to colonize thee exotic muic by ordering them into Wetern cale and rhythmic pattern, mot ethnomuicologit have undertood their work a a mean of reconciliation acro culture, of bridge-building between divere people who hare a common humanity. For ome, their ene of vocation i guided by concern for ocial and economic jutice, of giving voice to repertoire and people overlooked or ubumed by the privileged and dominant Wet. A explained by ethnomuicologit Philip Bohlman, the hitory of ethnomuicology ha unfolded a a repone to the dilemma poed by the fiure between the Wet and other, by attempting to cloe it and even to heal the human devatation that it ometime caue, further treing that cloing the fiure wa not imply an intellectual advantage but alo a moral imperative. 4 Today the concept and practice of ethnomuicology have taken root and grown beyond the dicipline early ancillary treatment, engaging with an array of dicipline from ociology and pychology (a noted by Wetermeyer) to neurology and biology, anthropology, and political cience. In hort, the ditinction between o-called hitorical muicology and ethnomuicology ha become more Whether aware of it or not, many church muician intuitively practice ethnomuicological work by way of their engagement with the muical tradition of a localized community that ha a unique demographic profile. porou, enabling cholar of both peruaion to focu more broadly on the hared human act of muicking rather than muic a an object in and of itelf. 5 Whether aware of it or not, many church muician intuitively practice ethnomuicological work by way of their engagement with the muical tradition of a localized community that ha a unique demographic profile: obervation are made and recorded, converation occur, muic i made, joy and challenge are expreed, ethical and profeional concern are weighed. Some have alo practiced the ethnomuicologit craft of documentation and trancription: example that come to mind include Howard Olon collection of African hymn; the work of I-to Loh with Aian genre and tyle; tranlation of Spanih text by Gerhard Cartford; and the work of ALCM member Mark Sedio, cantor at Central Lutheran in Minneapoli, whoe trancription of the melody of Enviado oy de Dio ( The Lord Now Send U Forth ; ELW 538) i familiar to many aemblie. 6 Their work and that of many more have enriched the treaury of the church ong, a decription in hymnal companion can attet. Like ethnomuicologit, church muician alo perform their work in liminal pace between leader and participant, doer and oberver, inider and outider pole that ethnomuicologit refer to a etic (objective) and emic (ubjective) approache. Ethnomuicologit are uually academic and, accordingly, carry profeional and intitutional obligation to maintain objectivity, neutrality, and tranparency inamuch a thi i poible for their reearch. Their goal (uually) i to report and add to the body of knowledge, not to exert influence on ocial, political, tribal, or religiou iue in their hot communitie. In comparion, church muician are decidedly more involved in the life of their communitie, their hiring predicated on the ability to aimilate to the community muical and liturgical culture, to be a viible repreentative in the aembly, and to communicate on it behalf. Yet church muician mut alo navigate the gulf between the emic and etic approache previouly mentioned, uch a ervant and leader, doer and COUNTERPOINT Spring 2016 CroAccent 37

38 COUNTERPOINT The one who poee power doe not impre with that power, but give it away, hare it o that other have life. oberver, or community member and congregational employee. How one liten from a poition of power and influence a a leader-doer-employee i quite different from how one liten a a ervant-oberver-member, or a a baptized child of God. But rather than earching for eay olution that balance thee node and pole, church muician mut be willing to give themelve over to the complexitie of uch a paradoxical exitence. Such i the charge given by Gordon Lathrop to pator, advice that i equally applicable to muician: a reponible pator will be learning how to value hi own widom, while alo knowing what a fool he i, how to value her own kindne, while alo knowing that he cannot be the Allfriend. Lathrop conclude, a competent pator will be learning to live a way of paradox. 7 Likewie, Samuel Torvend ha pointed to a paradox of Martin Luther that muic i both queen and ervant a a vocational guide for church muician. Of Luther analogy, Torvend write: The key, of coure, i that the ruler become the ervant for the good of hi people; the celebrity hake off the need to hear the crowd adulation and pour out hi or her charima for thoe in need; the one who poee power doe not impre with that power, but give it away, hare it o that other have life or inging. 8 Though they write for different audience, Lathrop and Torvend both imagine how pator and muician attend to the need of their aemblie, a utained and heartfelt engagement that reache far beyond plain hearing or paive litening. The Latin root of the word attend, ad and tendere, mean to tretch toward thu, to truly attend mean to conitently look beyond one own perpective or interet, to try and catch a many glimpe of the big picture a poible. When once aked how he prepared to preach, Lathrop repone wa rooted in the istock/mark Wilon act of attending to time, place, and community: I try to pay attention, he wrote, and attend to the text that are going to be read, to the people who are going to gather and to the purpoe of their gathering, and to the world in which they gather. 9 Thi ethnographic approach i mirrored in advice for church muician, too, uch a in the Muician Guide to Evangelical Lutheran Worhip. Almot immediately the editor tre that knowledge of one community i eential: know the worhiping community you erve. Familiarize yourelf with their exiting repertoire, their cultural heritage, their like and dilike. 10 Finally, attending i not jut a private preparatory or obervational practice of worhip leader, but i viually communicated a well. To be fair, inattentivene i more noticeable than attentivene: muician, pator, aiting miniter, choir member, intrumentalit, and other worhip leader mut remember that I try to pay attention, Lathrop wrote, and attend to the text that are going to be read, to the people who are going to gather and to the purpoe of their gathering, and to the world in which they gather. 38 Spring 2016 CroAccent

39 their bodie are till communicating in between their repective tak. What meage i ent to the aembly when the aiting miniter fidget with or page through the bulletin during the ermon, when the pator take a elfie with the congregation during the hymn of the day, when the organit habitually rearrange item on the conole during the leon, or when the cantor leave during the ermon? All of thee have actually happened in worhip, and Kimberly Long remind u of the danger of uch mindle activity: when thoe who lead worhip perit in doing omething other than attending whatever the action i, we convey to anyone who may be watching that the action i unimportant. 11 I would expand Long remark here to ugget that viible inattentivene or detachment whether diplayed in worhip, converation, or meeting not only convey a meage of inignificance about the action but i alo dimiive of the aembly itelf, ditracting or ilencing thoe whom the Spirit ha called and gathered together. Attending to the aembly i a elf-emptying act of which deep, heartfelt litening i a key component, of uing one gift to enfleh and empower the voice that come together in worhip. Even the firt chapter in a recent handbook for lector begin not with their principal tak of reading, but with thi repeated refrain: liten carefully! 12 Unpacking the Fieldwork Toolkit: Prompt for Reflection and Converation What are the mark, then, of a church muician who i alo an effective litener? There i of coure no ingle anwer or magic formula, nor can the technique that work for one individual, an extrovert, in hi rural etting be ubjected to a imple copy and pate for another muician, an introvert, in her urban context. What follow are a erie of hort reflection that place the empirical technique of fieldwork alongide patoral concern of the church muician. Some idea may reonate trongly depending on your context, ome dimly, till more not at all. They are offered only a a tarting place to think more intentionally about the litening, teaching, communicating, oberving, and ilencing that happen in our repective aemblie. They are a naphot of a philoophy, not a erie of rubric, and are meant to be broken down, reaembled, and cat into new quetion that help u individually and collectively a an organization attend to the array of voice that ound in worhip. Doe your aembly have a mean of communicating with you in a way that you do not necearily initiate? I there an active worhip committee or forum for hymn planning where, for example, member can offer uggetion after reading and tudying the lectionary for a given eaon? What might comment from uch a group how you about your own aumption, preference, or biae when it come to hymn planning or repertoire election? If uch a group doe exit in your etting, doe it have a rotating memberhip? Or i there a concentration of power and influence? How important are term limit for uch a group in your etting, o that a diverity of experience are brought to bear on worhip planning? Do you communicate with your aembly in way other than muical utterance? Do you write for the bulletin, newletter, or other publication? If it i your practice to offer an annual report, doe thi document read like a tring of tatitic or an award-acceptance peech ( I d like to thank ) or doe it convey a ene of miion or purpoe to the aembly? How tranparent i your planning proce, and i that important in your community? Have you ever taken time to dicu why ome hymn or ong were not elected for a given ervice? Doe your language in poken or written remark how that your point of departure i the aembly voice (or congregational miion tatement) and not your own whim, training, tate, or interet? Where in the ervice doe the placement of muic communicate it function to the COUNTERPOINT Have you ever taken time to dicu why ome hymn or ong were not elected for a given ervice? Spring 2016 CroAccent 39

40 COUNTERPOINT What will member of your community ing when they can no longer ee? aembly and, by extenion, to the aembly voice? If your etting ha a lot of travelling muic for example, an intrumental interlude intead of an aembly acclamation after the gopel reading doe that reinforce the notion that muic i an ancillary rather than primary form of expreion in worhip? What doe thi ugget about the role of ilence in worhip or of attending to the ign and ymbol of ritual action? Doe your planning or leaderhip circumvent memory? Week in and week out, how much of the aembly ong i contingent upon their reading material from a bulletin, hymnal, or creen rather than inging or peaking by heart? Do you and other leader in your etting give thought to how text poken or ung are taken from worhip and into the daily life of community member? What will member of your community ing when they can no longer ee, when they lack the trength to hold a hymnal, or a they lie dying? How do you repond when omeone thank you for your muic? Many of u have probably been the recipient of a remark along the line of thank you for your muic today. While uch a comment i thoughtful and well intentioned, the muician repone here i critical: a imple you re welcome lay claim to ownerhip rather than acknowledging the role of compoer, other performer, or the aembly voice. Intead, honor the voice of the aembly in your repone: earch for way to decribe how the day muic wa haped by text, by what you ve heard and learned through attending to the community. In imilar fahion, when criticim i offered, honor the experience of the peron offering the critique rather than defend your choice from a combative poture. Liten for clue that point toward how other may be ilenced by your choice or leaderhip. Do hymn and muic choice tend to include or exclude? How many author and compoer of hymn, anthem, and ervice muic on a given Sunday are white male? Do member of your aembly notice thi? How do you introduce Liten for clue that point toward how other may be ilenced by your choice or leaderhip. and honor the voice of varying compoer from many time and place? The temptation will be trong in 2017 to ing a diproportionate amount of 16th- and 17th-century German chorale at the expene of other voice that have advocated reform and reconciliation. Conider introducing or teaching Spanih tranlation of uch famou chorale a A Mighty Fortre I Our God (LSB 657) or Soul, Adorn Yourelf with Gladne (ELW 489); honor the contribution of Catherine Winkworth a a tranlator of hymn (dozen each in ELW, LSB, and CW); and ing Eliabeth Cruciger (ca ), The Only Son from Heaven (ELW 309, LSB 402, CW 86) during the time after Epiphany. Cruciger wa a peronal acquaintance of Luther (he preided at her wedding), and her text appeared in the firt two Lutheran hymnal of 1524 but wa wrongly credited throughout the 17th and 18th centurie to Andrea Knoepken ( ). 13 Doe muical or liturgical complexity ilence or hinder? On one hand, complex muic in the aembly i a delight and welcome challenge. For ome it can be uncomfortable and foreign to their experience. For other, imple muic invite quick participation and, at time, repetition that offer time for reflection and meditation. For yet other it produce boredom or eem to lack the depth worthy of honoring or proclaiming the grace of God. How do you account for the diverity of tate and opinion when it come to thee matter? When doe poor deign ilence? The minutiae of detail that urround the upport of the aembly ong i worthy of careful planning. Are there page turn in the middle of canticle? Are the typeface clear and not too cutey o a to upport the word of God? Are muical graphic too compreed 40 Spring 2016 CroAccent

