From Postlude to Prelude by C. Randall Bradley (Perusal)

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from Postlude to Prelude

Music Ministry’s Other Six Days

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C. Randall Bradley

Bradley, C. Randall, 1960–

From postlude to prelude : music ministry’s other six days / C. Randall Bradley.

p. cm.

Includes bibliographical references.

ISBN 0-944529-36-4 (pbk.)

1. Music in churches. 2. Ministers of music. 3. Church music—Instruction and study. I. Title. ML3001.B76 2004 264'.2—dc22

2004000556

Published by MorningStar Music Publishers St. Louis, Missouri

Printed in the United States of America

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Copyright © 2004 MorningStar Music Publishers of St. Louis 1727 Larkin Williams Road, Fenton MO 63026

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, mechanical, electronic, recording, photocopying or otherwise, anywhere in the world, including public performance for profit, without the prior written permission of MorningStar Music Publishers of St. Louis.

Dedication

To my parents, Don and Barbara Bradley, who taught me the value of hard work and persistence, sacrificed for my music study, and continue to believe in me unconditionally.

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Foreword

The Three-Legged Stool of Music Ministry

Effective church music ministry is a three-legged stool constructed out of musical aptitude, pastoral purpose, and organizational proficiency. You can't be an effective pastoral musician if you can't make the music go! You can have all the musical skill in the world, but without pastoral love and purpose, it may just be a clanging gong (I Cor. 13). And you can have lots of musical aptitude, and lots of pastoral concern, but still make life very difficult for yourself and your congregation if you don't develop basic organizational proficiency to manage an effective music program.

This third organizational leg is so difficult because it is rarely what motivates or sustains our work as church musicians. Usually it is the musical or pastoral aspects of the work that prompt us to go into church music in the first place. Those are the primary gifts we spend hours to develop. Those are the issues that are addressed by the vast majority of resources in our personal libraries. Very few people, very few courses, and very few resources help us become better at managing time, budgets, promotional campaigns, and planning processes.

Attention to this third leg of organizational proficiency is what makes this book unique. Here is a book that seeks to build up this third leg but in ways that don't detract from musical excellence and pastoral concern. Here is a book that begins to gather information and wisdom about the tasks that necessarily occupy a lot of our time. Business leaders have "best practices books" by the hundreds. Lawyers, doctors, and pastors have them by the dozens. Now those of us in church music have at least one!

Music Ministry and Maturity in Christ

I hope that, as readers work through these chapters, they will experience a little conversion — a conversion that begins to see the organizational side of music ministry not to be an annoying task to

dispense with, but rather one of the most effective ways of practicing pastoral concern. Every task described here — developing budgets, effective planning, thoughtful promotional work, and a myriad of other business — is an opportunity for teaching, learning, and deepening our ministries. Every interaction we have with members of our congregations and with fellow staff members is an occasion for the kind of gift-exchange that Paul suggests is at the heart of church life.

Indeed, the purpose of all types of ministry is to "equip the saints for the work of ministry, for building up the body of Christ, until all of us come to the unity of faith and of the knowledge of the Son of God, to maturity, to the measure of the full stature of Christ" (Eph. 4:12-13). This should happen not in spite of organizational tasks, but through them.

There is no doubt that the primary place that church musicians encourage Christian maturity is in public worship. We long for worshipers and seekers to discover new joys in wonderful, rich music and texts — musical expressions that convey the Christian message in ways that are too profound for words and that express prayers we never could otherwise articulate. But how do we cultivate and enhance these rich experiences? We name their value, rehearse why they are so important to vital Christian living, and help people anticipate future worship experiences. When do we do that? We accomplish this as we rehearse, plan, organize, lead, and coordinate every aspect of our work — in every task we take on between the end of the postlude one week and the beginning of the prelude the next week.

How to Use This Book: Regular Review, Adaptation, and Collaboration

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I suspect that this book will be received as a life-raft by church musicians drowning in an organizational abyss, but that may also seem daunting to some. It offers good advice on so many topics! I can imagine the question (and not just from students!): "How in the world can I work at all of these at the same time when I still need to make sure the music is ready to go each week?" The key is to see this book as one to return to each year. At first, gain a broad overview of all the contents, name the two or three areas in which you would like to grow the most, and set specific goals for both short and long-term. Then return to the book in a year to name new goals. Over the course of five or so years, this book promises to

hone nearly aspect of your weekly work.

No book, of course, can address organizational matters equally well for all Christian traditions. The shape of ministry and congregational life is simply very different in various denominations and, increasingly, they are different from congregation to congregation within denominations. Yet this book is written in such a way that even the sections that seemingly don't apply to specific congregation will still be instructive. If a given section doesn't seem to apply directly to your situation, one useful exercise for you might be to outline what it could look like if it did. You might even share your writing with your church staff, choir officers, music or worship committee, or planning team. My suspicion is that you will find material here to prompt questions and topics for consideration that you might otherwise neglect.

