Nevile, Donald C.

English

Scholars Commons

The church musician

Wilfrid Laurier University

ConsensusVolume 26Issue 2 Apocalyptic Article 2311-1-2000The church musicianDonald C. NevileFollow this and additional works at: http://scholars.wlu.ca/consensusThis Book Reviews is brought to you for free and open access by Scholars Commons @ Laurier. It has been accepted for inclusion in Consensus by anauthorized editor of Scholars Commons @ Laurier. For more information, please contact scholarscommons@wlu.ca.Recommended CitationNevile, Donald C. (2000) "The church musician," Consensus: Vol. 26 : Iss. 2 , Article 23.Available at: http://scholars.wlu.ca/consensus/vol26/iss2/23138 Consensusliterally mean (if that could be determined) and instead use the symbols as a lensto reinterpret the present world.Jacobsen devotes a chapter each to how apocalyptic symbols construct andmaintain social worlds, but he only mentions the third possibility, how theydelegitimize worlds, claiming that these are “the rarest of the three stancestoward world for the preacher” (64). Perhaps another chapter is needed toexplain this, or to explore if the opposite is not the case - apocalyptic texts by theirimagery of nature in convulsion seem to call into question all powers andprincipalities. Even in Mark 13, where Jacobsen convinces me that what seemsfearsome is in fact hopeful, the symbols seem to function initially to delegitimizethe powers of this world - which is exactly how he uses them in the first half of hissermon on this text. One of the functions of apocalypse is to pronounce asentence upon the current age.1 was pleased that Jacobsen includes three of his own sermons. Apart fromtheir inherent interest as strong sermons, they afford an opportunity to see thistheory in practice. He really does mean that preachers should not discuss theliteral meaning of symbols in apocalyptic texts; in fact one strains to hear anydirect discussion of his texts. He does what he advocates, he uses the symbolsas a lens to view our world. He also does something he does not discuss: eachsermon has five parts and moves in similar ways. Readers may be left wondering,(a) if something other than apocalyptic texts is governing his homiletic, and (b)whether the demanding nature of his exegetical proposals will not leave thepreacher too far short of a completed sermon. Still, what is offered here is anexcellent roadmap for a journey not to be missed.Paul Scott WilsonEmmanuel CollegeUniversity of TorontoThe Church MusicianPaul WestermeyerMinneapolis: Augsburg-Fortress Press, 1997159 pp., $22.95 SoftcoverAlas, the “worship wars” in our churches continue to claim individual andcongregational victims! Often pastors and church musicians do not know whereto turn for clarity and support. This is a book for all who worship, sing, andappreciate good music in the church, but especially for pastors, churchmusicians, and members of parish worship or music committees.Book Reviews 139Paul Westermeyer, who teaches church music at Luther Seminary in St.Paul, Minnesota, provides here a second edition of his original work by the samename, first published in 1988. The revision reflects “...a harsher, less civil, morepolarized time” (foreword, Martin E. Marty, p. xiii). The revision comes as aresponse to the growing culture and worship wars in the church.Westermeyer, who is known among the “worship crowd” for his hard-hittingand no-nonsense approach to liturgy and music, does not disappoint here. Heclearly states that the church musician is not an entertainer (our cultural modelof the musician). He blames our seminaries’ lack of teaching for the clergy’signorance of church music.Preferring to avoid the familiar titles of Choir Director, Minister of Music, andPastoral Musician, he uses the resurrected image of the cantor to name theperson who leads congregational song, and locates this image in the classicLutheran musical heritage. “In the German Lutheran tradition, the cantor was incharge of music for the congregation, music and musical instruction in theschool, and music for the city” (14). The book then elaborates various aspectsof the cantor’s role in the contemporary congregation.In his initial chapters, he describes how the cantor needs to be rooted in thecommunity she serves, and provides practical advice for dealing withcompromise, conflict, and congregational tradition. He lays a heavy load on theshoulders of the cantor. The cantor leads the peoples’ praise, which is pre-eminently vocal. The cantor is right-hand person to the presiding minister, aidsin proclaiming the Word of God, but without preaching. The cantor must assistin ensuring that the whole story is sung. The cantor is a primary steward of God’sWord in the congregation. The cantor serves, but always with grace andkindness; leads, without appearing to control. In all this, he emphasizescongregational song and music as gift and grace, rather than law and discipline.His fifth chapter. The Rhythm of the Cantor’s Life, the heart of the book dealswith the cantor’s vocation. He takes us through the weekly, seasonal, and annualroutines of the cantor’s life, in churches of different sizes. He stresses lectionary-based music planning. He demonstrates and encourages ways for churchmusicians to grow in even the smallest congregations. He discusses how andhow not to introduce changes, and when to leave versus when to stay. He dealsat length with the spiritual side of the job of cantor.Later chapters deal with the important issues of congregational musictensions, and clergy-musician relationships. He identifies some sources oftension (low pay, split families, inclusive language), warning that the churches’song may grind to a halt if the tensions are too great. He discusses many of theissues which lead to clergy-musician conflict, and presents his analysis of thetasks or roles of each position as a way of easing this conflict where it occurs.140 ConsensusThe final two chapters, “Challenges” and “Responses” represent the bulk ofthe additions to this edition over the 1988 version. Westermeyer discusses thecurrent attack on “traditional” church music and liturgical worship by the “seeker-friendly” advocates. He acknowledges that church musicians are often part ofthe problem, but concludes that these current attacks are frequentlyunwarranted and mean-spirited.Finally, he deals with youth and children in worship, the term “post-christian”, pipe organs (he is in favour), microphones (he is against), and thephrase, “why should the devil have all the good tunes?” (attributed variously toAugustine, Wesley, Luther, and General William Booth). There is a valuablerefutation of the misguided idea that Luther borrowed popular barroom tunes forhis hymns. Finally, he gives three criteria for good church music: “Durability,honesty, and treating people well” (136).This is a well-written, practical, carefully thought-out book. Westermeyerdeals sensitively with liturgically-oriented churches of all sizes. Pastors, buy acopy to read yourselves. Then get another copy for your cantor!Don NevileHighwood Lutheran ChurchCalgary, AlbertaLeading Change in the Congregation: Spiritual and OrganizationalTools for LeadersGilbert R. RendleBethesda, MD: The Alban Institute, 1998184 pages, $22.95 Softcover“This volume”, says Speed Leas, “is a goldmine of ideas for helpingcongregational leaders face or initiate change. The book synthesizes the bestand most recent thinking about change and churches, presenting it in useful bite-sized increments that can be used by a group planning to help their congregationbe more adaptive to the world changing around it.” 1 heartily agree with thisassessment!Like Leas, Rendle is a senior consultant with the Alban Institute. He is anordained United Methodist clergyperson with fifteen years of congregationalexperience. For the past ten years he has been consulting with congregationsand judicatories helping them with leadership and change dynamics andrealities. Rendle notes: “This is not a book about where your congregation isgoing. It is a book about how leaders can help your congregation get there.”

https://scholars.wlu.ca/cgi/viewcontent.cgi?article=1444&amp;context=consensus

The church musician

Abstract

Similar works

Full text

Available Versions

Scholars Commons

Wilfrid Laurier University