In August of 1980 I began my service as Director of Music Ministries for Memorial Drive Presbyterian Church in Houston, Texas – a position I was honored to fill until October of 1989 when I assumed a similar position at First Presbyterian Chuch in Nashville, Tennessee. In 1981 a life saving book – at least for me – was published. The book was Faithsong: A New Look at the Ministry of Music by Thomas L. Are*. I will never forget the first time I read this book – all 96 pages in a single sitting. In the following years it was my genuine privilege to get to know Tom Are who at that time was the Pastor of Shallowford Presbyterian Church in the Atlanta area. Over the years since that time one specific thing has drawn me back to this incredible volume over and over and over – like me – Tom Are started his education as a musican before his move to the work of a pastor.

In 2005 when I finally entered seminary to begin my study toward a Master of Divinity degree with a desire to move toward ordination as a pastor – once again Faithsong proved to be a very valuable resource. In March, 2009 I was ordained and installed as an associate pastor of a Presbyterian Church (U.S.A.) congregation here in Austin, Texas. My health necessitated an early retirement from that call at the end of 2012.

This week I have returned to active music making by accepting a part-time offer to once again serve as Director of Music Ministries for another Presbyterian Church (U.S.A.) congregation here in Austin, Texas. While I am excited about the return to active music making I am also very aware that the church of 2013 – and not only Presbyterian – is not the church that I served in different locations for thirty years. Times have changed!

So once again I have turned to my dear friend Faithsong – and once again I have discovered that the teachings of Tom Are are just as valid today as they were when the book was first published. However, I have also quickly realized that there is a great need for another layer of current study that is needed to go with the strong foundations provided by Faithsong.

I have told many people that one thing I intend to do as soon as possible in my retirement is pursue writing – working on two books that have more than patiently remained on the shelf for several years – but – I now strongly believe that book number three is going to need to come forth first. Also – I feel that discussing this must take precendence over the topic that I had planned to begin this week – even though that one will surely follow as it has a very direct bearing on this subject matter. Another interesting item is that this return to music making has also rekindled my desire to compose and arrange – I have written two new anthems in just the past several days.

I hope that a number of people who read these blog posts will be willing to accompany me on this journey. Specifically – I am interested in your thoughts concerning the role of music ministry in the life of a community of faith – matters of language, style, and craft that make some music appropriate for inclusion in worship while other selections should not be included – as well as any other thoughts that you feel would be helpful as I begin this journey with a sense of urgency.

When I was in the midst of the interview process for this position I inquired of the pastor how he discerned the primary role of music in the church. He basically answered my inquiry with a single word – PROPHET. Naturally I immediately came home – took my copy of Faithsong from the shelf – anxious to know what my mentor Tom Are had to say on this matter in his 1981 book. On pages 52 and 53 I found the following:

“A prophet teaches a truth beyond academics or information-giving. A prophet proclaims what we really are. The truth sets us free. The minister of music is just succh a teacher.

The art of singing involves far more than producing vocal sounds. Singing is theological. God has given to human beings the ability to use tongue, teeth, lips, and palate to form consonant sounds. In short, we can pronounce words. We shade and color vocal utterances to make vowels. God provides us with a priceless gift of vocal expression far more refined and expressive than that of any other creature. The process of vocal training frees the singer to be known, to disclose himself or herself.

As children, our most effective learning technique is imitation. We learn by trying to do what others do. Unfortunately, in trying to sound like others, we are up against an unbeatable handicap. We cannot hear our own voices.

When we speak or sing, others hear sound waves transmitted through the air and striking their eardrums. We, of course, hear a bit of this. But what we hear of ourselves is muffled by bone, muscle, flesh, and all the other physical properties in the head. The inner ear picks up mostly internal vibrations. Consequently, we don’t hear our own voices as they sound to others.

When we start as children to mimic the vocal noises of others, we begin pulling, pinching, and covering the natural voice in an effort to make it ‘sound right.’ This effort results in a sound wrong for us.

The ‘affected’ sounds we produce are shallow; they are not really our natural sounds. The first task of a voice teacher is to inspire us to sing our best. By helping us relax our phony techniques, the natural sounds may be freed.

The voice teacher who fulfills this task is a prophet, proclaiming the worth of each singer’s expressions of personhood. This can be a frightening experience. We hide behind the mask of our ‘affected voices.’ Only when we feel secure can we attempt to overcome our negative habits. Thus, if voice teacheers are to help us vocally, they must first support us emotionally.”

I know that my new colleagues expectation of PROPHET is much more than this – but – this at least gives us a place to begin the journey and the adventure. I also – I am sure to no one’s surprise – have consulted the writing of Robert Shaw who has much wisdom to offer on the subject. I will offer some of his words tomorrow.

I hope you will join me!!

*Are, Thomas L. Faithsong: A New Look at the Ministry of Music. Philadelphia: The Westminster Press, 1981.