In general, the contents of this book should not be confined to the music minister's library. Consider buying a copy of this book for your church or staff library. Consider inviting other church staff members or lay leaders to read relevant portions, perhaps in preparation for an annual job review or at the beginning of a new church program year. Ask others to read this material with these instructions: "Here is advice that comes from a leader in my field. How can we develop our common work to better practice this wisdom? What additional strengths or concerns do we have to celebrate or address?" In this way, this book can become an advocate for you in your local setting.

All of us in church music owe our thanks to author C. Randall Bradley and publisher Mark Lawson for offering this volume. May God's Spirit use this book to strengthen music ministries in many congregations!

John D. Witvliet

Calvin Institute of Christian Worship

Calvin College and Calvin Theological Seminary Grand Rapids, Michigan

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Acknowledgments

A project of this magnitude could not have happened without much help and support. I wish to thank Mark Lawson for recognizing the need for this book and encouraging it from its inception. Additionally, it was a pleasure to work with Morningstar Senior Editor, Thomas R. Pearce, whose careful eye for detail and church music experience significantly improved the manuscript.

I am also grateful to church music graduate assistants at Baylor University who over a three year period contributed significantly — Steven Braucht, Kyle Damron, Katherine Kimbell, Lauren Shelton, and Chris Wood. Kyle Damron should be singled out for his tedious attention to detail in assisting with research and Lauren Shelton for her careful proofreading, corrections, and helpful suggestions. While my student worker, Josh Kusch, did not work on the book, he capably attended to other tasks allowing me to give greater energy to this project — thanks, Josh.

I also express my gratitude to Brenda Bradley for patiently proofing and editing the text more than once, and to Mary Kay Parrish for her keen eye and careful attention to detail in proofreading and editing (with assistance from her adult children, John Michael and Robin).

Many of my colleagues around the country offered significant input in developing the book's initial proposal. Their suggestions enhanced the books contents, organization, and breadth. These friends include Ray Burdeshaw, A. L. "Pete" Butler, Stephen Carrell, Mark Edwards, Charlie Fuller, Michael Hawn, Rob Hewell, Becky Lombard, Paul Magyar, Don Odom, Lewis Oswalt, Sue Ellen Page, Mary Kay Parrish, John Simons, John Witvliet, and Terry York.

In addition, I am grateful to my church music colleagues at Baylor University, Terry York and David Music, who encouraged me along the way and often offered their insights, sometimes without ever knowing it. Also, thanks to Will May, Dean of the School of

Music for allowing me to have a more flexible schedule to complete the final manuscript.

Futhermore, I'm thankful to the churches I've served who have taught me much of what I know — Mt. Pleasant Baptist Church, Georgiana, Alabama; First Baptist Church, Benbrook, Texas; Maywood Baptist Church, Independence, Missouri; University Baptist Church, Shawnee, Oklahoma; and Calvary Baptist Church, Waco, Texas. Through the advice of wise church members, dedicated ministers, and deeply committed choir members, I have grown. And to the hundreds of students who have been in my classes, I'm appreciative of all that you've taught me. Much of it has found its way into this book.

Lastly, I'm grateful to my family — to my wife, Brenda, for her consistent encouragement and support; and to Hannah and Isaac for doing without me during many writing retreats, and for sharing me with the computer on far too many Saturday mornings.

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Philosophical/Theological Issues

Music Ministry As a Vocation

Denominations and individuals vary widely in their perception of music ministry as a vocation. While some denominations readily affirm "ministers of music," others are only recently becoming comfortable with the concept of a "pastoral musician." In addition, a church's view of ordained and lay ministry may determine its actions regarding the recognition of music ministry as vocation. Some ministers embrace the concept of a "call" to ministry; others do not. However, according to many studies, most parish musicians feel some sense of calling to their task as the enabler of the church's song.

Vocation Defined

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The word vocation comes from the Latin word vocare, which means "to call" or "to summon." The New Testament reference to calling is clear, for even the term ecclesia, translated "church," means "called out." Most Christians distinguish a "general call" from a "specific call," for every person who responds to Christ's offer of salvation is called to serve others and become Christ's presence in the world. The Greek word diakonos ("servant" or "minister") is used to express this servant role of being Christ's advocate. The term "general call" is usually used to express the call of all Christians, whereas the term "specific call" is often used to describe the call of a person who feels that he/she has been called to the role of vocational ministry, i.e., professional minister.