41 COUNTERPOINT Catherine Winkworth ( ) brought the German chorale tradition to Englih peaker with her numerou tranlation of church hymn. and hard to read? Doe the lack of a printed melody in a bulletin create confuion and anxiety about participation in the ong? Doe the choir reheare poken aembly repone or are they left to chance? Are thoe repone clearly printed for viitor? What do date uch a Youth Muic Sunday or World Communion Sunday imply to your aembly or to firt-time viitor? Doe the preence of a ingle Sunday for all-youth leaderhip ugget that their role in worhip i an anomaly, omething to be cherihed only once per year? Do uch deign put young people on diplay rather than integrate their gift into the full aembly week in and week out? And what might a World Communion or a World Muic ervice ugget about the other Sunday and liturgie of the church year? Do thee deign otherize iter and brother throughout the world, lifting them up a a type of exotic they-are-not-u? What would it look like if each aembly gathering in your community embraced and reflected the cro-cultural nature of Chritian worhip a explained in thee word from the Renewing Worhip project: The cro-cultural dimenion of worhip [one of four way that worhip relate to culture] recognize that Chritian from variou culture hare worhip element with one another acro cultural barrier, enriching the whole church and trengthening it awarene of the unity that i God gift. Such haring acro ecumenical or cultural line call for care, integrity, and repect, motivated by a deire to welcome and enter into partnerhip with people of other culture and tradition rather than merely to add a uperficial variety to worhip. 14 I leaderhip given over to the aembly voice? At time a cantor may inadvertently communicate a hierarchical or autocratic model of muical leaderhip by never letting go and letting the aembly find it voice and rhythm. Such deciion might tem from a fear that the harmony or rhythm will fall apart, that the tempo will change, that the pitch will drop, or that the reult may not ound a good a uual. But notice that thee fear are motivated by an ideal ound quality, a meaure of performance, a reflection of the leader muical power to teach, lead, and upport. In fact, the common denominator at work throughout the preceding paragraph i the leader tranfer give it away, hare it write Torvend of thi power to the aembly. Mark Mummert remind u in no uncertain term that like Chrit body, broken Eliabeth Cruciger (ca ) wa the firt female poet and hymnwriter of the Protetant Reformation and a friend of Luther. Her text appeared in the firt two Lutheran hymnal of Sharing acro ecumenical or cultural line call for care, integrity, and repect, motivated by a deire to welcome and enter into partnerhip with people of other culture and tradition rather than merely to add a uperficial variety to worhip. Spring 2016 CroAccent 41

42 COUNTERPOINT Like Chrit body, broken and hared, muical power mut alo be broken and hared in order to nourih and utain the community. and hared, muical power mut alo be broken and hared in order to nourih and utain the community: like the power of privilege that come from cla, rank, gender, wealth, or tatu, muical power mut alo alway yield to the purpoe of the aembly. 15 Potlude Though ilence and ilencing have been critiqued in the preceding paragraph epecially when we, a leader, unintentionally devalue other voice by our action, we do well to remember that God i preent in both ound and the ound of heer ilence, a the palmit meteorological analogie and the prophet Elijah affirm. 16 The point, a we practice in muicianhip, i to recognize that ilence frame ound and ound frame ilence: they are interdependent, and we mut practice hearing the in-between pace where one top and the other begin. Likewie, better litening, better awarene, and better attending to the need of our repective aemblie are not willed into being but are developed through practice of kill that erve thee intention. Such practice extend in many direction and into many relationhip, network whoe tructure and hape may become more clear and focued through ethnographic technique. Conider making fieldwork a regular practice, part of one annual Advent or Lenten dicipline or part of group worhip planning. Some may have multiple communitie to oberve: a contemplative evening ervice during the week, traditional and contemporary ervice on Sunday morning (their problematic label notwithtanding), or a poken gathering. It may even behoove you to hire a ubtitute and attend the ervice eated in the aembly o that you can oberve more fully the particular characteritic of your aembly body and voice a it move together from gathering to ending. The quetion poed throughout the preceding paragraph are predicated on a number of aumption that hould be acknowledged here at the cloe. They aume that deep litening, istock/mark Wilon like fieldwork, i a kill-et honed gradually over time. They aume that converation among group and committee arrive at more thoughtful conenu than i poible by individual deciion-maker. They aume heightened ene of concientioune, openne, humility, and even a little elf-deprecation. They aume a mindfulne of the hidden economic behind our worhip material, of not concripting the muic of another in order to manufacture diverity. They aume that our aemblie can tell u directly or urreptitiouly through word, ound, ilence, or action more than we can ever claim to know about them on our own. Finally they aume an unwavering value placed on the divere voice of the full body of Chrit, Silence frame ound and ound frame ilence: they are interdependent, and we mut practice hearing the in-between pace where one top and the other begin. 42 Spring 2016 CroAccent

43 It may even behoove you to hire a ubtitute and attend the ervice eated in the aembly o that you can oberve more fully the particular characteritic of your aembly body and voice a it move together from gathering to ending. voice that peak to u all at once from pat generation, from faraway land, from down the treet, from the here and now. God ha given u divere form of expreion facial, getural, vocal and church muician have reponibility to recognize, celebrate, and attend to thee ign o that praie, thank, prayer, lament, and call for jutice may reound with full and vibrant voice. Chad Fothergill hold a Univerity Fellowhip in the Boyer College of Muic and Dance at Temple Univerity, Philadelphia, PA, where he i completing a doctoral degree in muicology. Hi reearch center on the Lutheran cantor tradition in both it Reformation-era and preent-day context. He ha erved congregation in Minneota, Iowa, and Pennylvania. Note 1. Matthew 26:22 and Mark 14:19 (NRSV). 2. Diarmaid MacCulloch, Silence: A Chritian Hitory (New York: Viking, 2013), (St. Loui: MorningStar, 2015), Philip V. Bohlman, World Muic: A Very Short Introduction (Oxford: Oxford Univ. Pre, 2002), Chritopher Small, Muicking: The Meaning of Performing and Litening (Middletown, CN: Weleyan Univ. Pre, 1998). 6. In chronological order: Howard S. Olon, Lead U, Lord: A Collection of African Hymn (Minneapoli: Augburg, 1977); I-to Loh, ed., Sound the Bamboo (Quezon City, Philippine: Yan, 1990); and Howard S. Olon, Set Free: A Collection of African Hymn (Minneapoli: Augburg Fortre, 1993). Paul Wetermeyer, Hymnal Companion to Evangelical Lutheran Worhip (Minneapoli: Augburg Fortre, 2010) decribe how, for ELW 538, Sedio heard the tune and put it on paper in it tyle. The reult i muic for the wirling dance of the text yncopated with delight and congregational welcome (421). For decription of variou tyle and conideration for their ue, ee Robert Buckley Farlee and Eric Vollen, ed., Leading the Church Song (Minneapoli: Augburg Fortre, 1998). 7. Gordon W. Lathrop, The Pator: A Spirituality (Minneapoli: Fortre, 2006), Samuel Torvend, The Muician a Artit, Pator, and Prophet: Rethinking Vocation in Troubled Time, CroAccent 11, no. 1 (Spring 2003), Lathrop, Muician Guide to Evangelical Lutheran Worhip (Minneapoli: Augburg Fortre, 2007), Kimberly Bracken Long, The Worhiping Body: The Art of Leading Worhip (Louiville: Wetminter John Knox Pre, 2009), Chritopher George Hoyer, Getting the Word Out: A Handbook for Reader (Minneapoli: Augburg Fortre, 2013), Gracia Grindal, Preaching from Home: The Storie of Seven Lutheran Hymn Writer (Grand Rapid: Eerdman, 2011), 1 13, paim. 14. Evangelical Lutheran Church in America, Principle for Worhip (Minneapoli: Augburg Fortre, 2002), ix x; emphai mine. 15. Mark Mummert, Muical Power: Broken to the Center, in Centripetal Worhip: The Evangelical Heart of Lutheran Worhip, edited by Timothy J. Wengert (Minneapoli: Augburg Fortre, 2007), 39. The quetion for reflection and dicuion at the chapter concluion (p. 45) alo provide helpful tarting place for converation about litening and ilencing in your community. 16. See Palm 18:12 14, 29:3, 68:8, 77:18, 135:7, 148:8, and 1 King 19:12. COUNTERPOINT Spring 2016 CroAccent 43

44 CHORUS Augburg Muic LEADING THE CHURCH S SONG AUGSBURG FORTRESS SUMMER 2016 MUSIC CLINICS Thi ummer, join hundred of other church muician in exploring freh and innovative way to enliven muic in worhip Michael Burkhardt Kritina Langloi Augburg Fortre look forward to eeing you at one of our ix FREE Summer 2016 Muic Clinic. Read through new eaonal muic, attend workhop led by clinician Michael Burkhardt and Kritina Langloi, participate in a hymn fetival, and more. Twin Citie, MN July Columbia, SC July Chicago, IL July Pre-Conference to ALCM Region 3 Seattle, WA July Columbu, OH Augut 1 2 Philadelphia, PA Augut 4 5 Viit augburgmuic.org/muic-clinic to learn more and regiter 44 Spring 2016 CroAccent

45 CHORUS Dave Nagel Church Muician a Deacon? by Scott Weidler The very firt iue of CroAccent (January 1993) included a lead article by Paul Wetermeyer, Vocation and the Church Muician (7 11). In thi article Wetermeyer urged u to ee our vocation a church muician a enough in itelf, not requiring external validation for authentication of our unique minitry. Paul wa reacting, in advance of the Evangelical Lutheran Church in America (ELCA) Churchwide Aembly 1 that coming ummer, againt a propoal for an ordering of public minitrie ( roter ) that could include muician among diaconal miniter. I wa then a young parih muician (thi wa everal year before I began to erve at the ELCA Churchwide Office), and I teamed up with Robert Rimbo (then a parih pator, now a bihop) to write a dienting repone that appeared in the next iue ( Vocation and the Church Muician: A Repone [July 1993]). Life doe indeed repeat itelf. Thi coming ummer, at the ELCA Churchwide Aembly in Augut, a propoal will be made to implify the deciion of 1993 and bring all the lay roter (deacone, diaconal miniter, and aociate in minitry) that were created in 1993 when the propoal wa not approved into one roter The vat majority of muician who erve Lutheran congregation in North America are not rotered in any way and need not feel like econd-cla miniter. together of deacon. Member of thi new roter are decribed a miniter of word and ervice. Many of Wetermeyer concern from 1993 are till valid today. The vat majority of muician who erve Lutheran congregation in North America are not rotered in any way and need not feel like econd-cla miniter. We are all called to our particular vocation through our baptim. That i enough. However, there are thoe who have dicerned an inner call to a more public form of recognized minitry ( rotered in ELCA uage). Some muician were on a roter of a predeceor church body. Many have been received onto the Aociate in Minitry roter ince the formation of the ELCA in Still other are waiting for the outcome of thi ummer aembly to move Lily Lee i organit at Meiah Lutheran Church, Yorba Linda, CA. Spring 2016 CroAccent 45

