University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2005 The compositions of : to the greater glory of God University of Wollongong Recommended Citation McKern. Brett M., The compositions of : to the greater glory of God, PhD thesis, Faculty of Creative Arts, University of Wollongong, 2005. http://ro.uow.edu.au/theses/289 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: research-pubs@uow.edu.au
1 The Compositions of : To the Greater Glory of God A thesis submitted in partial fulfilment of the requirements for the award of the degree Doctor of Creative Arts from The University of Wollongong by BMus, BTh, BEd, FGCM, FGMS, ARCO, LTCL (Organ & Composition), LMusA, AMusA (Organ & Musicianship), ACertCM, CertRS, MACE, HonGCM Faculty of Creative Arts 2005
3 University of Wollongong Thesis Declaration This is to certify that I,, being a candidate for the degree of Doctor of Creative Arts am fully aware of the University of Wollongong s rules and procedures relating to the preparation, submission, retention and use of higher degree theses, and its policy on intellectual property. I acknowledge that the University requires the thesis to be retained in the Library for record purposes and that within copyright privileges of the author, it should be accessible for consultation and copying at the discretion of the Library officer in charge and in accordance with the Copyright Act (1968). I authorise the University of Wollongong to publish an abstract of this thesis. No other part of the thesis or accompanying creative work may be published without the prior consent of the author. Signature Date..
4 University of Wollongong Thesis Certification I,, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Doctor of Creative Arts, in the Faculty of Creative Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Signature Date..
5 i. Abstract The church musician seeks to glorify his or her Creator rather than themselves with their work, whether it be as a performer or a composer. There are many writers who have stated that we must only perform music of the highest quality in the service of the church, but very few have tackled the issue of how this is to be achieved. This thesis will examine a number of different ways to look at quality in church music: by examining the musical standard and theological soundness of the work, by looking at the pastoral and liturgical appropriateness of the work, and at the intent of the author and composer. This thesis then seeks to create a methodology for examining quality in church music; mindful of the fact that our judgement is often clouded by our likes and dislikes, and that our opinions are often disguised in terms of appropriateness for worship. While there is some debate of the validity of doing so, composers are pushing the envelope as to style and technique in the composition of new works of church music. This thesis will look at the difference between music for congregation and that for specialist musicians, and how differences in expectations and use lead to differences in qualitative judgement. Finally, support is offered for the creation of new works, and there will be an examination of three new sets of works created to the greater glory of God.
6 ii. Acknowledgments I would like to express my thanks to a number of people who have helped make the writing of the work for this degree so much easier than it would otherwise have been. Firstly, thank you to my mother Barbara, and stepfather Bob, and my sister Amanda whose encouragement has been wonderful, as has been their encouragement not to do another degree after this one. Secondly, thank you to my colleagues and friends at St James Church, Sydney who have been sympathetic when I have turned up to work having written all night, and whose constant concern over my spending enough time on study has made the integration of work and study possible. Thirdly, thanks to Bishop Richard Hurford (after whom Veni Creator Spiritus was written) for his constant encouragement and support. Fourthly, thank you to my supervisors, Dr Houston Dunleavy (Principal Supervisor) and Associate Professor Stephen Ingham. Houston has been the best possible supervisor, helping a poor and struggling student not only with his artistic and intellectual insights into the compositional process and its products, but for his making sure I have had the practical support in order to continue the degree, right down to the many cups of coffee and meals he has provided. I thank him for his friendship. Finally, I acknowledge the Inspiration of all creative work; and I remain as ever in awe that I have been honoured with the gift of music. +AMDG February, 2005
7 The Compositions of : To the Greater Glory of God Table of Contents Page: i. Abstract 4 ii. Acknowledgments 5 iii. Table of Contents 6 iv. Preamble A brief overview of Anglican church music history 8 v. Lessons from History 18 1. Introduction 22 2. The Quality of Church Music (Literature Review) 25 3. Some new Compositions 39 3.1 Three Latin Motets 42 3.1.1 Ave Verum Corpus 43 3.1.2 Ave Maria 49 3.1.3 Salvator Mundi 53 3.2 A Mass Setting for the Feast of Pentecost 57 3.2.1 Introit: God is Spirit 59 3.2.2 Kyrie 62 3.2.3 Gloria 65 3.2.4 Credo 69 3.2.5 Sanctus 72 3.2.6 Benedictus 73 3.2.7 Agnus Dei 74 3.2.8 Anthem: Veni Creator Spiritus 76 3.2.9 The Hymns 83 3.2.10 The Plainsong Movements 85 3.2.11 Psalm 104:26-36 86 3.2.12 Gospel Alleluias 87 3.2.13 Prayer Responses 88 3.2.14 The Acclamations 89 3.2.15 The Lord s Prayer 89 3.2.16 The Mass as a whole 90 3.3 An Evensong setting for a Feast Day 95 3.3.1 Anthem: I will Sing 96 3.3.2 The Hymns 98 3.3.3 Versicles and Responses and The Lord s Prayer 100 3.3.4 Psalm 148 102 3.3.5 Introit: Worthy is the Lamb 102 3.3.6 Magnificat and Nunc Dimittis 103 3.3.7 Te Deum 104 3.3.8 The Evensong as a whole 106 4. Conclusion 108 Cont. over:-
8 5. Appendices 110 5.1 Appendix A: I Chronicles 16:8-36 110 5.2 Appendix B: Timothy Slater on new styles of music in worship 112 5.3 Appendix C: Joseph Gelineau on new styles of music in worship 113 5.4 Appendix D: English Archbishops Commission on Church 114 Music on quality of repertoire and standard of performance 5.5 Appendix E: John Churchill on what makes good church music 116 5.6 Appendix F: A key to the pointing of Anglican Chant 118 5.7 Appendix G: Iste Confessor 119 6. Bibliography 120 7. Works from this submission published to date 125