A Call to Ministry

A call to ministry can be experienced in many different ways, for each individual will relate to God in a personal manner. According to Felix E. Montgomery, "With some, it may be an inward convic-

tion; with others a personal imperative, a sense of 'oughtness,' a drive, a compelling direction, a divine impulse, even a 'still small voice'."1 In some instances calling may be a dramatic, supernatural attraction. The apostle Paul experienced audible and visible signs in his call on the Damascus Road. For others, a call from God may be a sense that God has been working throughout one's life in preparation for an opportunity that has now presented itself. Often, people who are called to a particular ministry can trace God's work throughout their lives in preparation for what becomes a culminating event. A calling usually is directly related to skills and interests and is often recognized by others who may work as God's agents in helping discern a call to ministry. For others, a call to ministry may be as simple as the realization that they have been given an opportunity for service that they are uniquely qualified to do, and they have a deep sense of rightness in pursuing this special ministry. Traditionally, many have had the misconception that a call to ministry must somehow be unpleasant and must require something sacrificial. On the contrary, God often allows us to do exactly what we want to do vocationally. A call to ministry is not defined by spending life in a vocation in which we are miserable. God desires for us to live joyful lives in service to others. Although ministry does require sacrifice and may involve hardships, when God places a call on ones life, the sacrifices can be joyful and the hardships worthwhile.

A call to ministry is not a one-time event, for calls change and are refined over time. A call to ministry reflects the journey of following God that is never fully realized. The call is always changing and being clarified as one progresses through life. In discovering God's call on our lives, we must be open for new developments. God's will for our lives is dynamic. We never know all of God's revealed will. The Christian life is centered in faith, and faith implies that we move forward boldly even when there is only light to sustain our initial steps.

Professional Considerations

Preparation is inherent in a call to vocational ministry. Vocational music ministers need preparation in music education (theory, history, keyboard, voice, conducting, etc.), theology (biblical studies, worship), church history, and in practical areas of ministry

1 Felix E. Montgomery, Pursing God's Call: Choosing a Vocation in Ministry, (Nashville: Convention Press, 1981), 9.

(counseling, dealing with conflict, administration, etc.). When you choose music ministry as vocation, you are agreeing to prepare for this important task. While some may debate the precise spiritual qualities of a vocational minister, most congregations expect their vocational ministers to have a deep sense of personal piety including regular Bible study, prayer, and other spiritual disciplines. For the term "pastoral" to describe the church musician, he/she must be comfortable with the roles of pastor. These roles include encouraging the congregation's spiritual growth and often subjugating music to a lesser level in order for ministry to be achieved. According to John Witvliet, "The craft and coordinating and 'performance' in our work finds its ultimate goal and purpose if we approach it with a pastoral heart. It finds its purpose in acts of hospitality. . . . Certainly, our role as 'shepherds' does not displace aspects of the other roles. We still cultivate gifts as clear and articulate speakers, technically proficient musicians, and ingenious artists. We are still coordinators calling meetings, running rehearsals, proofreading copies. While we aren't spiritual engineers, we do — with fear and trembling — take the part of priests, placing words of prayer on people's lips that may well resonate deep within their soul and draw them, by the Spirit's power, closer to God."

Potential Ministry Vocations

People who choose music ministry as a vocation may work in a wide variety of music ministry-related positions. These include, but are not limited to, local church music ministry; denomination service; work with the Christian music industry as composers, artists, editors, managers, etc.; missions; and bi-vocational ministry. If you are committed to music ministry as a vocation, and conventional positions are not appropriate for your gifts and interests, perhaps you should be innovative in creating a position that suits your particular assets.

Questions for Reflection:

1. How do you define a call to ministry?

2. How have you personally experienced God's call in your life?

3. What similarities have you observed in your call to ministry and those of others?

4. How has your call been different from the call of others?

2 John D. Witvliet, "More than Technique," Reformed Worship 49 (September 1998): 32.

5. What are some significant turning points in your call to ministry? How have they affected your present direction?

Ordination

Ordination is the process by which congregations set apart Spirit-gifted persons for ministry.1 Churches and denominations differ widely in how they approach ordination. Most Free Church traditions consider ordination as an act of the local church and exercise no denominational hierarchy, i.e., the ordination process can simply involve recognition by the individual and the congregation that the person is called to ministry. Ministers in this tradition can be ordained without formal education, mentoring, or any of the other formalities. Other denominations ordain ministers through the denomination after which they are qualified to serve in churches of the denomination. In these denominations, persons desiring ordination must receive theological education by a denominational school and must adhere to other processes set by the denomination. Ordination is required for ministers in most denominations. Ordination does the following: (1) confirms the person's call, (2) sets the individual apart for service, (3) lets other churches know of the person's call, and (4) grants legal status.2 While ordination can entail more than these four points, most denominations hold these in common.3

All denominations agree on the communal reality of ordination. Communities of believers (local or denominational) recognize God's call and giftedness in an individual and ordination takes place; therefore, ordination belongs to the church, not the individual. While roles differ, most ordained ministers (or clergy) are "set apart by the community, and commissioned to know, preserve, and interpret the community's Scriptures and tradition, to administer the sacraments, lead in worship, and provide pastoral care and oversight." 4

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1 Felix E. Montgomery, Pursuing God's Call: Choosing a Vocation in Ministry, (Nashville: Convention Press, 1981), 90.