46 CHORUS forward with their plan to eek a place on the new roter. Thoe who are currently on a lay roter of the ELCA, or thoe who may be dicerning a call to public minitry a a muician, may be wondering where they fit within the propoed roter of miniter of word and ervice, deacon. My purpoe here i not to peruade anyone to upport thi propoal or not. Nor do I intend to ininuate that church muician really ought to move toward being called to thi roter. Rather, a one of the muician currently on the Aociate in Minitry roter I hope to offer a few peronal thought for clarification to quetion that have arien during converation with ome of you. Miniter of Word and Service Clearly, the phrae miniter of word and ervice i parallel to the common decriptor of pator a miniter of word and acrament. While ome muician have had a hard time trying to undertand how they fit on thi roter, the benefit of poitioning the minitrie included on thi new roter, including muic, ide by ide with the Word and Sacrament roter in the ELCA contitution i ignificant. Since word i alo a part of the pator decription, our mind go immediately to preaching which i, of coure, a ignificant part of a pator call. For ome deacon, preaching may alo be a part of their minitry. However, I believe that Lutheran perhap more than any other Chritian tradition ought to eaily undertand muician a among thoe who proclaim the word through ong. Muician proclaim God word regularly by leading congregational hymn and ong, directing the choir and intrumentalit, and often through teaching and perhap, in ome etting, an occaional ermon. The ervice half of the phrae i uually further articulated a ervice to the world. Certainly, minitrie of jutice like feeding the hungry and raiing up the poor are at the heart of a biblical undertanding of diakonia, being a deacon. Thi focu on minitrie in the world, beyond the wall of the church, are an important apect of thi newly emerging roter, jut a it hould be for all the baptized. Anyone erving in the church (including muician, rotered or not) will, at their bet, undertand that their unique minitry ha connection to ervice in the world. Thi can, however, tart to feel a little ditant from our actual work. A document that upport thi propoed change include thi tatement: it alo include ervice in local congregational and other gathered faith community etting through the proclamation of the Word in preaching, leading public prayer, teaching, and leading muic a well a through leaderhip in uch area a education, adminitration, and youth minitry. The connection between worhip and ervice are clear in our Lutheran root, epecially through the German word for worhip, Gottedient (literally ervice of God ), which connote a multidirectional undertanding of ervice from God to the worhipper, from the worhiper to God, and from the aembly of worhipper to 46 Spring 2016 CroAccent

47 the world. The ALCM tatement on the role of the cantor alo affirm thi broad undertanding of the muician minitry: The cantor work i a worthy ervice to God, God people, and the world. I believe muician can rightly undertand their work a ervice to the church for the ake of the world. Deacon For implicity and for ecumenical familiarity, the term deacon i being propoed a the term to call thoe on thi roter. I think it a wie choice. People undertand that deacon have a ignificant role in the church but are different from the pator, even if there are o many varied ue of that term. Some parihe and ynod ue deacon locally; there are diaconal miniter and deaconee. Other denomination ue deacon in many differing way; ome, like the United Methodit, include muician among their roter of deacon. It already a mixed bag. Perhap it i ued o often becaue it actually doe communicate omething to people. Of coure, thoe on a churchwide roter will have very clear expectation that the whole church may or may not undertand. That okay. One hope that muician on thi roter will come to dicern their minitry from a diaconal perpective. They may, however, chooe to be on thi roter but never ue the title deacon publicly. For example, I m on the roter of aociate in minitry, but in the congregation I erved I wa known a the cantor; other are known a director of muic, miniter of muic, and o forth. Thoe on the clergy roter might ue ome form of pator (enior, lead, aociate) or even chaplain or ome other title. I believe that muician can eaily find themelve on a roter of deacon while till clearly identifying a a church muician. Finding a New Way Forward If approved, everyone currently on one of the exiting roter, which already include ALCM member and other muician, would automatically be included on the new roter, if deired. The educational requirement for one to become a deacon are not yet fully determined. What to call the rite that make one a deacon i till under conideration. If the propoal to unify the current lay roter i paed by the aembly in Augut there will be event and reource to help interpret and enure a healthy undertanding of the word and ervice roter. A work continue on haping the detail of thi new roter there till i time for ALCM member to have a voice in how future muician who enter thi public minitry may be formed and recognized. I cannot ay it a clearly a Paul Wetermeyer aid in 1993: The church muician call i not jut a job. But uch a tatement i true for any of the baptized. The whole community of the baptized i called, and the individual member of it are all called to their vocation. (11) And a Robert Rimbo and I aid in our repone: While not every muician ha a ene of calling that would lead him or her to uch a vocation, there are many who do. (4) If you are already on one of the roter affected by thi propoal, or if you are dicerning a call to a minitry of diakonia through muic, I urge you to tay informed about thee development in our church. They may jut be life-changing. Note Scott Weidler i the program director for worhip and muic of the Evangelical Lutheran Church in America. 1. The ELCA Churchwide Aembly currently meet every three year and i that church body primary deciion-making body. My colleague on the churchwide taff, the Rev. Cherlyne Beck, i happy to hear your input on the quetion till before the church about deacon potentially including muician. You can her at cherlyne.beck@elca.org. If you want to engage in friendly dialogue pecifically about the role of muician in the ELCA, you can me at cott.weidler@elca.org. CHORUS Spring 2016 CroAccent 47

48 lutheran CHORUS ummer muic ACADEMY & FESTIVAL JUNE 26 JULY 24, 2016 a muical training and performance program on the campu of Luther College, Decorah, Iowa accepting application for: Band, Choir, Orchetra, Pipe Organ, and, Compoition Financial aitance and early application dicount are available. Ue application code ALCM16 for a $100 dicount. NEW in 2016: Sound of Summer Intitute A 2-week program immered within the LSM community admiion@lutheranummermuic.org 48 Spring 2016 CroAccent

49 Inpiring Young Muician CHORUS by Molly Maillette Lutheran Summer Muic (LSM) faculty and taff member are filled with excitement about the upcoming ummer eion. We are celebrating our 35th year of tranforming the live of young muician in an intentional, faith-baed community. LSM will be opening it door to a new two-week program a well: Sound of Summer Intitute (SOSI). LSM hope to provide more acceibility to today teenager whoe involvement in co-curricular activitie ha been on a continued upward trend. LSM and SOSI are program whoe miion i to tranform live through faith and muic. By providing quality programming we are haping the next generation of church muician. Student get the hand-on experience of a church muician through organ tudie, handbell choir, chapel choir, and conducting. LSM provide tudent many for the firt time with an opportunity to play and perform at a pipe organ or to experience the calming cadence of a handbell choir. The tudent experience at LSM i nothing hort of a gift, an eye-opener that encourage tudent talent and how tudent how muic can become a part of their future. Our faculty roter i filled with loyal collegiate-level intructor and talented muician who have performed all over the world. With uch incredible muical leader, LSM tudent become inpired to dream big and perform bigger. Through weekly private leon and peronal practice time, tudent at LSM learn the importance of bringing one bet elf to the final rehearal, concert, and olo performance. Faculty, taff, and tudent celebrate their progre together a a muic community. Morning and evening prayer offer tudent two intentional moment per day to tune into the LSM pule. The community grow a tudent learn Luther Morning Prayer, a piece written by Carl Schalk. At firt, tudent cling to their heet muic, memorizing the word, melody, and harmony. By week two, tudent relax into an undertanding of the muic. And in the final worhip ervice, tudent ing from the heart a one community voice. Lutheran Summer Muic take place in Decorah, IA, from June 26 thru July 24, and Sound of Summer Intitute i being held June 26 thru July 10. We encourage you to reach out to young muician in your community and church about making LSM or SOSI part of their ummer plan. Pleae alo join u in Decorah for our monthlong concert erie. Both the SOSI concert, July 9, and the LSM Fetival Week, July 20 24, feature tudent recital and large group enemble concert.lsm Fetival Week tart with a hymn fetival on Wedneday, July 20. By inpiring young muician to take part in LSM or SOSI, you are paing on the paion and joy found in celebrating the heritage of Lutheran muic tradition. To learn more about Sound of Summer Intitute and Lutheran Summer Muic, pleae viit u at our webite, www. lutheranummermuic.org. Molly Maillette i the adminitrative and communication coordinator for Lutheran Summer Muic Academy & Fetival. For many who apply, LSM provide tudent with their firt opportunity to play and perform at a pipe organ or experience the calming cadence of a handbell choir. Spring 2016 CroAccent 49

50 BOOKREVIEW Michael Kemp. Rejuvenating Senior Voice: Enhancing the Sound and Confidence of Mature Choir (director edition). Chicago: GIA, xii, 68 pp. ISBN-13: $17.95, paperback (A inger edition [G-9025S] i alo available ummarizing the technique.) am an AARP-card-carrying baby boomer, heading I toward that enior category, who love inging. There are alo card-carrying boomer in a choir I direct and ome who are older than that, well into their 80. Rejuvenating Senior Voice wa written for me and for thoe of you with a big heart for your inger and their well-being who find that ome are eemingly no longer capable of doing what they once did. Or are they? Do you recall converation bet ummarized a perhap it i time to ing alto rather than oprano (or ba rather than tenor), or even have you conidered retiring from choir? Have you, in preparing a core, marked what you wanted and then re-marked it for what wa more feaible given the group? Michael Kemp how u another way. The late Helen Kemp, the author mother and alo director extraordinaire of children choir, write in the introduction about her experience a director of a choral group of enior in a retirement community for a decade prior to 2015 (the year he died at age 97). Working with thoe aged 65 to 85, he ought advice from her on to boot morale and improve what he wa hearing from the group. Hi viit at rehearal led to a workhop, coaching eion, and a dramatic and youthful change in the ound of the choir. Michael Kemp hare inight gleaned from hi experience to help other enliven, empower, and enhance the inging of any choir, and in particular, thoe with aging inger. Vocal difficultie experienced by enior inger may include weakened breath upport, poor projection, a narrowing range, wobbly vibrato, tamina, and more. Thee are ymptom. The author aert that the problem often have deteriorating nonvocal phyical habit at their root. Altering thoe habit can, he maintain, dramatically change the ound. The olution are found in building kill and habit related to poture, breath upport, forward tone placement, and open-throat inging. The inger poture i decribed in narrative form, upported by photograph with tep-bytep direction that guide the director in helping the inger arch the lower back, elevate the head, lift and round the upper toro lightly, and connect with the floor by leaning into the heel, rather than the toe. Slight movement i encouraged to avoid rigidity and tiffne in the body, and good, lifted poture i ued to counteract breathing that would be compromied by inefficient poture, a the author call it, helping to maintain vocal energy in rehearal and performance. A brief dicuion of vocal apparatu and the Bernoulli Effect begin the chapter on teaching breath upport. Image uch a firebreathing, trampoline effect, and pulling on imaginary upender guide the reader in coaching inger to produce a conitent and phyically upported air flow reulting in good breath upport and linear inging with forward momentum. One i warned to avoid taccato warm-up and glottal attack, a thee break the air flow that may be 50 Spring 2016 CroAccent

