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The Music Determination Process

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  1. The Music Selection Process St Peters MMSG Saturday, January 27 2007 By Br. Tom Hudson, O.P.

  2. Agenda • The “Rules” • The Three Principles • The “Standard Model” (and Some Alternatives) • Resources • Practice The Music Selection Process

  3. The “Rules” TITLE II – CANON 5: Of the Music of the Church It shall be the duty of every Member of the Clergy to see that music is used as an offering for the glory of God and as a help to the people in their worship in accordance with the Book of Common Prayer and as authorized by the rubrics or by the General Convention of this Church. To this end the Member of the Clergy shall have final authority in the administration of matters pertaining to music. In fulfilling this responsibility, the Member of the Clergy shall seek assistance from persons skilled in music. Together they shall see that music is appropriate to the context in which it is used. The Music Selection Process

  4. The Rules Examined • Music has two purposes: • As an offering for the glory of God. • To help the people in their worship. • There are two sources of “rules”: • The Book of Common Prayer (rubrics) • See pages 355, 356, 357, 361, 406, etc. • General Convention • Constitution and Canons • Standing Committee on Liturgy and Music • Office for Liturgy and Music (TEC web page) • Diocesan Liturgy Commissions/Rules The Music Selection Process

  5. The Rules Boiled Down • The Minister is the final authority! • This is both a right and a responsibility. • Some Ministers like to be actively involved; others only want to be informed. • The Minister shall seek assistance from persons skilled in music. • Forgetting to do this is a good way to lose an organist! • Together, they share responsibility to ensure that music is appropriate to the context. The Music Selection Process

  6. The Three Principles • Theological • Liturgical • Pastoral The Music Selection Process

  7. Music Should Be Theologically “Correct” • Episcopalian Sources • The Hymnal 1982 / 1940 • Lift Every Voice and Sing II • Wonder, Love, and Praise • Other Anglican Hymnals (?) • Hymns Ancient and Modern • Sources from Other Denominations • “Safe” vs. “Not so sure” • Requires careful examination & checking. The Music Selection Process

  8. Music Should Be Liturgically Appropriate • The Season • There are exceptions • The Occasion • Eucharist, Morning/Evening Prayer, Baptism, Wedding, Funeral, Confirmation, etc. • There is plenty of “neutral” music The Music Selection Process

  9. Music Should Be Pastorally Sound • The most difficult area to judge! • “I know what I like…” • Considerations • Difficulty, Range, Tempo • Vocabulary, Style, Pronunciation • Familiarity, Favorites, Anathemas… The Music Selection Process

  10. Getting It Right • You can’t please all the people, all the time! • Stick to the principles and explain what you do. • Listen and learn. • Defer to the Minister as the final authority. • Form a committee… • Most congregations are forgiving. • Although some people like to complain! • Learn by doing. The Music Selection Process

  11. The “Standard Model” And Some Popular Alternatives

  12. The Four-Hymns Model “A Little Traveling Music” • Entrance – the Procession into the Church • Sequence – the Gospel Procession • Offertory – the Procession with the Gifts • Closing – the Procession into the World • Check the rubrics! • Common Places for Additional Hymns: • After the First Reading and/or Psalm (traveling?) • During or After Communion (one, or more if needed) The Music Selection Process

  13. Service Music • Song of Praise: • Glory to God in the highest (Gloria) or Hymn • Lord, have mercy (Kyrie) or Holy God (Trisagion) • Canticles at Morning/Evening Prayer • Gloria Patri after Opening Sentences and/or Psalm • After each Reading • Prayers of the People • Presentation of the Gifts (Doxology, Keswick Doxology) • Usually not used if there is a hymn. The Music Selection Process

  14. Service Music – Cont’d • Eucharistic Prayer (See Prayer C music in Hymnal) • Preface Dialogue • Holy, Holy, Holy (Sanctus & Benedictus) • Memorial Acclamation (Anamnesis) • Great Amen (and Doxology) • Lord’s Prayer • Fraction Anthem(s) • Christ Our Passover (with or without Alleluias) • Lamb of God (Agnus Dei) The Music Selection Process

  15. Other Models • The Hymn-Sing Model • Provide an extended time of singing – use several hymns, arranged to build a sense of worship, praise, repentance, etc. • May be used to begin the service, prepare for the sermon, give thanks after Communion, etc. • The Hymns-As-Responses Model • Use one or two verses of hymns after each spoken part of the service (prayers, each reading, etc.) • Works especially well on Christmas Eve The Music Selection Process

  16. Other Models • The Taizé Model • Instead of or in addition to hymns, use many short refrains, chants, meditations, etc. • The Monastery Model • Instead of hymns, use only chants, service music, and canticles. • Others? The Music Selection Process

  17. Resources • The Episcopal Musicians’ Handbook • Hymnal Studies: • Five = liturgical uses • Eight = Scriptural references • The Internet • http://www.oremus.org/hymnal/82.html • http://members.visi.net/~saec/ehymnal.html • http://ecusa.anglican.org/liturgy_music.htm • Experience (Yours or Others) The Music Selection Process

  18. In Summary… • Music selection is a lot of work! • The Minister is ultimately responsible. • Seek assistance from qualified musicians and liturgists. The Music Selection Process

  19. Practice • Lent-Easter, 2007 – 10 Services! • Ash Wednesday (Feb 21) • Five Sundays of Lent (Feb 25, Mar 4, 11, 18, 25) • Palm Sunday (Apr 1) • Maundy Thursday (Apr 5) • Good Friday (Apr 6) • Easter Sunday (Apr 8) • Easter II (Apr 15) The Music Selection Process

  20. The Music Selection Process Thanks! And Enjoy Selecting…