Enlivening Faith

Enlivening Faith

Music, Spirituality and
Christian Theology

Edited by
June Boyce-Tillman,
Stephen B. Roberts and
Jane Erricker

PETER LANG

Oxford • Bern • Berlin • Bruxelles • New York • Wien

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Names: Boyce-Tillman, June, 1943- editor. | Roberts, Stephen, 1966- editor. | Erricker, Jane, 1948-editor.

Title: Enlivening faith : music, spirituality, and Christian theology / June Boyce-Tillman, Stephen Roberts and Jane Erricker (eds.).

Description: New York : Peter Lang, 2019. | Series: Music and spirituality ;
9 | Includes bibliographical references and index.

Identifiers: LCCN 2019018961 | ISBN 9781788746205 (alk. paper)

Subjects: LCSH: Music--Religious aspects--Christianity.

Classification: LCC ML3921.2 .E65 2019 | DDC 246/.75--dc23

LC record available at https://lccn.loc.gov/2019018961

Cover design by Peter Lang Ltd.

issn 2296-164X

isbn 978-1-78874-620-5 (print) • isbn 978-1-78874-621-2 (ePDF)

isbn 978-1-78874-622-9 (ePub) • isbn 978-1-78874-623-6 (mobi)

© Peter Lang AG 2019

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June Boyce-Tillman, Stephen B. Roberts and Jane Erricker have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identified as Editors of this Work.

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About the authors

The Rev Dr June Boyce-Tillman MBE is Professor of Applied Music at the University of Winchester and has published widely on music education, including an edited book on spirituality and music education. She is an Extraordinary Professor at North West University, South Africa, and an Anglican priest and honorary chaplain to Winchester Cathedral.

Stephen B. Roberts is an academic theologian, Anglican priest and amateur musician based in Cardiff. He has published in each of these areas and is currently investigating the relationship between how difference is negotiated in music and religion.

Jane Erricker was Associate Dean of the Faculty of Education at the University of Winchester. She has published widely in the field of spirituality, including jointly authoring and editing the books The Education of the Whole Child, Reconstructing Religious, Spiritual and Moral Education and Contemporary Spiritualities.

About the book

The relationship between Christian theology and music has been complex since the early days of the Church. In the twentieth century the secularization of Western culture has led to further complexity. The search for the soul, following Nietzsche’s declaration of the Death of God has led to an increasing body of literature in many fields on spirituality. This book is an attempt to open up a conversation between these related discourses, with contributions reflecting a range of perspectives within them. It is not the final word on the relationship but expresses a conviction about their relationship. Collecting together such a variety of approaches allows new understandings to emerge from their juxtaposition and collation. This book will contribute to the ongoing debate between theology, spirituality, culture and the arts. It includes contexts with structured relationships between music and the Church alongside situations where spirituality and music are explored with sometimes distant echoes of Divinity and ancient theologies reinterpreted for the contemporary world.

This eBook can be cited

This edition of the eBook can be cited. To enable this we have marked the start and end of a page. In cases where a word straddles a page break, the marker is placed inside the word at exactly the same position as in the physical book. This means that occasionally a word might be bifurcated by this marker.

Contents

List of Illustrations

Acknowledgements

Introduction

Prelude

Terry Biddington

1 Music, spirituality and prayer: A chaplain reflects on the possibilities for being

Musicking

Brian Inglis

2 Musical composition and mystical spirituality

June Boyce-Tillman

3 The Western audience as congregation

Nancy L. Graham

4 Spirituality by Heart

Wilfrid Jones

5 A new liturgical movement forward: Testing the reform of the reform through music←v | vi→

Interlude One

Sister Aileen CSC

6 Spirituality and music in the religious life: A Religious reflects

Musical Listening in a Troubled World

Gregory Clifton Smith

7 ‘Listen … with the ear of your heart’: Music and pastoral care

Susan Quindag

8 It is well with my soul: How spiritual music is relationship despite racism

Alexander Westmacott

9 Songs of soil, tracts of land: An agritheological analysis of the harvest section of Hymns Ancient and Modern, 1861

Helena Mary Kettleborough

10 Music and spirituality within planet and cosmos: Exploring the contribution of music to sharing the ideas of Thomas Berry

Interlude Two

Stephen B. Roberts

11 Learning theology through music: A homiletic reflection←vi | vii→

Theology and Spirituality in Music Education

Conroy Cupido

12 Enhancing spirituality through music education in the New Apostolic Church

Julie Shaw

13 The Road to Emmaus – An Easter Cantata: Collaborative and democratic song writing with children for worship

John Burdett

14 Incorporating spirituality into a twenty-first-century collegiate music curriculum

Olivia Dowd

15 The intersection of spirituality and the ethic of care in music and music education

Theological and Spiritual Listening to the Many Languages of Music

MacKinlay S. Himes

16 All people pray in their own language: The sacred music of Duke Ellington and Dave Brubeck

Stephen B. Roberts

17 Theology down at the crossroads: The spirituality of the devil’s music

Hetta Potgieter

18 The hymn as a pilgrimage of humankind: Translatability, identity and spirituality←vii | viii→

Fabian Lochner

19 What angels? Gregorian chant and spiritual meaning in a secular world: Reflections on an artistic collaboration between Gregorian chant ensemble Schola Nova Silvana and British poet Hilary Stobbs