2 Ibid., 90-91.

3 Legal status involves granting the minister the right to perform weddings, serve as a chaplain, and other duties that may require ordination. Ordination also defines the person as a minister regarding tax status.

4 Ibid., 66.

The Ordination Process

The act of ordination differs widely; however, it always involves the laying on of hands and prayer. This practice goes back to the New Testament and is the principal act of ordination. A service of ordination may also involve a report from the ordaining council, sermon, charge to the candidate, ordination prayer, presentation of a Bible, a benediction, and music. Often an ordination certificate is presented to the newly ordained minister. Laying on of hands may involve only other ordained ministers or the entire congregation depending on the traditions of the church and/or denomination.

Although the church decides who it will call and ordain, the principal actor in the ordination process is God, for the ordained person is set apart for God's service. The emphasis is on what God is doing for the church through the provision of leadership.5

Ordination signals to God's people that the ministry of the ordained person is legitimate and authentic. Furthermore, the ordained person joins a body of ministers that represent the universal church in the broader community.

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The meaning of laying on of hands also differs among denominations. The Roman Catholic Church views ordination as a sacrament, i. e., ordination is an outward and visible sign of an inward and invisible grace. This view of ordination stresses the objective nature of laying on of hands with prayer wherein God's action not only sets one apart for leadership but actually changes the person and imparts a "priestly character" which will last forever. Campbell states, "A distinction is made between the 'person' and the 'office.' The ordained minister is still a 'person,' with all the normal human possibilities and problems, but the ordained minister is also one who holds an 'office' of divine origin, which transcends the inadequacies of any individual. The mystery of the incarnation is signified in the uniting of a divine office with a human person. The greatness of this way of thinking about ordination is that it elevates the office of the ordained minister and reminds the church that the office is given by God for the good of the church as a channel of God's saving grace."6

Protestants have thought of ordination in more subjective terms. While there is no objective change in the person, he/she is given authority to exercise a sacred office for the church. Campbell states, "Most protestant theology, however, has emphasized the reality of

5 Ibid., 67.

6 Ibid., 68-69.

ordination as God's act, through the Holy Spirit, in the church."7

Today there seems to be less concern with the objective or subjective nature of ordination and more emphasis on what ordination means to the life of the church.

Roles of the Ordained

Ordained ministers are called to represent the church to God, to represent the servant role of Christ to the church, and to represent the servant role of the church as the body of Christ to the world.8 While these responsibilities are great and require sacrifice, they are also rewarding, for there is no holier call than to be Christ's presence in the church and in the world.

Joining a Collegial Group

To be ordained implies that you have become a part of a community of ministers that have been set apart for specific service within the church and world. This implies community both within one's own denomination and in ecumenical circles as well. All ministers are called to cooperate with each other for the good of Christ in the world. Campbell states, "Ordained ministers are not in competition with one another; their success is not dependent on outdoing one another; their interest is not served by another's failure. Though there are differences of tradition, style, and approach, the common affirmation of Jesus Christ transcends the differences, and there is recognition of authentic Christian ministry."9

Morals

Although ministers have the same moral expectations as any Christian, their lives are more visible and are therefore held to a higher standard. All young ministers must come to grips with their own sexuality prior to ordination and must realize their call to be responsible. While Roman Catholics have held to celibacy for their priests, most other denominations have required heterosexual, monogamous relationships for their clergy. Singleness allows a minister to focus wholly on one's call to the church without distractions of family.

7 Ibid., 69.

8 Ibid., 71.

9 Ibid., 75-76.

Next to sexual immorality, perhaps the greatest moral failure of ministers is lack of financial responsibility. Ministers must be above reproach regarding financial dealings.

Prior to ordination, some ministers are expected to undergo extensive counseling and psychological testing. While this is not a biblical requirement, it is nevertheless useful in helping you to understand the assets and liabilities that you may bring to ministry.

Placement

Many ordained ministers struggle with issues of placement; however, denominations differ widely as to actual practice. Some denominations place ministers according to the bishop's assessment of the minister's qualifications and the church's needs and/or assessment of a lay group within the church or conference. Other churches are autonomous in choosing a minister, and ministers may apply for relocation at will.

