Music in Congregational Life
Celebrate birthdays! Set aside some time once a
month to celebrate that month’s birthdays during
rehearsal. Have everyone sign cards for the
birthday people.
Have an appreciation dinner to start off the new
year. Invite everyone and give small gifts. Share
vision for the new year and have fun! Give away
funny awards like “most likely to always be late,”
“most likely to shatter glass,” “most likely to start
the choir laughing at the wrong moment,” and so
on.
Give them a sense of ownership. Nothing builds
morale than when people feel like they are important
to the team. Always been open to suggestions
from your team even if you don’t implement
them. Once or twice a year have a day-long
get together for your team. Have lunch together
(that the church provides) then play a game or
two for fun. Then, open up the floor for sharing.
Encourage everyone to comment (good or bad)
about how they think things are going. If someone
mentions a problem ask them if they have thought
of a solution. Ask them what they enjoy most and
least, what is their favorite song you are currently
doing and so on. Get feedback. If people think
they are being heard they will feel valuable and
be less likely to leave the music area.
MUSIC MINISTRY IN THE SMALLER CHURCH
Help For the Bivocational Music Minister
The person who has the primary responsibility for the organization and
development of a church music ministry is the music director or song leader.
Many times he/she is a Volunteer.
The music director does not work alone in developing a music ministry
program. It is essential that the music director work closely with the pastor
to have the most effective program. The music director most also develop a
good working relationship with the pianist.
The music ministry is entrusted to a music leader who also shares ministry
with the congregation. "This concept of shared ministry versus a "one man
show" is essential. Shared ministry means sharing decisions, responsibilities,
successes, failures and the opportunity to try again." (Danny Jones, "How to
Help Your Church Begin and Grow a Music Ministry")
Worship is a vital part of the music ministry. Worship is the primary motive
for each part of any program developed.
The music ministry in the smaller church is challenging, innovative, and
creative. The key to a successful program is adaptability and commitment.
It has been said that it takes up to 4 years to build a music program. Change is
sometimes a slow process.
LOOK AT WHAT YOU HAVE
Survey Your Resources and Materials. Find out what you need and who would
be willing to help.
1. Music director - volunteer, may be trained musically or untrained.
2. Pianist - volunteer - know abilities. No pianist - Digital Hymnal or CD Hymnal.
3. Choir - number may fluctuate - Do you have members interested? Do a survey.
- Many times will have one for special events such as Easter, Christmas, Mothers Day,
Fathers Day, etc.
- Limited practice time
4. Budget - Do you have one? How much has been allocated?
5. Sound System - Find someone else interested in operating it.
6. Piano/Organ - Tune regularly.
7. Hymnals, other Songbooks - Do you have a sister church who would share their music
library
with you. Association Music Director a good resource.
GROWING YOUR CHURCH MUSIC MINISTRY
What is the goal of your music program?
1. To involve your church musically in worship, praise and petition.
2. To witness and minister to your congregation through music.
3. To prepare them for the message of the sermon.
Write out you normal order of service for Sunday Morning.
1. How did you develop it? ( Must have a reason!) Write it out and analyze.
2.. Have you gotten into a rut? Change is good, but don’t forget that consistency does
give a comfort level.
3. What changes could you make?
Congregational Singing
Should be worshipful, have unity, and be logical. How often?
1. Selection of hymns? Keep a record of use.
Know sermon topics - Visit with the pastor.
Preaching style of minister - Can affect selection.
Keep a theme going
Use seasonal hymns
Special emphasis hymns - missions, etc.
Use the Hymnal creatively
Keep in mind:
Hymns communicate.
Keep a balance.
1. God - directed - praise to God
2. Personal testimony - Gospel songs
3. Private Devotion - "Breathe on Me"
2. Selection of Invitations
Variety
Goal of Sermon - Visit with the pastor.
SPECIAL PROGRAMS/MUSICAL/DRAMAS
Seasonal
Good Friday/ Easter
Silent Services - No speaking. Use taped music
"You Can" Musicals - Can easily be adapted
-skill of pianist and choir
Christmas
Hanging of the Greens
Silent Services
Thanksgiving
Missions Emphasis
Special Occasions
Mother’s Day/Father’s Day
Men’s ChoirWomen’s Choir
Valentine’s Day
Love is the theme.
Lord’s Supper
Revivals
Choir Specials:
One night- Men’s choir
-Ladies choir
-Youth choir
Additional Helps:
Music Conferences at Bivocational State Conference - Belton
Music Workshops sponsored by BGCT
Music phamplets and booklets from BGCT and Sunday School Board
Magazines: "The Church Musician"
-"Glory Songs"
What About Copyright Laws?
Please consider the right thing to do.
Christian Copyright Licensing, Inc.