51 hard to re-etablih quickly in the older inger and could caue vocal train. The author write that tone placement i the concept or feeling of uing your imagination to help you aim your ound to a pecific place in your anatomy (25). He further tate that, for the middle 80% of the vocal range, inger hould aim their ound up into the hard palate, and he ugget everal image to help one experience that enation of good tone placement. In the upper range, he tree a gentle lift, buoyancy, and weightlene rather than powering up to a note, a one might have done in younger year. He alo addree benefit of faletto for male inger, way to modify placement for the lower range, generating increaed reonance, and vowel modification related to forward placement. The fourth component-kill addreed in the book i teaching open-throat inging that which create an unretricted paage up and down the throat. The author provide an echo effect exercie, a narrative, and photograph to convey the concept and mean by which one might teach and practice it. The concluding chapter touch on everal topic. A cae tudy i preented with olution offered in each of the major kill area, a one might do for a truggling inger. An approach i uggeted for placing inger in correct vocal ection baed on quality, weight in the voice, and comfort, rather than range. Productive warmup for enior are recommended to reinforce the fundamental kill of inging in a otenuto tyle. Thee warm-up are all drawn from the author earlier book The Choral Challenge (2009; GIA G-6776) and Innovative Warm-up for the Volunteer Choir (2014; GIA G-8696L). Body, mind, pirit, voice! It take the whole peron to ing and rejoice! (v) wa a favorite quote heard at many of Helen Kemp workhop. Michael hare tip for dealing with not jut the voice but alo the mind, body, and pirit; addreing hearing iue; building confidence in inger; aiding memory retention from one rehearal to the next. He even include a regimen for home practice to help choriter tay in vocal hape. There i alo a ection on recruitment. Rejuvenating Senior Voice will caue you to think about your inger and how you might approach problem with eaily graped and energizing olution. Michael Kemp will make you believe that enhancing the ound and confidence of mature choir i not only poible but that it can alo reap huge benefit for the individual and the choir, benefit that are phyical, emotional, ocial, likely piritual, and mot definitely muical. Not only i the book worth a read, it alo deerve to be kept handy for quick reference, freh idea, and an enthuiatic way of approaching the art of choral inging a one eek to bring out the bet in their inger. Cynthia Holden St. John Lutheran Church Sayville, NY ound INSPIRATION BOOKREVIEW Riedel enhance the worhip experience by inpiring the dynamic expreion of peech and ound. By blending art, cience and kill, we help enrich the fullne, preence and clarity of peech and muic, a well a ilence unwanted noie. SCOTT R. RIEDEL & ASSOCIATES, LTD. 819 NORTH CASS STREET MILWAUKEE, WI (414) conult@riedelaociate.com hear the difference. Acoutical Deign & Teting Organ Conultation & Inpection Organ Maintenance & Tuning Sound & Video Sytem Deign, Evaluation & Training Spring 2016 CroAccent 51

52 BOOKREVIEW Carl Schalk. More Firt Peron Singular: Reflection on Worhip, Liturgy, Church Muic, and Children in Worhip St. Loui: MorningStar, pp. ISBN-13: $12.00, paperback. About a year ago I hared my copy of Schalk Firt Peron Singular: Worhip through Alice Looking Gla: And Other Reflection on Worhip, Liturgy, and Children (St. Loui: MorningStar, 1998) with a member of my church choir, the father of a two-year-old, who with hi wife wa expecting another child in a few month. He read the volume in a ingle evening, exclaiming to me the following day, Thi book i fantatic! How do I get every parent to read it? It hould be required reading for all Chritian couple. The popularity of that collection ha now led to the publication of thi econd collection. While the firt book content were taken from hort article that Schalk had originally written for the journal Lutheran Education more than 20 year ago, the eay contained in thi new book are more recently compoed. Thi volume i not a heavy in it emphai on children in particular; however, it offer a vat amount of invaluable and thought-provoking commentary on muic, worhip, and liturgy for pator, teacher, muician, and other church leader. Schalk deliver hi commentary in a imple and engaging manner, often including a bit of dry humor, but hi meage are clear and direct. In thi age of political correctne, he i unafraid to tell it like it i. He addree many iue and concern facing worhip leader and church muician today uing a unique perpective derived from hi many year of experience and of ervice to the church. Some of my favorite topic include Singing the Church Song, To Sing or Not to Sing at Holy Communion, and The Beauty of Simplicity. In How Do Your Choir Rehearal End? Schalk challenge choir director to find a choral piece appropriate for the cloe of the day and have the choir ing it every week a a cloing prayer, ever internalizing the text and growing into the piece a the week go by. Finding the Congregation Voice encourage the exploration of a capella congregational inging of palm and liturgy. Schalk contend that, a the congregation become more comfortable and confident in inging thi way, dicovering it own voice, the people confidence in inging accompanied will alo increae. Amuing Ourelve to Death contemplate the difference between the ue of muic for the edification of the people and for enhancement of the poken word in the divine ervice veru it ue for mere entertainment. A one of the mot prominent compoer of church muic in the 20th century, Schalk offer three imple reminder for young compoer of the current generation in Muic a Craft: Advice for Fledgling Compoer : take the time and make the effort to learn your craft; remember the dicipline of your craft and allow that to be the framework around which creativity can find it outlet; and be ruthlely elf-critical. (42) Hi Advice for Young Church Muician i ummed up by the imple phrae, becaue you can doen t mean you hould (36). (I peronally have known a few young organit who hould take thi to heart!) The aforementioned are but a few example of the jewel that can be found among the 23 eay in thi book. They are all hort and quite eay to read. Their content, however, i profound, and the reader will mot certainly find reaon to return to them again and again. Peter Weler Trinity Lutheran Church, Pekin, IL Academy Director, Lutheran Summer Muic 52 Spring 2016 CroAccent

53 Paul Wetermeyer. Church Muician: Reflection on Their Call, Craft, Hitory, and Challenge. St. Loui: MorningStar, xi, 88 pp. ISBN-13: $15.00, paperback. Many church muician face the planning, practicing, and preenting of church muic on a weekly bai with little time for reflection. Often it i the outcome on Sunday morning that raie the quetion for reflection, What am I really about a a church muician? Wetermeyer take everal related lecture he ha preented to form a book that help church muician define who they are in the church a they carry out their calling their vocation of working with the congregation and the choir. Throughout thi book the work and craft of church muician are examined from a hitorical perpective through current practice (back cover). Chapter 1 reflect the call of God to a people, muician, and everybody ele that tand in oppoition to the preent-day culture with it agenda that think thoe who came before u did not know very much (2). Thu Wetermeyer begin with a people, a community of the baptized, into which he place the church muician: The muic a church muician make with the community of the baptized i broken to and contextualized by Word and Sacrament (3). Among the many activitie of the church i that it ing, not manipulative ale jingle, but muic that i for the glory of God and the good (edification or anctification ) of the neighbor (3 4), a J. S. Bach often indicate in hi muic. The firt chapter end with dicuion of the vocation of the clergy and the vocation of the church muician that lead to partnerhip that i a powerful outcome of and witne to the church being (13). The craft of the church muician in working with the congregation i the focu of chapter 2. BOOKREVIEW The congregation muic i primarily vocal and communal, upported by the acoutic, architecture, and character of the pace. Among the many inight provided by Wetermeyer, I believe the greatet one i thi: congregation which ing palm tone without accompaniment eem to be able to ing all manner of other tyle of muic (21) omething well worth further contemplation and exploration. In working with the congregation the church muician ue the factor of tempo and breathing to be component in developing trut with the congregation. Chapter 3 give attention to the cantor or church muician craft in working with the choir a it explore what the choir i to ing proper, palm, alternation in hymn inging, cantata and other larger work, challenging work with ome dionance. Throughout thi chapter Wetermeyer give encouragement a well a warning. An example of thi i hi dicuion of Luther view of muic a an incredible gift of God that we are not to leave in it natural tate but are to craft it reponibly (35). When cantor help the church both choir and congregation ing around Word, Font, and Table in eaon and out of eaon, no matter what, they are freed to be faithfully hopeful a they build culture of trut (37). Leading the church in ong mean the cantor craft i about the breath, pule, and pacing of the people (38) the heartbeat of the church that reveal it community. Chapter 4, Hitorical Perpective, i a brief hitory of the church encounter with muic beginning with the Palm and Coloian 3:16. The chapter highlight Tertullian and Laodicaea, Loui Benon and criptural hymnody, Joeph Jungmann and Hippolytu, Calvinit, Iaac Watt, Anglican, Weleyan, Black piritual, and the hymn exploion of the 20th century. The chool of acred muic developed Spring 2016 CroAccent 53

54 BOOKREVIEW in connection with theological eminarie in the United State in the 20th and 21t centurie are given greater examination in part becaue o many of them are diappearing at an alarming rate and in part with a concern for church muician and clergy to it down at the table for their mutual edification. The challenge we a muician and clergy face bring thi book to a cloe. It i good to ee dicuion (though brief) about oratorio, requiem, theater, churche, Sunday Word and Table equence (56), pectator and the challenge they preent. Uing Charle Ive a an example, Wetermeyer raie the challenge of contemporary muic in the church. Other challenge focu on muic a a ale technique that preent a eriou challenge becaue it gut the nature of the church and keep the church from erving the culture (62). Thi i but a mall ampling of the challenge that are given in thi lat chapter. The church muician i given the opportunity to erve faithfully in the face of many obtacle a o many cantor have done in the pat. A challenge for Wetermeyer in writing thi book i the definition of church muician parttime or full-time, profeional or amateur, thoe with leer abilitie or the virtuoo. He ha done quite a fine job of peaking to all with hi concern and hi encouragement. The whole book i upplemented not only with helpful footnote but alo a thorough bibliography that point to the riche available for further tudy. The reader can ue thi book for peronal reflection periodically over the year. It would be epecially helpful for a group of church muician and pator to form a tudy group a a way of exploring the riche that Wetermeyer provide. Thi book i well worth the read and more. Henry Gerike Reformation Lutheran Church St. Loui, MO Inide the Wetminter Conducting Intitute (DVD) Chicago: GIA, DVD-972. $ Wetminter Choir College (WCC) ha been a leader in choral muic and choral education for multiple generation of thoe who love the choral art. Through ummer program offered there over many year, choral muic ha been given a place of pecial prominence and attention, mot famouly when Robert Shaw led hi ummer workhop at WCC. Now Wetminter i offering thi new DVD, featuring five well-known American conductor: Charle Bruffy, Bruce Chamberlin, Vance George, Jame Jordan, and Weton Noble. For the working conductor who eek freh inpiration and inight from conductor with whom they have never worked (or who want to enjoy again the widom of a conductor with whom you are acquainted), thi DVD would be a ueful addition to your library. The format, a explained by the cla organizer Jame Jordan, allow participant to work with the mater teacher in mall clae through a week of tudy. Thi DVD capture the captone of the week: cla participant conducting other tudent in rehearal and receiving real-time critique from the five intructor. One of the trength of the video i the fact that one receive a full 30 minute of each mater teacher working with variou conductor. If you watch the entire video you will receive mall gem of inight a they teach the cla participant with uniformly nurturing and warm demeanor the mood i appropriately eriou, but there i an obviou care and ene of humor. I am gueing that thoe who took thi cla left with a feeling of accomplihment, affirmation, and new energy to tackle their daily work. The general tone of thi DVD remind one of the joy of the profeion we hare: both intructor and tudent how a remarkable generoity in haring idea and interacting with warmth, humor, and a clear love of choral muic. 54 Spring 2016 CroAccent

