… sacred song in Australia …

Posts tagged ‘religion’

Female Church musicians in Australia

There are thousands of skilled female Church musicians in Australia. Two of the most skilled and dedicated practising Church musicians I know are my friend Antonia Deasey, an Anglican music teacher at Trinity Grammar School, Sydney, who also has private pupils and sings in a Cathedral choir, and my Anglican sister Anne Speer, who teaches violin at three Church schools in Western Australia, takes private pupils, directed her local parish choir until recently, and plays with a regional orchestra. These two gifted, talented women are well employed by the Church, but are owed much greater recognition as professional Australian Church musicians and teachers. The private recognition they receive is not comparable with the public adulation regularly heaped upon their male Church music colleagues. Among many others, Rosalie Bonighton (now deceased) is another under-recognised Australian Church musician who springs to mind, together with my Presbyterian aunt Jean Fullard nee Simpson, who served as the organist of St Andrew’s Peace Church, Wonthaggi, Victoria, for many years, and Robin Ruys, current Music Minister of the Anglican Parish of Hunters Hill, Sydney NSW.

In Australia, it is not unusual for fully trained, qualified female Church musicians to be undervalued, underpaid, and grossly overworked. Reform of this aspect of Church music ministry is overdue. Part of the problem is the assumption that technical skill is all that is necessary to be a Church musician. In reality, much more is required, including ethical Christian conduct. Male Australian Church musicians seldom show concern about neglect of female Church musicians – on the contrary, indulgence in tasteless jokes ridiculing female Church music performers and composers, while basking in mutual male praise, is common among Church men. I was fortunate, in my own Church music work, to be regularly employed as a Cathedral Cantor, and I learned much from the professional example of Catholic Cantor Kathleen Boschetti of St Francis Church, Melbourne, Anglican Church music composer Rev. Elizabeth Smith, and Catholic Cantor Donrita Reefman of St Ives Cathedral, Sydney, about working with clergy and lay ministers and requiring their respect. I trained entirely at my own expense. In 2013 I wrote a blog about my positive experience of being a Cantor – see

http://australianchurchmusic.blogspot.com.au/2013/02/the-growth-of-women-church-cantor.html.

MF2-2005

Elizabeth Sheppard vested for Church Cantor ministry, 2010

I loved Church Cantor music ministry and was praised for my success at it. In addition to musical, liturgical and compositional skills it required tactful multi-skilled liturgical coordination with a large group of male clerical and lay supervisors and female assistants. When liturgical worship is smoothly coordinated and the whole community is in tune with the Holy Spirit, Cantor ministry has its own very special rewards and fruits, not the least of which are enduring community friendships.

Highbrow, Lowbrow, or just plain Pastoral?

Accusations of “high-brow” elitism in Church music are often levelled at Anglican High Church (i.e. episcopalian or Anglo-Catholic) parishes in Australia.

At the other extreme, the so-called “low” Anglican Churches of the evangelical persuasion, who have simplified their Church music repertoire in an attempt to increase congregational participation in Church music, are often accused of “low-brow” banality, or outright iconoclasm.This debate generally disguises the real issues. i.e. music costs and ministry time commitment. Small parishes cannot afford the luxuries of paid orchestras, professional choristers, or a pipe organ, no matter how much they want these. The fix-it-quick option for a cash-strapped parish with no hymn books, organ, or organist, is a limited hymn copyright licence, projected slides, and recorded music accompaniments. The longer-term option (and in the long run the more productive one) is a firm commitment to weekly Church music education for all ages. Parishes with internet access (not always the case in Australia) can organise hymn practice sessions easily, otherwise CDs can be used. The Royal School of Church Music provides Church music training resources, and many Anglican schools and dioceses, ethnic Churches and ecumenical associations organise Church music schools, camps and conferences.

Since every Church is committed to providing a peaceful witness to Jesus Christ’s divine teachings and life, there is no mandate for Christians to bicker over selecting their worship music repertoire, or engaging in media beat-ups that gleefully escalate inter-church music squabbles. Obviously, different Church cultures and backgrounds will favour different, legitimate Church music repertoires, and there is no harm in this. Church music governing organisations, Church schools, and parish music directors are charged with ensuring that Church music in Australia is well composed and performed, that it proclaims Christian teachings, and that it is well integrated with worship. In Western Sydney, it is not uncommon for 40+ different languages to be spoken in one Church parish, but in the interests of preserving Church unity, congregations still manage to learn and sing a core repertoire of English hymns. Annual, monthly, or weekly monocultural liturgies, and special feast day celebrations, fill the need for each cultural group or faction to perform and hear their own Church music in various locations, but there is also an unspoken hospitality rule, by which an invitation is always extended to visitors from other cultures to attend and observe ethnic or denominational liturgies and music, where they are treated as honoured guests.

By visiting all parishes, and not indulging in excessive partiality re music genres within their diocese, clergy and Bishops can exert a considerable charitable, pacifying influence that promotes unity in Christ, even where differing music repertoires, doctrines and texts tend to divide. The strongest unifying force for any diocese is an authentic Christian witness, where Church people join in caring pastorally for those in need. When peaceful Christian work of this kind takes priority, Church music repertoire issues are often reduced to their proper perspective.