The Church Musician

By Roy Perry

I. Educational and general cultural background.

ADVISABILITY OF TWO-HEADED CONTROL OF CHURCH MUSIC: In almost all cases, it is better for the offices of organist and choirmaster to be vested in one person. Reasons:

1) Rarely will two individuals be found for these posts in whom there is an equality of ability, educational background or the compatibility which makes successful collaboration possible.

2) Division of authority usually leads to manifest injustice. Many a fine organist is handicapped by the supervision of a choir director whose only qualification for the post is the ability to sing solos. And, a good choralist can be defeated by an inadequate or uncooperative organist.

3) No amount of voice lessons, or a fine voice will equip a person to train and conduct a choir. Choral technique is a highly specialized field, and one in which intelligence, musicianship and understanding of pedagogic principles are of more value than the possession of a fine voice, however trained. ANY GOOD ORGANIST CAN LEARN TO BE A GOOD CHORALIST regardless of what his own vocal equipment may be.

4) The division of authority means a division in salary, so that many a church puts up with two mediocre amateurs, when for the same money it could have one skilled professional musician who would produce better results.

5) It is often argued that in the performance of anthems, (accompanied anthems) either the organ playing or the conducting must suffer if the organist is also the conductor. This is a just criticism. But there is a very simple way around it: Every church organist has at least one pupil who can be trained in a few months time to the point of accompanying the anthem well. This pupil, who also acts in a substitute capacity, will usually be glad to render such service in return for the use of the church organ for practice. The "Minister of Music" is then free to conduct the anthem.

BACKGROUND FOR THE ORGANIST-CHOIRMASTER

1. A thorough technical preparation in organ playing, including a broad knowledge of the literature of the instrument. Special attention to the playing of hymns. A knowledge of the science of organ building.

2. A background in theory of music up to the simple orders of counterpoint; a good knowledge of keyboard harmony as well as thoroughbass. Work in composition, general education in the history, aesthetics and literature of music.

3. Intensive, and constant study in the field of choral technique and voice pedagogy.

4. A thorough knowledge of the art of conducting.

5. At least two years of Music Education as preparation for work with Junior Choirs.

6. A two-year course in Bible. If you cannot get this in school, join the best Bible class in your church.

7. A sufficient reading knowledge of English literature, history, economics, philosophy, psychology, political science to make a well-informed person generally: all art has its basis in the life of its era.

8. Specific knowledge of the Hymnal, its historical and religious background.

9. Specific studies in the Art of Public Worship, both from the Liturgical and the Non-liturgical viewpoints.

10. A comprehensive knowledge of the literature of church music, from the earliest Plainsong to the modern anthem.

11. Nothing will take the place of EXPERIENCE intelligently assimilated.

First of all, the minister is your BOSS, and don't forget it. Many church musicians can and do hold their jobs in spite of a strong antipathetic attitude on the part of the minister. In such cases, however, the best in either individual is never realized. In cases of difference of opinion, if you cannot gracefully bring the minister around to your point of view, then by all means submit cheerfully to his. If you win his respect, you may later get what you wanted in the first place.

Nowhere in the world will you be given more free advice and uninvited criticism than in the choir loft of a church. Listen graciously to everyone, agree with everyone, and then do precisely what you think best until you run into official opposition from the minister or the governing body of the church. Do not ever ask for the opinions of your choir members on musical matters. The church pays you to know the answers to musical problems.

Every church choir has at least one habitual trouble maker – usually a vintage soprano. Don't let her get your goat. Members of your choir are quick to catch on to such a person's tricks. They will be on your side; do not allow the person to waste their time in rehearsal by comments and bickering. Let the offender know that you will discuss any matter privately. Then listen attentively, soothe her ruffled feelings if you can, and if you can’t, forget it. But by no means let one bad apple spoil the barrel.

Do what you do with authority and enthusiasm. Cultivate those features of your personality which will make you a vivid individual: a sense of humor, a good command of the English language, and an authoritative knowledge of your profession – plus as wide general scope of interests as your time will permit.

Never, without an excellent excuse, turn down an invitation to the houses of your congregation or choir. Choose your close friends to your own liking….but do not forget that a few flowers to a sick person, a few minutes of your time spent in visiting a shut in old lady, an inquiry about a new baby, postcards to your choir while on your vacation – all these things will pay big dividends in your church's acceptance of the program you are trying to put across. A little thoughtfulness is a capital investment.

Do not forget that your church is a service institution in your community. Contribute your part to it. Play regular organ recitals if your community is lacking in musical opportunities. Sponsor concert programs. Nothing will sell what you are trying to do like an hour and a half demonstration of the same thing by a visiting choir or organist.

Have some positive ideal about your profession. Do not forget that you are working in a field that J. S. Bach and Cesar Franck lifted to the pinnacle of greatness. Be constantly sharpening your tools and raising your sights. Keep in touch with the big people in your profession. When you get a vacation in New York, spend your Sundays in church instead of in bed with a hangover.

Do not forget that you are working for a Christian Church. The Christian ideals of service, of compassion, of the Golden Rule should govern your every relation with others.

Lastly, develop your sense of humor – and by a sense of humor, I do not mean a ready guffaw for parlor stories – I mean the ability to tell a big thing from a little one. Remember that the world is not bounded by the walls of your choirloft. Other people – your choir – have other things for the centers of their lives. Laugh a lot, and always hold out an ideal you cannot quite reach, work hard at your job, and you will be a perennially young institution in your church and community.

Special thanks to Jimmy Culp, present organist-choirmaster at First Presbyterian Church in Kilgore, Texas, for permission to reprint this and other lectures and papers by Roy Perry in The Vermont Organ Academy Archives.