However placement is accomplished, ministers must accept the fact that God will ultimately place them where they can be effective. Although ministers can be motivated by personal ambition and higher salaries, ministry effectiveness is ultimately about God's using you in a particular time and place and has little to do with financial security, demographics, or other similar factors. According to Campbell, "If the priority is meeting one's own wants, then there is something wrong, because ordained ministry is not, in the first place, about meeting one's own wants."10

Regarding compensation, it is helpful for ministers not to see their compensation as salary but as honoraria. To provide a minister's compensation, a community of believers pools their resources so that the minister may serve God in a full-time manner.

Qualifications for Ordination

The church is looking for effective leaders with multiple skills, attitudes, and abilities. Dennis Campbell outlines the following:

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1) The church is looking for people of deep faith and personal commitment to Jesus Christ.

Ministers must be serious about their spiritual lives and must place a high priority on prayer and Scripture study. Campbell states, "The spiritual growth which comes from the disciplined life of prayer and Scripture study is essential to discerning the call to

ordained ministry, to sustaining the call through years of preparation, and to keeping the call alive in diverse and difficult ministry settings."11

2) The church is looking for people who have gifts for intellectual development and a concern for learning.

In order to be an effective minister, you do not have to be a gifted student; however, you must possess a life-long desire to learn. In order to lead others in faith, you must have a commitment to learning and to teaching them. Education for the minister is not a personal pursuit but is a pursuit on behalf of the church — you are learning in order to lead the church more effectively.

3) The church is looking for people who have the ability and commitment to apply their learning to the actual work of ordained ministry.

Ministers must be diligent in applying what they learn for the sake of the congregation. They must be practical learners and able to make applications from the theoretical and philosophical. They must be effective communicators and be able to build support from others. They must possess the ability to see the big picture and not allow the draining work of ministry to cause them to lose perspective.

4) The church is looking for people who have a genuine love of people, an outgoing personality, and developed relational skills. Ministers must love all kinds of people and enjoy being with them, and an effective minister will have an outgoing personality that attracts people to him/her. Without relational skills, a minister will not be effective. He/she will not be able to minister appropriately to the wide range of people who comprise the church.

5) The church is looking for people who are willing to model servanthood.

Ministers are called to be servants, and churches need ministers who will model this concept. Ministers must be servants to the congregation and to the larger community. Over time, they create models for other Christians.

ssessing Your Abilities

Most of us hold the position of minister to near impossible expectations. In her book Sorting It Out, Alice A. Cullinan tells of meeting with a ministry class and asking them what qualities a minister should possess. Eventually, the list filled an entire board in the classroom. When she asked the class to remove the qualities that they didn't see as essential, nothing was removed; however, when she led them to discuss how many of the qualities they exhibited in their lives, the students were quick to admit that they lacked many of the qualities desired in a minister.1

This story quickly points out the gap between expectations and reality related to personal and professional qualities of ministers. While all of us (ministers included) have unusually high expectations of ministers, we also must realize that no person can embody all the characteristics that we deem necessary for ministry effectiveness.

Assessing one's abilities and giftedness for ministry must be an ongoing task for young ministers still discerning a ministry call and for experienced ministers who are refining their professional and ministerial skills. Throughout our lives we should participate in regular self-evaluation and should regularly listen for the voice of the community in relation to our ministry. There is no substitute for the voice of the Christian community in refining our call and evaluating our continued effectiveness. The collective voice of those who love us and are committed to God's work in the world is one of God's best ways of continuing to teach us. The voices of those we love and trust are particularly effective since sometimes we are unable to view ourselves as others see us.

We are strongly influenced by our backgrounds. Where we grew up, our families of origin, our early religious experiences, and other early events influence who we are and our suitability for ministry. Have you always been interested in helping others? Have you been involved in music since you were a child or teenager? Do you have organizational skills? Have you been a leader in groups of which you've been a part? Do you have an interest in studying the Bible and pursuing spiritual issues? Questions such as these are helpful in evaluating your ministry interest and aptitude.

1 Alice A. Cullinan, Sorting It Out: Discerning God's Call to Ministry, (Valley Forge, PA: Judson Press, 1999), 45.

Understanding of Self

Ministry effectiveness requires an honest assessment of self. When we understand ourselves, we are better able to understand others and to relate to them in a healthy manner. The following can be helpful in gaining a better understanding of self:

Self-Awareness – People who are self-aware understand their inner strivings, their strengths, and their limitations. Their assessment of themselves is closely aligned to how others view them.

Self-Confidence – Self-confident people are realistic about their abilities and recognize their weaknesses and strengths; however, they don't obsess over weaknesses and become frustrated or defeated. They are willing to take risks and to move into positions of leadership. They are internally motivated and have a high degree of selfacceptance based on accurate self-knowledge.

Sexual Identity – Potential ministers must be secure in their sexuality. They must be comfortable interacting in same-sex and opposite-sex personal encounters.