Postlude

June Boyce-Tillman

20 Sermon on music: A priest preaches

Notes on contributors

Index←viii | ix→

Illustrations

Figure 2.1: Setting of ‘aspicits’ from Hildegard of Bingen, O vos angeli

Figure 2.2: Setting of ‘Jod’ from Couperin, Leçons de Ténèbres (third lesson)

Figure 2.3: Brian Inglis, ‘Alleluia’ from Prelude and Alleluia (opening vocalise; harp part omitted)

Figure 2.4: Inglis, ‘Alleluia’ from Prelude and Alleluia (ending)

Figure 2.5: Inglis, A Christmas Alleluia, first page of last section

Figure 2.6: Inglis, Visions of Sorrow and Joy, first page of final Hallelujah

Figure 2.7: Arvo Pärt, Stabat Mater (first entry of vocal parts)

Figure 2.8: Inglis, The Song of Margery Kempe, Scene 2, ‘Refrain (Margery’s tears)’

Figure 3.1. The complete spiritual experience in music (Boyce-Tillman 2016)

Figure 5.1: Attitude to congregational singing in Latin

Figure 5.2: Listening to Latin chant

Figure 5.3: Claimed singing

Figure 5.4: Familiarity with the Ordinary of the Mass

Figure 5.5: Familiarity with the parts of the Ordinary of the Mass

Figure 5.6: How well the parts of the Ordinary of the Mass are known relative to one another

Figure 5.7: Extent of the change of atmosphere

Figure 5.8: Quality of the change of atmosphere←ix | x→

Figure 5.9: Effect on prayer

Figure 6.1: Magnificat Antiphon for Christmas Day

Figure 10.1: The Spiritual Experience in Music (Boyce-Tillman 2016: 181)

Figure 10.2: Linking the spiritual experience of music to the planet and cosmos (Boyce-Tillman 2016: 129 adapted by Kettleborough)

Table 10.1: Exploring the contribution of music and spirituality to creating new ways of seeing the world using extended ways of knowing. Source: Kettleborough

Figure 12.1: The orchestra, choir and organist presenting music in the Silvertown Congregation/Concert Hall

Figure 18.1: O Jesus Krist melody (Norsk Salmebok 1985: 407)

Figure 18.2: ‘O God van Jakob melody’ (Liedboek 2001: 275)

Figure 18.3: Jerusalem←x | xi→

Acknowledgements

This book reflects a lifetime’s experience of music and Christianity. Many people, both professional colleagues and personal friends, have helped me along the way. A further area of exploration has been writing for many liturgical contexts which enabled me to examine the effect of context on Christian spirituality, including writing many hymns, songs and chants (Boyce-Tillman 2006). Here I am grateful to many feminist friends who have been prepared to experiment liturgically with me (Boyce-Tillman 2014). Collaboration with Kay Norrington and the Southern Sinfonia has enabled me to develop experimental large-scale performance pieces. Access to Winchester Cathedral, as a performance as well as liturgical space (as an honorary chaplain), is due to the generosity of the Very Rev. James Atwell, whose view of the cathedral as a place for everyone has informed not only the access that he gave to so many different groups of people but also the spirit in which that access has been granted. I am grateful to Elizabeth and Stanley Baxter at Holy Rood House, Centre for Health and Pastoral Care, Thirsk, Yorkshire where liturgical experiment happens continually. I am also grateful to Petra Griffiths of the Living Spirituality Network and the forming of the group interested in the Spirituality of Music within that organisation. I have valued my engagement with the Hymn Society of Great Britain and Ireland and especially my colleagues, Dr Ian Sharp and Dr Janet Wootton. Many friends have helped and encouraged me along the way, especially the Rev. Bill Scott, the Rev. David Page, Sue Lawes, Dr Carol Boulter, Ianthe Pratt and Myra Poole.

In the production of this book I am grateful to my fellow editors for their skills and to my personal assistant, Holly Pye. The University of Winchester provided research support. Professor Elizabeth Stuart, Professor Joy Carter, Dr David Walters, Professor Inga Bryden, Professor Simon Jobson, the Rev. Terry Biddington and the Rev. Chris Day have supported my work there in a variety of ways. At North-West University, South Africa, I am grateful to Professor Hetta Potgieter, Dr Liesl van der←xi | xii→ Merwe, Dr Gerrit Jordaan and Dr Albi Odendaal for their continued encouragement and opportunities to share my work.