55 Each 30-minute egment offer an extended chance to oberve a divere group of tudent conductor who offer a breadth of age, experience, and technique. A noted, we are eeing the final eion of a week of tudy. While the teacher offer helpful inight, it i ometime difficult to ee much in the way of change in the technique of the tudent. A brief chance to witne intruction that occurred earlier in the weeklong eminar would have been very intereting and helpful to thoe of u eeing the final reult. We alo ee long tretche of uninterrupted conducting, epecially at the beginning of each chapter. Some of the teacher generouly allowed tudent to conduct an entire octavo before digging into the work at hand; briefer excerpt of many work would have ufficed, and more editing at thi level would have allowed u to witne even more interaction between the teacher and tudent. I alo found the camera occaionally lingering with the teacher immediately after important intruction had been offered, meaning we did not alway ee the immediate outcome. A an intructor who teache conducting to undergraduate tudent, I found myelf oberving ubtantial mirroring and hoped that one of the teacher would dicu and work on the independence of right and left hand. It wa alo intereting to oberve the ue of both the hand and the baton, although the ubject wa never raied. Good hand poition and the muical, vocal, and aethetic expreion derived from the ue of the hand eemed implied but were never explored in any egment. The attention of the cla, a found on the DVD, i clearly related to geture; tylitic concern were perhap covered in earlier clae. In term of repertoire, you will be able to ee tudent conduct ome great claic literature (e.g., Brahm, Beethoven, Mozart). There are alo a number of work by living compoer. While thee work offer different conducting challenge, a conductor eeking a chance to dicover a volume of new choral literature will need to look elewhere. The trength of the format, a revealed in watching thi DVD, are an attention to howing muicality through geture; helping conductor tranmit idea through poture, breath, and geture; and genuine detail and attention to advanced rehearal technique. The teacher had a clear and trong focu on encouraging tudent to liten carefully to the ound of the enemble; focu on what they were hearing; and ue geture to hape, mold, and encourage that ound. The participant are offered the clear benefit of the thought of experienced and beloved choral conductor. We have all enjoyed the intruction of mentor who have offered u the benefit of their knowledge and experience. For the conductor who ha no knowledge of ome or all of thee five conductor, thi product will offer you good inight into their repective approache to the art of conducting. Chritopher Cock Valparaio Univerity Valparaio, IN BOOKREVIEW Spring 2016 CroAccent 55

56 SOUNDFEST CONGREGATIONAL SONG Bryan L. Greer. All Hail the Power of Jeu Name. Congregation, union choir, bra extet, percuion, organ. MorningStar (MSM ), $ Thi fetive congregational etting of Coronation i cored for three trumpet (C and B-flat part included), two trombone, and ba trombone, with timpani and cymbal. Horn in F may ubtitute for trombone 1. All intrumental part are included, with permiion to duplicate a many copie a needed for rehearal and performance. No text i in thi etting, but two tanza and an interlude are to be ued at the dicretion of the director. Choir and congregation ing from the hymnal. Diciplined high chool bra player hould be able to perform thee part, which have rhythmic interet, with lot of 16th note and triplet; they will need to articulate cleanly. Joyful congregational inging hould reult. JG Gracia Grindal. A Treaury of Faith: Lectionary Hymn Text, New Tetament, Serie A, B, and C. Congregation. Wayne Leupold (WL800053), $ Part of a erie from Wayne Leupold Edition encompaing more than 1000 new hymn, thi collection i by Grindal, retired profeor of preaching and hymnody at Luther Seminary, St. Paul, MN. Accepting Leupold challenge to write a hymn on every reading of the Revied Common Lectionary (RCL), he tell of her habit of writing a hymn every Saturday night a daunting 10-year project now completed with thi volume. In the hand of a mater hymnit like Grindal, the reult are exemplary. A Treaury of Faith i a well-choen title: thee are hymn that expre and inpire faith. Neither Scripture paraphrae nor high literary production, they are rather concie, ermonic, poetic above all, Chrit-centered reflection on the word, making them ueful not only for inging in worhip but alo for worhip planning or devotional reading. Conider, for example, the hymn for Holy Trinity A, p. 41, We heard hi voice / through all the noie which beg the quetion, What noie? Maybe the lie that the reurrection wa a hoax (Mt. 28:11 15), or perhap noiy iue in the Corinthian church? Into uch noie, The Lord of all / then gave the call / Go forth to ev ry nation. Or conider O Chrit Our King, Year A, Chrit the King, Proper 29, p. 67, where we echo Epheian 1 when we ing, Faith help u ee / your majety / the riche we ll inherit. / You rule in might / we ee your light / break through our night / helped by your Holy Spirit. (Thee two example and alo Year C Proper 21, p. 188, hare the unuual meter , for which the tune name uggeted need correction it hould be the Norwegian Herre Jeu Krit, found at CW 362.) In all there are 200 hymn (text) here for the RCL econd reading (Epitle) of all three year, with an occaional import from the gopel for the day (a above). Meter are clearly labeled and matching tune uggeted. Three-quarter of the hymn fit familiar tune and thu are more acceible to congregation; nearly all the uggeted tune are available in at leat one of the book in common ue among u CW, ELW, LBW, LW, or LSB. The other 50 need a newly compoed tune, motly becaue of unuual meter. Compoer, take note: here i material worthy of your compoitional bet! There are even two graphic hymn for Holy Week (pp ) laid out 56 Spring 2016 CroAccent

57 in cruciform or chalice-form on the page. A with all the book in thi erie, thi volume i well upplied with indice to help worhip planner pend thi treaury in edifying way. DS Robert A. Hobby. Crown Him with Many Crown. Congregation, union choir, bra quartet, percuion, organ, with optional decant. MorningStar (MSM ), $ Crown Him with Many Crown i a quinteential hymn concertato, a huge, bigger-than-life finale for any fetival ervice. There i no choral core, only an optional, reproducible decant part. Scoring i for two trumpet in B-flat or C, two trombone, horn in F a a ubtitute for the firt trombone, timpani, and crah cymbal. Hobby doe a good job of capturing the pirit of the text, from the fanfare introduction to a brief intropective interlude after to the word but downward bend their burning eye at myterie o bright to the grand potcript after the final phrae Thy praie and glory hall not fail throughout eternity. Inciting God people to make a joyful noie with muic like thi i o much fun. KO Robert Lehman. Three Congregational Hymn Setting for Bra. Congregation, union choir with decant, bra quintet, timpani, organ. MorningStar (MSM ), $ Each hymn tune i treated in the ame way: a fetal introduction and four different etting for variou tanza, with reproducible part for all bra and timpani. Trumpet part are available in both C and B-flat. Vocal decant are provided for two of the tune, with permiion to change text to match the hymnal being ued. The tune include Eater Hymn, Lat un erfreuen, and Uner Herrcher. Each arrangement i crafted well and will find great appreciation not only among muician but epecially among worhipper. JG INSTRUMENTAL ORGAN Pamela Decker. Fantay on the Name of Roy Andrew Johnon. Wayne Leupold (WL710014), $ Dedicated to the memory of a ditinguihed faculty member of the Univerity of Arizona School of Muic, thi two-part work begin with a quiet, lyrical ection which, according to publiher note, i baed on aignment of pitch material to alphabet letter, a wa operative in Prélude et fugue ur le nom d Alain by Maurice Duruflé. The muic of the firt ection i underpinned by nearly contant eighth-note rhythm with prominent econd, fourth. and SOUNDFEST Spring 2016 CroAccent 57

58 SOUNDFEST eventh harmonie and changing meter. Publiher note further tate that the plaintive, reaching quality of linear movement lead to a primary thematic tatement, effected by a reed top. Thi primary theme become a fugal ubject in the econd ection, building in intenity a it i pitted againt cro rhythm and thematic pattern of tranformation and diminution. Regitration call for a three-manual organ. A pipe organ will bet erve the muical nuance of thi compoition. Muically intellectual audience will bet appreciate thi moderately difficult work. CP Marcel Dupré. Marcel Dupré: Legendary Organ Improviation, vol. 3. Trancribed by David A. Stech. Wayne Leupold (WL600293), $ Few (if any) of u have heard the famed organ improviation of Marcel Dupré performed during worhip ervice at the Church of Saint-Sulpice in Pari. However, thank to the trancription and recontruction of ome of thee piece by David Stech, done with the reluctant permiion of the compoer during hi life, we can get ome idea of the type and variety of thee compoition, now available in notation. Volume 3 of the erie feature work improvied in Pari in 1971, the final year of Dupré life. Five work are included in thi volume: a brief Improviation, a lengthy Introduction and Double Fugue, a brief Offertoire, a lengthy Introduction, Fugue, and Meditation, and a brief Sortie. The opening work feature conitent five-voice texture and beautiful flowing melodie adorned with rich harmonie. The econd work might better have been titled Introduction and Fugue with Two Subject, a the two fugue ubject never appear imultaneouly but are rather preented in ucceion. Thi impreive work ha ome intereting moment but generally uffer from a lack of focu due to it great length (17 page). The pleaing third work i very hort, i alo in five-voice texture, and ha a plaintive character. The fourth work feature an attractive, imple fugue that i followed by an extended Adagio Meditation, which eem to thi reviewer to be uperfluou. It i intereting that thi work begin in D major for the Introduction and Double Fugue, but conclude the Adagio Meditation in the key of G major. The final work begin in a ubdued manner with lovely, luh harmonie, and gradually build to a magnificent, compelling concluion, all within four page. While thee work will require careful preparation, they are not nearly a technically demanding a Dupré ymphonic concert work for organ. The pecification of the Cavaillé-Coll organ at Saint-Sulpice are given in the note. JB An Eay Handel Organ Album: Original Work and Arrangement. Ed. by Daniel Moult. Bärenreiter (BA 11213), (approx. $15.38). Thi worthwhile anthology feature original work of Handel, trancription by hi aitant, and arrangement by both the compoer publiher and editor Moult. The piece of eay to eay-medium difficulty are taken from Handel oratorio, uite, concerto, opera, Water Muic, and The Muick for the Royal Firework. An index of technical difficulty, a well a detailed information on performance practice and interpretation of individual piece, will erve a valuable teaching aid. While the collection i intended for organ, the muic feaibly could be executed on a variety of keyboard intrument. Originally deigned for intruction and introduction to baroque organ, the quality of arrangement will give thi volume a valued place 58 Spring 2016 CroAccent