6130 N. E. 78th Ct. Suite C11
Portland, Oregon 97218-9972
From Interconnections, June 2000
Building a Music Program Takes Vision, Time, Talent
Music feeds our souls and many of us wouldn't stay in our congregations without it, but
to do it properly takes vision, time, and talent. Ten years ago, when Tom Benjamin, a
choral director who had recently moved to the area, was asked to build a music program
at the UU Congregation of Columbia, MD (285 members), he hesitated. Would a
congregation that had depended on volunteers be willing to support a more ambitious
endeavor?
When he decided to accept the challenge, he started slowly, selecting quality music and
recruiting choir members. That first year, there was a small honorarium for salaries. The
next year the money increased. The choir also grew and improved. Sometime after that he
started a public concert series that attracted people to the church, including some who
became guest musicians and choir members. The series also raises several thousand
dollars annually for the music program.
He remembers the moment when he knew it was all going to work--that a quality,
sustained music program would be possible. "It was after the first few rehearsals, when
the outlines of a good choir started to emerge," he says. "That, and the first time the
congregation voted money for music."
Bart Bradfield, director of music at the Unitarian Church of Evanston, IL (552), believes
the key to a strong program is getting the congregation involved with music in as many
ways as possible. He's held evening workshops on African drumming, and on using
instruments such as marimbas and xylophones. He also leads his congregation in rounds
to teach harmony. "It's important to the whole music program that people who have little
music background have a variety of positive experiences," he says.
Other tips for a quality music program:
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Create a strong music committee to support and promote the music program.
Discourage applause except for children and very exceptional performances.
Music should be part of worship, not a performance. "Sometimes it's better for
people to just sit there and absorb what happened," says Bradfield. "Applause can
diffuse that."
Focus on the choir. "When you have a good choir and people can see that it's
having fun, everyone wants to be part of it," says Lois Allen, former music
director at First Unitarian Church, Oklahoma City (361).
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When teaching music to the congregation, choose a song leader without the best
voice in the world. "No one wants to emulate perfection," says Allen.
Keep a written record of "a week in the life of a music director" to demonstrate to
the governing board and others what gets done.
Interconnections October 2001
Helping the Music Program Achieve Its Full Potential
When a 200-member UU congregation in the Pacific Northwest hired a music director
who was on unfamiliar ground with Unitarian Universalism, it took the extra step of
bringing in an expert to show her the terrain.
Mark Slegers, music director for 25 years at First Unitarian Church, Portland, OR (819
members), spent a weekend with the director helping her understand the possibilities in
her new job. He also met with church members and staff who wanted to make the music
program grow.
"By the time we were done," says Slegers, "there was a real force for music there. A year
later the church had developed a 40-member choir."
For several years Slegers has been a consultant to UU congregations, helping revitalize
their programs. "Music should be excellent but that doesn't mean you have to have
professional musicians. Excellence that leads to congregational vitality comes from
everyone sharing their gifts to the best of their ability," says Slegers.
His work began in the early '90s with a small grant from the Veatch Program of the UU
Congregation of Shelter Rock, Manhasset, NY, to help pay transportation costs.
Congregations also pay a negotiated amount for his services.
Slegers is typically called in when a congregation wants more from its music program.
Sometimes there's dissatisfaction with the director or with the music being picked, but
usually there's just a feeling that more could be happening, says Slegers.
He was invited to the UU Church of Asheville, NC (629), two years ago. "We just had a
sense the program could be more than it was," says Jeremy Bacon, head of the Asheville
music task force that met with Slegers.
Slegers spent several days at Asheville, listening to everyone who was interested in the
music program, and offering advice. As a result, the task force and congregation
increased the choir director to half-time. More classical music was added to Sunday
services and an intergenerational choir was created. A five-year plan includes a children's
choir, bell choir, and continuing education for the music professionals.
Eight months after his visit, a survey found the congregation satisfied with the program,
says Bacon.
When Slegers consults, he makes a point to involve everyone who wants to be involved,
including ministers, religious educators, governing boards, music professionals, and
congregation members. "I try to accentuate the positive. Most churches that call me are
ready to move forward. I make sure the music professionals know that I'm not there to get
anybody fired."
After his consultations Slegers suggests things for a congregation to do immediately, plus
a five-year plan. Mistakes that congregations make with music programs include
allowing one person or group to inject too much personal preference. "Often I'm called
because there's been a steady diet of one kind of music. We have a new generation that's
grown up on multicultural music. When we open the door to all kinds of culture we show
visitors we're open to them as well."
2090 The Excellent Music Program in Midsize/Large
Churches
UU Musicians Network
Speaker: Dan Boyce
Dan Boyce, Minister of Music Emeritus at Birmingham
Unitarian Church, in Bloomfield Hills, MI, presented this
workshop on enhancing music in large and mid-size
churches. Much of Boyce's expertise comes from his 24
years of service at this congregation of about 650 members.