Self-Esteem – How we feel about ourselves should come from God. Our identity should be determined by how highly God values us. In addition, we should also feel good about our abilities to do things well. It is important that ministers feel good about themselves in order to lead others effectively.

Need to Be Needed – Most people who are effective ministers have a strong need to be needed; however, the need to be needed must not control them. Many ministers are unsuccessful because they have such a strong need to be needed that they are willing to do anything to please others. When our self-esteem is too strongly tied to being needed, we are ultimately only serving ourselves, and our service becomes merely selfish ambition.

Personality Traits

Your personality is the combination of all that you are — physically, emotionally, spiritually, mentally. Your personality can be either positive or negative in ministry, but traits that might be negative for ministry may be positive for another vocation. The following are examples of personality traits that ministers will need:

Independence – Independent people are motivated by their own initiative. They are not dependent on others to motivate them, and they do not have to have approval prior to action.

Emotional Expression – Ministers must be able to express emotions appropriately and accurately.

Energy Level – Being a hyperactive person is not the same as having a high energy level. Energy level often refers to ability to concentrate and maintain focus for long periods of time. It also refers to being upbeat and positive. People with high energy are usually able to use their energy for practical and constructive means.

Good Character – Ministers must be morally, ethically, and spiritually sound. They must be trustworthy and dependable.

Maturity – Ministers should be stable, dependable, and faithful in moments of difficulty. They must respond with balance and courage in the face of challenge.

Understanding of Ministry

A realistic and healthy understanding of ministry and its demands is important for the potential minister. However, a healthy understanding of ministry involves careful attention to ministry's rewards and difficulties. Ministers often receive little encouragement or recognition and feel that their work is not appreciated. The stresses on their family can be great as they live in a "glass house" existence. As a spiritual leader, ministers often give so much that their spiritual lives can become depleted and empty. Being a minister can be a difficult and lonely calling. However, ministers are often highly esteemed by their congregants and the community. They are able to help many people and the rewards for faithful service are well worth the difficulties that ministry can present.

Active Faith – A minister's faith must be dynamic, i.e., his/her faith must be based on God's recent work in his/her life, not on actions from the distant past.

Commitment – Full commitment to Christ and his teachings is non-negotiable for a minister.

Ability – Ministers should possess the abilities necessary to do their work. Ministers need specific skills, leadership abilities, and degrees to serve effectively.

Concern for Others – Ministers must have a concern for others that motivates their service. Love for people is the hallmark of an effective minister.

Willingness to Work – Ministers must have a high work ethic. They must have the ability to plan and carry out tasks and lead others to follow them; however, they must avoid becoming workaholics. Ministers must learn to balance the rigors of ministry with the need to play and relax.

Goal Setting – Effective ministers are able to see the long-term results of their efforts. They are able to plan ahead for desired results.

Understanding of Others

Effective ministers understand others and learn to appreciate differences. They develop good relational skills that allow them to effectively lead and minister.

Relationships – Interaction with others is always necessary in ministry. Effective ministers form close relationships and work effectively with many different types of people.

Tolerance Level – A high tolerance for frustration and failure marks an effective leader and minister. They view problems as challenges and are able to move forward when directions are not clearly specified. They realize that they will not always be liked, and approval of others is important but not necessary. They are also tolerant of the opinions of others even when they strongly disagree.

Summary

The list of qualities of effective ministers could be almost endless. When music ministers consider the musical roles needed to be effective (performer, teacher, conductor, composer, arranger, voice coach, musicologist, and theorist), and add on the ministerial roles (speaker, counselor, pastor, and administrator), the job can become overwhelming. At this point, one realizes that only by God's grace is this possible. In actuality, that is the point where we should find ourselves — dependent on God's grace in our lives.

Tests and Other Assessments

Many measurements can help us to learn more about ourselves and our abilities, interests, aptitudes, and methods of personal interaction. Every time you participate in a test or assessment, you always learn something about yourself that either allows you to enhance a neglected area or encourages you to continue in a particular direction. Assessment tools are not to be feared, for they simply assist in learning more about our selves. Consequently, we are better able to assess our ministry abilities and gifts through the information that we learn. Assessment tools come in many types:

Intelligence – Intelligence tests are available to measure one's ability to succeed in academic tasks. They often distinguish between

verbal and non-verbal intelligence. Intelligence is often expressed in terms of I.Q., or Intelligence Quotient. School grades and other performances that measure intellectual acumen can also assess intelligence.

Aptitude – Aptitude tests measure one's ability to master a specific skill. For instance, aptitude tests measure one's ability for music, mechanics, mathematics, and other talents.