59 in the repertoire of eaoned muician a well. The anthology i certain to be a ueful tool in teaching, worhip, and wedding etting, or any occaion where baroque muic i deirable. CP David German. Trumpet Proceional in G. MorningStar (MSM ), $8.00. Written in ABA form, thi upbeat, ight-readable compoition call for a olo trumpet top and full-bodied Swell, Great, and Pedal diviion. Suitable a either a proceional or general occaion piece, it i eaily adaptable to a two-manual organ. An intrument with good capacity for dynamic range will bet erve thi muic. CP Nicola de Grigny. Premier Livre d Orgue (1699). Ed. by Wayne Leupold. Wayne Leupold (WL500025), $ Thi new performing Urtext edition with editorial and interpretive commentary from Wayne Leupold Edition i a welcome reource for today muician who are exploring thi important repertoire. Grigny Organ Book contain an alternatim etting of the Cunctipoten genitor Deu Ma Ordinary along with five horter Gregorian hymn uite. It i an unconteted fact that the original 1699 edition wa full of error and that a 1711 reiue of the original print wa no better. However, a part of their ongoing muical education, both J. S. Bach and J. G. Walther each made their own manucript copie of Grigny Organ Book, and their correction and alteration provide u with a valuable contemporary ource for comparion with Grigny original edition. Editor Leupold ha taken great care to make thi new edition a cloe to Grigny original edition a poible. Then, where quetionable paage occur, both the reading in the Bach and the Walther copie are conulted and documented in the Editorial and Interpretive Commentary. Thi ection of the book take up 36 page of ingle-paced errata. Further contributing to it value, thi edition alo include a wealth of information on performance practice for thi repertoire. Topic include the French baroque organ and it regitration, Note inégale rhythm, fingering and articulation, and ornamentation. An intereting ection on ecular tyle and dance rhythm i informative, a i a gloary of top name and compoite regitration recipe (Grand jeu, Grand plein jeu, e.g.) which are o typical of French baroque organ muic. Many facimile are reproduced, and the ource of the chant and their Englih tranlation are provided. All of thee feature make thi an indipenible addition to the librarie of organit and cholar alike. JB Robert J. Powell. Throned in Glory: Three Hymn Setting for Organ. MorningStar (MSM ), $ Robert Powell ha arranged three hymn in thi collection, baed on the hymn tune Juda Maccabeu; Komm, o komm, du Geit de Leben; and Retoration. The etting are of medium difficulty and include active pedal part throughout. The compoer give great detail in uggeting regitration. Hi muic alo reflect well the lyric of the hymn by ue of dynamic contrat and varied articulation. The election would erve well a preervice or potlude muic. MS SOUNDFEST Spring 2016 CroAccent 59

60 SOUNDFEST Margaret Vardel Sandreky. The Organ Muic of Margaret Vardel Sandreky, vol. 9. Wayne Leupold (WL600245), $ Thi three-part compoition of moderate difficulty i a complex work for recital or pecial occaion. Unmetered, it demand a three-manual intrument. Changing key ignature and regitration, a well a a range of dynamic and tempi, infue the muic with emotional energy. Articulative nuance figure prominently into the compoition. Incorporated into the Finale i an originally compoed tune baed on the hymn Glory to the Lamb, Palm IX from Hymn for the Ue of the Methodit Epicopal Church (rev. edition, 1849). Included in the muical core i a reproducible, four-part reduction of Sandreky original hymn tune with text. A well-voiced pipe organ with reponive key action and capacity for dynamic expreion will bet erve thi muic. Sandreky work wa commiioned by The Thoma S. Kenan III Intitute for the Art in celebration of it 20th year. CP The etting are a refrehing collection of Eater prelude and range in difficulty from medium to medium-difficult. MS PIANO Keith Kolander. Twelve Hymn Contemplation for Piano, Set 1 and Set 2. Marquee Publihing (ISBN ; ISBN ), $15.00 per et. Breaking with tandard publihing practice, Kolander cover the church year from Advent to Pentecot within the context of each volume, and alo include general-ue hymn etting. Twelve etting per volume are baed on uch traditional hymn tune a Regent Square, Ebenezer, Cwm Rhondda, and Ellacombe (et 1) and Beach Spring, Gabriel Meage, St. Columba, and Walton (et 2). Second and fourth harmonie with predominantly eighth-note rhythm add an appealing, contemplative air to each tune. Kolander ha choen to elf-publih thee work. Audio ample and link to purchae the muic may be found at CP (Note: A third et wa publihed in February 2016.) David Schelat. Five Prelude for Eater. MorningStar (MSM ), $ The tune repreented in thi collection are Chrit it ertanden, Eater hymn, Gaudeamu pariter, Gelobt ei Gott, and Lancahire. The etting of Lancahire would make an excellent potlude: it i regitered for full organ with reed and i fugal in nature with each hand and the pedal carrying the theme. Chrit it ertanden i preented a an ornamented chorale. 60 Spring 2016 CroAccent

61 KEYBOARD AND INSTRUMENT(S) Daniel Burton. Three Shepherd Hymn. Cello, organ. MorningStar (MSM ), $ Thi collection include imple but appealing arrangement that give cellit the opportunity to play familiar hymn melodie. The cello part could be played by many high chool cellit, and the organ part are motly ight-readable. The etting of Brother Jame Air, which i the mot difficult, i the mot intereting due to it varied treatment of the melody. The other tune in the collection are St. Columba and Crimond. Reproducible cello part are included. LW David Conte. Sonata for Violoncello and Piano. Cello, piano. E. C. Schirmer (8052), $ Written for cellit Emil Miland, thi i a major concert work of ignificant difficulty for both the cello and the piano. The harmonic language evoke compoer of the early to mid 20 th century, uch a Samuel Barber and Frank Bridge, with moment reminicent of Dmitri Shotakovich and Paul Hindemith. It i chromatic but not overly dionant. Similarly, Conte ue of meter change i retrained but effective, often uing meter change to extend phrae in a way that feel organic. The four-movement work utilize traditional form and rhythm, including onata-allegro form in the firt movement, a paacaglia in the econd movement, and a gigue in the fourth movement. The third movement, called Lied, i the lowet and mot acceible, decribed by Conte a a quietly expreive Andante in the unny and regal key of E-flat major. Conte write very lyrical melodie, and the part, though difficult, are well-uited to the intrument. In the context of worhip, the firt or econd movement could erve well a a prelude, epecially during Lent or for a reflective ervice. The third movement would be appropriate during prelude, offering, or communion, and the final movement would work well a a potlude. The publication include a piano core and a eparate cello core. (I am grateful to cellit Ed Laut for hi aitance in thi review.) LW Duane Funderburk. Immortal, Inviible, God Only Wie. Violin, cello, piano. MorningStar (MSM ), $ Beginning in a lively Allegro tempo with multiple ixteenth-note run, Funderburk arrangement of St. Denio will grab litener attention and draw them into a pleaing celebration of God majety. The piece move through everal contrating mood, including undulating legato eighth note, a calmer ection, and a majetic concluion. Both tring part include double top. Although the note are not difficult, the fat tempo increae the difficulty to medium. Reproducible tring part are included; the piano play from the core. LW SOUNDFEST Spring 2016 CroAccent 61

62 SOUNDFEST David Laky. Fanfare. Bra quartet, organ. MorningStar (MSM ), $ Concie and dramatic, Fanfare would be a great tart to uch fetive ervice a Palm Sunday or Eater. The core include intrumental part for two trumpet in B-flat or C, two trombone, and horn in F a a ubtitute for the firt trombone part. In an ABA form, the total length i about 2 minute. The A ection might even be performed alone to accompany liturgical movement, uch a an Eater gopel proceion. Whatever the placement, Fanfare dancing meter change and dramatic harmonie make a big tatement that omething important i about to happen. KO Jerry Wetenkuehler. Three Fetive Trumpet Tune. Organ, with optional trumpet. MorningStar (MSM ), $ A the title ugget, thi work feature three fetive organ etting, with part included for both B-flat and C trumpet. Specified regitration i a olo trumpet and full-bodied Great and Pedal diviion. Hymn tune are Amterdam and Wetminter Abbey; alo featured i an original work by Wetenkuehler. The etting are newly compoed, cononant, and ight-readable. The Amterdam etting i particularly tirring. The collection will be ueful in a variety of worhip and fetive occaion. CP INSTRUMENTS David Ahley White. Divertimento. Violin and viola. E. C. Schirmer (8219), $ Commiioned to celebrate violinit Kenneth Goldmith 50th birthday, Divertimento i a challenging three-movement work intended for highly accomplihed player, much more ubtantial than it title implie. White treat the two intrument equally, continually trading imaginative, ophiticated melodic material between the violin and viola. The part are well uited to the intrument, with a pleaing variety of bow articulation. Special effect uch a nap pizzicato, ponticello, tremolo, ul tato, and con ordino add interet. The fat outer movement have great perpetual drive, combined with colorful dynamic, chromaticim, double top, and mixed meter. The lyrical middle movement reflect on the hymn tune Bourbon. The publication include a core a well a eparate violin and viola part. (I am grateful to violit/violinit Monty Carter for hi aitance with thi review.) LW 62 Spring 2016 CroAccent

63 VOCAL SOLO ADULT CHOIR SOUNDFEST Michael Larkin. Jeu Chrit I Rien Today. Medium voice, piano. MorningStar (MSM ), $ Larkin ha et four Lenten text and four Eater text in thi collection. The ong are primarily trophic, with teady, regular meter and tonal harmony. Occaional chromaticim add interet, epecially in At the Cry of the Firt Bird. In addition to the medium voice and piano part, Golgotha include an optional intrument part (oboe included; clarinet part available for download) that will greatly increae it impact. Thee two ong, Love Redeeming Work I Done and Jeu Chrit I Rien Today, have newly compoed melodie, while the other four ong ue pre-exiting tune (Were You There, Wondrou Love, Middlebury, and Noël Nouvelet). Mot oloit and pianit will find thee etting eay to learn yet muically atifying. The accompanit and the oloit will each need their own copy of the core. LW C. J. Adam. God Peace. SAB, piano. Hope (C 5987), $2.20. Set to the tune Beach Spring, thi anthem i a etting of a text by Marva J. Dawn. It i motly in union with ome ection in SA or SAB. The text take on a devotional character and focue on coming to God grace from the buyne of life. The anthem i part of a erie called Quick Study Choral, which contain a number of eaily learned anthem for a variety of occaion. In addition, there i an SATB etting (C 5752) that i jut a acceible a thi voicing. Thi anthem can be ung by choir of a wide variety of ability level and can be ung by large or mall choir. It i uitable for Lent or any ervice where the theme i God peace. AW William Braun. Down from the Mount of Glory. SATB, congregation, organ, trumpet. Concordia ( ), $2.30. Thi etting of the tune Ich freu mich in dem Herren i an excellent marriage of text and muic. While tanza 1, 3, and 5 are in union and in D Major, the harmonization in the organ reflect the text. For example, the accompaniment become more dionant in tanza 3, epecially where it refer to the humiliation of Chrit when he hung upon the cro. Stanza 2 i a etting of the tune in G Major for SATB choir and trumpet. Stanza 4 i an SATB Spring 2016 CroAccent 63