Choir membership is 50-60, and on any Sunday it might be
30-35 members.
Boyce said that the issue of continuity is critical in
developing a music program. You need someone who will
take the program and push it to new levels. At the
Birmingham Church, they initially added a "music
Dan Boyce
administrator" who ultimately became Director of Music.
More recently, the position of youth music program director was added. That program
now has 45-50 children.
The first step in assessing your church's program is to understand where it is now. Is it
"surviving," "striving," "arriving," or "thriving?"
What things are you proud of in your music program? What things are you sorry aren't
better, and that you want to improve? What are some action items that you want to
accomplish? Boyce recommended taking a long vision and see where you'd like to be.
You must have dreams, else you will stay in the same place.
Many musicians are not politically adept, and sustaining a vision is hard so it helps to
have strong music committee members who can help make sure that things get done, that
musicians know what needs to be done when. You don't want the choir thought of as a
separate entity of the church, which can easily happen.
Boyce presented information on three aspects of the music program: people (who takes
responsibility and the various roles people fill), programs (how things happen) and
possible spin-offs into various areas of congregational life.
People Issues:
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Specialists/Different roles - Administrators will think musicians are equally adept
at all phases of music, but, of course, they are not. Those in positions of hiring
musicians should be sensitive to the strengths of the musicians they're hiring
Hiring practices - Look for someone who is not only a good musician but is also
skilled at working with volunteers (as opposed to professionals); you need
someone with the people skills as well as the technical skills; also keep in mind
that the music in a service is NOT a concert but is part of the worship experience;
in interviews, you need to check that; you want the musician to enhance the
service and not take it over.
Professionalism - Congregations that want a high degree of professionalism need
to understand that they'll have to pay for it. Most UU Musicians' Network
(UUMN) members feel that they're not really understood, especially in terms of
pay.
Programs:
A good music program should infuse music into the whole church life - not just for those
who can read music, or who already love music. Music is a participatory sport, not a
performer/audience process.
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Worship, fellowship, learning, and service are the four themes of our church;
music helps with all of those themes.
The choir is also a small-group ministry unto itself.
A youth choir is very dependent on the individual who takes it over. A critical
issue is rehearsal time; you must bring parents in on it. It has to be fun for the kids
as well as a learning experience.
Possible spin-offs (provided by Boyce and attendees):
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Some congregations actually have an orchestra, with ages running from 10 to 70.
Once-a-month folk/coffee house
"Dead Composers Society" - people playing pieces of their choosing
Summertime "UU Revival" - all-city inclusion - hymn singing
Baking Powder Biscuit band - jug band
Bell choir - one small church had 4 or 5 small bell parts in certain pieces because
they couldn't afford a full bell choir. It added a wonderful tonal addition to the
pieces.
Madrigal choirs
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Small instrumental ensembles help with worship to supplement the organs and
pianos
Taking small groups of singers to parishioners who are home-bound as pastoral
ministry
Renaissance Fair every year at Memorial Day. In one congregation the choir
doubles in size because people like to sing madrigals and recorder players "come
out of the woodwork"
Mozart Festival founded by the church; not a church activity but a community
one; lots of people come out.
All-church groups such as: Christmas program, with instrumentalists, children's
program and then a spring program; or a "Choir Sunday" where the service is
devoted to the choir. For the choir Sunday, invite people to come "test drive" the
choir; you invite people in for rehearsals for that program, and some people
inevitably stay.
Workshop participants discussed a variety of issues, including two Sunday services, and
how you divide the choir's resources. Another congregation has paid section leaders, who
sing as a quartet for the first service and then sing with the choir for the second service.
This enables you to have people in the choir who aren't necessarily that good, but who
love to sing.
Choirs can also involve themselves in many different activities. Some possibilities are
choir tours, weekend trips to other congregations, multi-choir concerts, bringing in an
orchestra. Some choirs, rather than having robes or "uniforms," wear uniform colors
instead. This allows for individual creativity and still keep a consistent look to the choir.
Talk also focused on budget allocations. What percent of the total church budget is
devoted to music? In a small church, an adequate allocation would be around five percent
but in a mid-size to large church it should be around ten percent. Adequate rehearsal
space and adequate storage space are all important. Budget planning should be
considered in a long-range vision, and then it is not an every-year debate.
Good music programs also involve much planning. When do new ideas and programs get
implemented - and how? You need good planners on the Music Committee -- people who
know who to get things done, such as former board chairs and strategists, not just music
lovers with no political experience. This had a great impact on building an effective
program.
Reporter & Photogrpaher Allan Stern; Web Designer Julie Albanese