Interest – Interest tests are often used to help people decide for what type of career they are well suited. Interest tests combine personal characteristics into categories that help us to understand if we have qualities that are suitable for particular types of careers, i.e., helping professions or technical professions. Interest surveys can help us to avoid careers where our interests and personal characteristics may not be adequate. Several years ago, a group of students in one of my classes took an interest survey. One of the students who intended to be a music minister discovered that he preferred to work alone, did not like crowds, and had a strong dislike for personal interaction; therefore, the survey suggested that he was wellsuited for a job such as computer programming, accounting, or research. Through this survey, he became convinced that he should become a bi-vocational music minister and should use his interest in mathematics and science in a research field. He later earned a double major in music and math and has since earned an advanced degree in math. He works as a minister of music in a small church part-time and works in a math-related vocation full-time.

Personality – Personality profiles can help us to discern whether our personality is compatible with a particular career or ministry. Such profiles help us to know if we are introverts, extroverts, sanguine, choleric, or something else. These profiles are also useful in helping us to learn to get along more effectively with others.

Journaling

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Journaling can be an excellent way to do personal evaluation. For many years, I have had my students in "Introduction to Church Music" keep a journal. At the end of the semester, I've read their journals and helped them to discover behavioral patterns, thought patterns, and other patterns that were not compatible with ministry. Likewise, we've also analyzed ministry assets. Consistently keeping a journal for several weeks and sharing it with a trusted mentor can be enlightening and encouraging.

Many ministers keep a journal throughout their lives. Those who do find that they draw strength and encouragement from referring to their journals when facing ministry challenges similar to ones they've encountered before. Realizing that we've faced similar situations before and have walked through them can encourage us. We can also learn from our past mistakes and avoid duplicating them. Most importantly, we see God's activity in our lives by acknowledging God's sustaining power in our past.

Theological Issues

Theology informs every aspect of the church's work and ministry; therefore, our personal theology must be compatible with the church to which we are called. Far too often, ministers assume that major differences in theology among staff ministers or with key people within the church will not make a difference in their ability to minister effectively. While this is sometimes the case, at other times these differences surface, and the incompatibility is irreconcilable. As ministers, we cannot simply have our private faith without it impacting the lives of others. By our position, our faith should have a public dimension, and we should feel free to express our faith openly.

What can be done to keep such incidents from hindering your ministry and the ministry of the church to which you are called?

Consider the following:

Determine your beliefs – Through study and prayer, determine your theological positions on the major tenets of faith. But realize that theological positions can change, and be open to continued study and discovery.

Study the denomination and church's theological documents –Become well versed in the theological documents of your denomination and find out how your congregation subscribes to the denominational positions. If your personal theology is not within the accepted range of your denomination, you should consider finding a denomination where your beliefs will be compatible.

Discuss beliefs before accepting a new position – Many ministers wait until accepting a new position to discuss theological issues. Discuss these issues in the interview stage. If there are significant differences among ministers or key membership, you will need to ascertain their level of tolerance for differences before agreeing to

serve this congregation. In addition, determine how important the differences are to you and how they will affect your ministry.

Theological positions inform practical ministry – Theology and practical ministry are always intertwined, with each strongly impacting the other. Ultimately, our theology is expressed most strongly in how we live and minister. Never assume that differences in theological positions will not eventually impact music ministry.

Maintain your integrity – From time to time, churches and denominations take strong theological stands that impact the community and the world. When these times come, will you be able to stand in support of your church and denomination or would doing so compromise your integrity?

Developing a Concept of Worship

Worship is what we are created to do, for worship is offering all that we are to God in gratitude for God's being and God's action among us. As Christians, we should strive to offer all that we are to God; therefore, the focus of Christian ministry is both on becoming a better worshiper and on leading others to worship more effectively as well. Worship is at the heart of ministry. Since music ministers spend their lives preparing for and leading worship, they should become serious students of the many dimensions of worship, and they should be committed to authentic personal worship.

Much has been written about worship, and this brief chapter will only highlight important aspects of worship. There are numerous books that give thorough overviews of worship, and many more are dedicated to specific aspects of worship.1

Defining the Work of the Church

The role of worship is foundational to the work of the church. It is helpful to define the ministry of the church into three areas:

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(1) ministry to God — worship,

When these

(2) ministry to the body of Christ — nurture, and (3) ministry to the world — outreach.2

1 For an overview of worship, see chapters 1–6 of Randall Bradley and Franklin Segler, Understanding, Preparing For, and Practicing Christian Worship, (Nashville: Broadman/Holman, 1996).