64 SOUNDFEST a cappella treatment of the tune in D minor, appropriate for text referring to the cro and agony. The anthem include a reproducible page for the congregation to ing on tanza 1, 3, and 5. It i uitable for large or mall choir, but tanza 2 and 4 may need a little more rehearing, a thoe vere are not completely traightforward. It i mot uitable for Tranfiguration Sunday, although the text forehadow Lent. AW Michael Burkhardt. Thi Touch of Love. SATB, organ. MorningStar (MSM ), $1.70. Burkhardt ha compoed the imple yet profound tune Wonder for Vajda poignant text Thi Touch of Love. In thi arrangement, he et three of Vajda ix tanza, with the firt tanza in union, the econd in four-part harmony, and the lat tanza in union, breaking into harmony for the final phrae in all I do, to give you praie. The melody i memorable with it equential pattern of four decending tepwie note followed by the acending melody for the final phrae of each tanza. JRB Chrit Jeu Lay in Death Strong Band. Arr. by Ryan Kelly. SATB divii, tambourine. Augburg Fortre ( ), $1.95. If you have a choir that love to proclaim the gloriou meage of Eater and that doen t heitate to accept the challenge of divided part, with ome devil interval and mixed meter throughout while inging in both Englih and Latin, then thi i ure to be fun for all: inger, director, and litener. Jut in time for the 500th anniverary of the Reformation, editor Anton Armtrong and John Ferguon hare a refrehing a cappella etting of Luther great Eater chorale Chrit lag in Todebanden. Accompanied by tambourine, thi piece will urely inpire all who learn and hear it. The Latin i Victimae pachali laude ung by the bae, while tenor have an elegant but contrating Alleluia (then they witch part). Meanwhile, the oprano and alto alternate phrae of the chorale. The lat page of umptuou Alleluia i imply thrilling. Although thi piece i not eay, it i definitely worth the effort. JG Michael D. Cotello. A Your Spirit in the Deert. SATB or oloit, organ, with optional oboe (or other intrument), aembly. Augburg Fortre ( ), $1.95. The creative force of Suan Palo Cherwien (text) and Michael Cotello (muic) bring a hauntingly beautiful core for choir (or oloit/cantor) and aembly, emphaizing the time God people pent in deert both geographically and piritually. The congregational part may be reproduced for the five time they are to ing, reflecting briefly on the choral vere. The wandering lead through dut, danger, thirt, and fear to promie of living water, courage, and comfort a muical journey to the promie of a new life. Lenten overtone abound, but the piece alo could be ued at other time of the year, perhap including the Great Vigil of Eater. JG 64 Spring 2016 CroAccent

65 Taylor Scott Davi. No Crying He Make. SATB, piano. MorningStar (MSM ), $1.70. Excerpted from the larger work Return to Me (2012), thi i a haunting muical landcape for Terry W. York text Again, God Son leep. Again, no crying he make. Again, hi body i wrapped againt the cold. Uing J. S. Bach muical igh motive (equential downward econd) in the key of F minor, thi SATB piece exchange dialogue between voice a the text trikingly contrat the manger and the tomb. Thi piece would be epecially moving in year when Good Friday fall early in the calendar year, near the Annunciation. JRB John Ferguon. Lord of the Dance. SA(T)B, organ. Galaxy (1.5260), $2.25. Thi etting of the familiar Shaker hymn make ue of an active organ accompaniment throughout. Suggeted regitration are included. The tanza vary in texture from union male to union female to a mixed three- or four-part tanza. The fourth tanza i poken by the choir. Ferguon ha included performance note that go into detail on what vocal ound and technique are to be ued for thi portion. The etting doe a great job of reflecting the lyric through the ue of the variou texture. Thi i a wonderful arrangement that will be a joy to perform. MS SOUNDFEST Spring 2016 CroAccent 65

66 SOUNDFEST Richard Frot. Out of the Depth. SATB, violin, piano. MorningStar (MSM ), $1.95. Thi anthem will provide a nice addition to a Lenten collection. It i an original etting of the familiar text from Palm 130:1 5 that embodie both the penitential cry for mercy and the quiet aurance of forgivene. The melody rie and fall with the text and make effective ue of the relative major to provide a ene of uplift within the original key of D minor. What alo make thi etting tand out i the violin obbligato woven throughout the muic. The violin line i printed a cue in the choral core, and a eparate intrumental part can be downloaded at no cot from the publiher. None of the muic i very difficult, o it can be learned fairly quickly during the buy Lenten eaon. It could be ued epecially well a a call to repentance for Ah Wedneday (or other Lenten ervice) or a a reponory in an Eater Vigil ervice. DR Zebulon M. Highben. Lift Up Your Head. SATB, organ, oboe, with optional aembly. Augburg Fortre, ( ), $1.95. Highben lyrical, multimetered tune, Wet Leetad, combined with Suan Briehl text written for Eater 2C capture the wonder and joy of the Eater celebration. With beautiful eucharitic language, all are invited to lift head, hand, and heart to our rien, beloved Chrit. Written in concertato tyle, the firt tanza i ung in union by the choir and aembly, the econd and third tanza by the choir, and the final tanza with aembly and a decant by the choir. The beautiful arching melody incorporate three phrae that begin on the econd beat of the meaure. A killful accompanit will guide the aembly through any potential problem. The oboe add a lovely timbre to the piece but i optional, a it double the vocal melody or the decant. JRB Hal H. Hopon. Ble Now, O God, The Journey. SATB, piano. Augburg Fortre ( ), $1.80. Thi anthem i an arrangement of the hymn of the ame title found in Evangelical Lutheran Worhip (326). About half of the anthem i union or two-part and the other half i SATB. A flowing piano accompaniment upport vocally friendly melodic line. The comforting text by Sylvia G. Duntan remind u that God hope and love utain u. Thi anthem i acceible for a wide variety of ability level and can be ung by large or mall choir. It i uitable for Lent or any ervice where the journey of faith i a theme. AW Zoltan Kodaly. Ave Maria. Three-part choru of treble voice a capella. Univeral Edition (UE 34370), 4.50 (approx. $4.08). Thi i the claic Latin text of Ave Maria, et by Kodaly in 1935 for a women choir of SSA voice. Thi new edition provide a piano accompaniment for rehearal. The etting i elegant and gloriou in it implicity, with lovely dynamic. It could be ung effectively by both mall and large group of treble voice. Soprano 1 divide for the lat even meaure (one chord). Available from JG 66 Spring 2016 CroAccent

67 Lloyd Laron. God, Whoe Giving Know No Ending. SATB, piano. Hope (C 6002), $2.10. Laron ha taken the lyric of Robert E. Edward and arranged an anthem that make frequent ue of union and two-part mixed texture. The lyric focu on the gift of God to u and our gift to God in return. The choral part are medium to medium-eay and would be a quick learn for mot church choir. The piano part upport the choral part well. The lat ection i an eaily ung SATB etting that recap the theme of the anthem. Thi would be an excellent election for a tewardhip emphai. MS Mary McDonald. All Are Welcome at the Table. SATB, piano, with optional guitar, electric ba, percuion, drum. Hope (C 6004), $2.25. Your choir will enjoy the predictable, catchy harmonie of the traditional piritual The Welcome Table and McDonald countermelody. The accompaniment add to the oulful wing of the arrangement with it yncopation and ue of grace note, triplet, and accent. The text may be ued for any eucharitic ervice but may be epecially appropriate during the Week of Chritian Unity or World Communion Sunday. An accompaniment CD (C 6004C) and intrumental part (C 6004R) are alo available. JRB Felix Mendelohn- Bartholdy. Drei Geitliche Lieder (Three Sacred Song). Ed. by Stanley M. Hoffman. Alto olo, SATB, organ. E. C. Schirmer (8146), $3.75. Thi i a etting of Mendelohn Three Sacred Song that ue the Daniel Pinkham Englih inging verion of the text. The octavo include a full page of program note detailing the hitory of the collection. The lyric, which originated from Charle Bayle Broadley verification of Palm 13, are preented in both the original German a well a the Pinkham tranlation. The three ong were intended to be ung a one work with no paue; however, each can tand alone a a ingle anthem. The alto olo ha a pretty conitent E-flat 4 to E-flat 5 octave range. Mendelohn choral arranging include a great deal of imitation, which make the individual vocal part predictable in nature. Thi collection would make a nice concert piece or an anthem for worhip a good opportunity for your choir to ing a hitoric, claical election. MS Walter L. Pelz. Praie, Praie to God. SATB, organ, with optional aembly. Augburg Fortre ( ), $1.95. Pelz ha arranged thi anthem in the grand tyle of hymn-anthem, which teach the congregation, then invite them to join in on the lat tanza, a oprano decorate it with a fetive decant. Herbert F. Brokering, beloved Lutheran pator and poet, provided the text; SOUNDFEST Spring 2016 CroAccent 67

68 SOUNDFEST Pelz dedicated it to the memory of another Lutheran pator and profeor, Walter R. Bouman (known for hi emphai on reurrection). The text thank God for breathing life into creation and for the gift of eed that mut die to bring about new life, and it include other imagery that point to the reurrection life in Chrit. It i likely one of the only choral work to mention chlorophyll a one of God miracle. Ue thi anthem for when the worhip theme i on praie, thankgiving, creation, even Eatertide. A printing glitch require decanter to be aware of two word that eem to elide into one on the bottom of page 8. A congregational part i included for duplication. JG Nancy M. Raabe. Forgive Our Sin A We Forgive. SAB mixed, piano. Augburg Fortre ( ), $1.80. Thi anthem contain a etting of a text that reflect on the fifth petition of the Lord Prayer. With a newly compoed melody, it i motly in union or two-part mixed voicing, with jut a meaure or o of SAB at the end of the econd vere. The compoer note, The riing and falling hape of thi new melody ugget hand raied in yearning to God and then gradually folded back to the body. The etting a a whole move toward an expreive climax in tanza 3, with the final tanza uttered a a fervent prayer for reconciliation and peace. Thi anthem i eaily ung by choir of a wide variety of ability level and can be ung by large or mall group. It i uitable for Lent or any ervice where forgivene i a theme. AW William M. Runyan. Great I Thy Faithfulne. Arr. by Michael Burkhardt. SATB divii, two-part treble choir, congregation, handbell, bra quintet, piano, organ. MorningStar (choral core, MSM ), $2.25. Burkhardt ha arranged and edited the beloved hymn of William Runyan and Thoma Chiholm in a grand etting for uch pecial occaion a a church anniverary, Reformation, or any time when faith i a topic of importance. A fine children choir, perhap upplemented by adult oprano and alto, can handle the treble choir part. Four octave of handbell are included in thi etting, which would be perfect when multiple choir and enemble are gathered for a hymn fetival, intallation, or retirement. Adult inger will enjoy the divii, and the youth will enjoy the challenge of inging with the adult and all the intrument. There could even be a 21t-century Gabrieli-type performance, if the anctuary ha different location to place muician. Other available edition include the full core (MSM A; $17), the intrumental part (MSM B; $35), and the congregational part (complimentary download). JG 68 Spring 2016 CroAccent

69 Charle Boyd Tompkin. At the Lamb High Feat We Sing. SATB, organ, with optional bra quartet, congregation. MorningStar (MSM ), $2.25. At the Lamb High Feat et the beloved Eater/Communion text to the tune Salzburg (not Sonne der Gerechtigkeit, which i the etting better known with thi text by many Lutheran). Scoring i for two trumpet in B-flat or C, two trombone, and horn in F (which double the firt trombone part). Thi well-crafted piece i very practical. Tomkin provide performing note for omitting the bra part or for performing the work either a a choir anthem or a a hymn concertato with the congregation. The etting i big and fetive, but both the choir and bra part are relatively eay. A a bonu, Tomkin provide an alternate text, Song of Thankfulne and Praie. With reference to the wie men, baptim of Jeu, miracle at Cana, and the Tranfiguration, thi alternate text i uitable for the leon on everal Sunday during the Epiphany eaon. The bra part (MSM B) and full core (MSM A) are available eparately. KO Sondra K. Tucker. Come, O Come, Our Voice Raie. SATB, organ. MorningStar (MSM ), $1.95. The text i by George Wither ( ), an Englih poet in the tradition of Edmund Spener. Although Wither wa a SOUNDFEST yale intitute of acred muic preent Parih-Baed Muic School Workhop Developing a Program for the Local Community aturday, may 14 t. loui, mo More information and regitration: im.yale.edu/muicworkhop Congregation Project Conference Poverty, Wealth, and Worhip july new haven, ct More information and regitration: imcongregation.yale.edu Spring 2016 CroAccent 69

70 SOUNDFEST atirit, the text of Come, O Come, Our Voice Raie how hi more eriou ide. The word are a pot-elizabethan palm, complete with reference to voice, trumpet, lute, and tring. Tucker ha effectively et thee great word to the tune Sonne der Gerechtigkeit (uually ung with the word At the Lamb High Feat ). Tucker end each tanza with increaingly elaborate alleluia. The effect i both grand and joyful, a nice addition to any fetive occaion or Eatertide. KO Gwyneth Walker. Good Shepherd. Women choru (SA[A]), organ. E. C. Schirmer (8069), $1.95. Walker originally compoed thi etting for two brother who are tenor oloit. Since one of the brother raie heep, Walker combined the hymn The King of Love My Shepherd I with phrae from the text attributed to St. Patrick: God before me. God beide me. God behind me. God above me. Her intent in combining thee ource i to peak of God preence guiding (a a Good Shepherd ), urrounding (a in the St. Patrick line), infuing the pirit ( living in my heart ), and even manifeted in our beloved livetock. Walker reide on a farm a well and derive great joy from her life a a compoer living in uch a natural environment. Although omewhat pianitic, the accompaniment will be bet when played on the organ due to it utaining quality and long note. In thi etting for treble voice Walker provide ome optional harmony for lower voice. Thi charming etting with a rich yet imple text i alo available for two tenor or two treble voice with organ (8071) and for SATB with organ (8070). JG Reviewer: John Bernthal (JB) Aociate Profeor Emeritu of Muic Valparaio Univerity Valparaio, IN Jean R. Boehler (JRB) Cantor Redeemer Evangelical Lutheran Church The Bronx, NY Jame Gladtone (JG) Retired Cantor, Saginaw, MI Muic Aitant, Ev. Lutheran Church of St. Lorenz Frankenmuth, MI Karl A. Oterland (KO) Muic Director Hitoric Trinity Lutheran Church Detroit, MI Carla Pot (CP) Organit St. Mark Epicopal Pro-Cathedral, Hating, NE St. Paul Lutheran Church, Blue Hill, NE Editor/developer, Deborah Rei (DR) Miniter of Muic Village Lutheran Church Bronxville, NY Mark A. Schultz (MS) Miniter of Muic Trinity Lutheran Church and School Wauau, WI David Joeph Suan (DS) Pator Emeritu Immanuel Lutheran Church Madion, WI Lara Wet (LW ) CroAccent Muic Review Editor Muic Miniter Good Shepherd Lutheran Church, Lawrence, KS Lecturer, Benedictine College, Atchion, KS Auten Wilon (AW ) Director of Muic Lutheran Church of Our Savior Haddonfield, NJ 70 Spring 2016 CroAccent

71 Give a gift that continue giving throughout the year Memberhip in the Aociation of Lutheran Church Muician Memberhip benefit include ubcription to the journal CroAccent, publihed 3 time per year; In Tempo, a practical reource for the church muician publihed twice yearly; monthly e-newletter; unlimited ue of Member Area free downloadable reource; opportunitie for timulating biennial and regional conference; and network to connect member with other church muician and related event in their region. GOALS OF ALCM Preerve, trengthen, and renew our Lutheran liturgical heritage Define the role of the muician in the life of the church Provide opportunitie for growth for Lutheran muician and worhip leader Foter partnerhip and upport within the pan-lutheran muical community Ait parihe with guideline for compenation and hiring Serve both full-time and part-time church muician and facilitate placement Advocate for college and eminary coure promoting the practice of worhip and liturgical muic Strengthen communication between clergy and muician Create liaion between ALCM and the worldwide Lutheran church Foter cooperation between ALCM and other aociation of denominational muician and liturgical artit Encourage creation and publication of quality material For more information, viit u on the Web at or call u at Memberhip Application Gift Memberhip Pleae provide information about the peron giving the gift, o that we can notify recipient: Giver Name Method Check Credit Card (Via/MC/AmEx/Dicover) of payment Addre Credit Card # Exp. Date Category (check one): Voting Member $90.00 Second Member in Houehold $50.00 Clergy/Muician Team $ Student (full time) $40.00 Voting Member over Age 65 $45.00 Intitutional/Congregation $ Send completed application to: ASSOCIATION OF LUTHERAN CHURCH MUSICIANS 810 Freeman St. Valparaio, IN Recipient contact information: Name Addre Telephone addre Name of Church or Intitution Church Body ECLA LC-MS WELS ELCIC Poition / Title Spring 2016 CroAccent 71

72 potlude Julie Pott Grindle Preident-Elect, ALCM Ritual. Shape note. Aembly. Muician. Cemetery. Leading. Litening. Thinking. Shaping. Praiing. What do thee word and image evoke for you? How do thee word guide u to meet people where they are and inpire u to grow deeper in faith? A people whoe work i in the church, we live every day meeting people where they are or we hould be! But once we are there, a bet we can be, what do we do next? Where are we being tretched and haped to grow in our vocation proclaiming the word of God? Whether I am new to a ubject or it i a familiar a the back of my hand, word have a great power to hape my undertanding. The article in thi iue meet me where I am in my vocation a church muician and hape new inight. After all, I am haped by the word that I hear on a daily bai a well a by the action that I or other take. Do you ever take a moment to realize how much you are haped by and within every moment? Perhap your internal dialogue bring you down and you don t realize it. Perhap your partner i faithful about praiing and upporting you, and that why you alway eem to be in a good mood (a one parihioner put it to me). I it any wonder that our country i o tarkly divided along partian line when the loudet word we hear on the new are diviive and often hurtful? A church we are haped and rehaped by powerful and everlating word carried by the Holy Spirit through word and acrament. The word we hear in worhip are formational: Baptimal life. The mytery of faith. Through Chrit, our Lord. In the unity of the Holy Spirit. Shed for you. How do thee word hape our vocation a church muician and worhip leader? What word hape you mot profoundly and how are you being rehaped anew? A an individual you mut anwer the quetion yourelf in the context of your job and the community in which you erve. A leader of worhip in a community gathered together in Chrit we are teward of thoe word and action in worhip uing God word and it depth and breadth. Thee worhip word are haping u and all thoe around u, whether we realize it or not. Worhip leader mut think deeply and faithfully about what i aid and ung and how that i done, o that we are not rehaping the community of Chrit in our own, human image and troubleome ilence. We mut liten to our choir and congregant and clergy and committee when they ay, thi in t working, and try to figure out why. And we mut rejoice when our liturgie are filled with the Holy Spirit, renewing our live with hope and joy, becaue that i God very action in our live. May God ble you in every way a you work and live in your vocation. 72 Spring 2016 CroAccent

73 Thi page doe not print. It preerve the flow of left-right page in the cover page that follow.

74 CROSSACCENT Aociation of Lutheran Church Muician 810 Freeman St. Valparaio, IN Regional ALCM Conference REGION 1 CONFERENCE July 6-8, 2016 Trinity Englih Lutheran Church, Ft. Wayne, IN Let All The People Praie You Singing through the Generation The ong of the church inpire, erve, and trengthen our witne a God people in each generation. Join u in Fort Wayne, Indiana a worhip, plenarie, workhop and concert will lift up thi theme of being a inging church for the age. Plenary Preenter Robert Rimbo and Jutin Rimbo Conference a Choir with Sigrid Johnon A pecial track for children Cloing concert by the King Singer Hymn fetival with Kevin Hildebrand at Concordia Seminary And much more! REGION 2 CONFERENCE June 27-29, 2016 St. Andrew Lutheran Church, Franklin, TN Soli Deo Gloria! Bach for Everyone Conference choir led by Rick Erickon, Director of the Bach Society Houton Worhip ervice led by Bihop Julian Gordy Bach Break offering workhop on other topic Monday evening Bach for Everyone Concert Tueday evening Veper featuring Cantata no. 4, Chrit lag in Todebanden REGION 3 CONFERENCE July 26-28, 2016 Lutheran School of Theology, Chicago, IL Blowin in the Wind tirred, anointed, fahioned, and wept into ervice by the Holy Spirit Join u to explore worhip through adult and children choral muic, gopel tyle, Bach, pot traditional and liturgical art. An exciting hymn fetival i planned on Michigan Avenue! Featuring: Bihop Brian Maa, Michael Burkhardt, Keith Hampton, Mark Bangert, Jonathan Kohr REGION 4 CONFERENCE July 14-16, 2016 St. John Lutheran Church, Sacramento, CA For the ake of A we conider all the thing we do from one Sunday to the next in worhip planning ervice and eaon; electing muic and hymn; rehearing choir, cantor and intrumentalit; writing ermon, and more all of thee thing are done for omeone ake. The quetion i, for whoe ake? One of the goal of thi conference i to help worhip leader align their paion and art in minitry within the context of community in Chrit a they ak What i thi for the ake of? in their own context.

75 journal of the aociation of lutheran church muician VOL 24, no 1 SPRING 2016 CROSSACCENT Creating Worhip