2 This concept is carefully considered in Ray Ortlund, Three Priorities for a Strong Local Church, (Waco, TX: Word Books Publishers, 1988). I was first introduced to this concept by Bruce Leafblad, Southwestern Seminary, Fort Worth, Texas, with whom I studied 1983-1988.

three roles are prioritized, worship will surely be first since God must be first in our private and corporate lives. If we have not placed our private and corporate relationship with God in first place, we cannot expect God to be active in our lives and church. Music ministry serves the role of worship as choirs offer anthems in worship, as the congregation sings their praises and laments to God, as instrumental music inspires worship, and as soloist(s) offer their gifts to God on behalf of the congregation. Music ministry and worship are a natural fit, and much of the work of the music ministry is spent in preparation for worship leadership. In addition, some of the most meaningful moments of worship occur as music ministry groups offer their rehearsal for God's glory — God should be worshiped both in rehearsal and in corporate worship. Worship is the means by which we give God priority; therefore, worship must be our ultimate priority.

The second priority is given to nurture since the body of Christ (believers) must be strengthened in order for us to reach out to others. Nurture can be further defined as discipleship, i.e., we are trained for the work of Christ. Through discipleship we learn spiritual disciplines, are nurtured through fellowship with other Christians, and learn the meaning of true Christian community. The church sometimes allows people to do outreach without first providing a nurturing community to provide needed support and encouragement. Singing and playing music together provides a natural bond among individuals since community is inherent in effective music making. Through small groups in music ministry, people's needs are met and they are nurtured and discipleship occurs. Through singing important texts of the faith, choir members deepen their experience and understanding of God and of the Christian faith. The interdependence required in music making is an ideal model for Christian community.

The third priority is outreach. The Bible is clear in its mandate to win others to a relationship with Christ (create worshipers), and all Christians must gladly do their part in this important task. Since music is often an attractive medium for presenting the gospel, music ministry can easily support the cause of outreach. Outreach occurs when music groups present music in public venues, when musicians use their experiences through music to interact with nonbelievers, when music groups support ministry causes outside their group, and when intentional events are designed to reach out to others who need to learn of God's love. Since much of music ministry

is spent in preparation for leading in corporate worship, and the communal nature of music often encourages nurture, ministers of music must often be more intentional in seeing that music ministry also accomplishes its priority for outreach.

Historical Perspectives

Although all Christians have a shared worship history, each faith tradition has its own unique worship history as well. Each group has made contributions to the others. All ministers should be familiar with this shared heritage and should have specific knowledge of their own denomination's worship traditions.3

Biblical Perspectives

Many biblical passages provide insights in gaining a better understanding of worship; however, the best is probably Isaiah's encounter with God in Isaiah 6. In this passage Isaiah has a personal encounter with God. The passage clearly shows God's initiative in worship and our need to respond to God. The progressive nature of this passage as it moves from awe at recognizing God's presence to praise, confession and forgiveness, to instruction, and to response is an ideal model for both personal and corporate worship. The following outline of Isaiah 6 is a helpful model for understanding elements of worship and for understanding the dialogical nature inherent in communicating with God through worship. The Isaiah 6 model of worship follows:

Revelation: 'I saw the Lord' (v.1).

Praise/Adoration: 'Holy, Holy, Holy is the Lord of hosts' (v.3).

Confession: 'Woe is me! For I am lost' (v.5).

Forgiveness/Atonement: '…your guilt is taken away, and your sin is forgiven' (v.7).

Proclamation: 'I heard the voice of the Lord' (v.8).

Dedication/Commitment: 'Here am I! Send me' (v.8).

Commission: 'Go, and say to this people' (v.9).'4

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Expanded Kierkegaard Model

Danish theologian Søren Kierkegaard, in the often-quoted

3 For an overview of worship history, see Robert E. Webber, Worship Old and New, rev. ed, (Grand Rapids, MI: Zondervan, 1994).

4 Franklin M. Segler and Randall Bradley, Understanding, Preparing for, and Practicing Christian Worship, 2nd ed., (Nashville: Broadman & Holman Publishers, 1996), 225.

model, compares worship to a drama in which God is the audience, the congregation the actors, and the worship leaders the prompters.5 This model can be further developed to provide even more insight into the dialogical nature of worship when God is viewed as the star of the action — the one around whom the entire drama revolves. While becoming the star of the action, God also remains the audience for whom the action of the drama is directed. The congregation serves as actors in the drama of worship and the worship leaders serve as both prompters and actors — they are involved in the drama as they model and prompt worship. While our worship is for God's sake, God does not remain passive in our worship, for God is always present and active in worship. Without God's action, worship cannot occur; for only through God's grace and initiative are we allowed to worship.

Worship Form and Musical Style

Too often we confuse worship with form and musical style. We often become so obsessed with external issues that we overlook content and may even lose our perspective of God's role in worship. Genuine worship can occur in many different traditions and through many forms. Worshipers can worship through musical styles ranging from contemporary to traditional. Although some worshipers will worship more effectively through particular forms, liturgies, and musical styles, worship transcends these issues. Worship is intensely personal and involves an individual's response to God. Furthermore, since we all have different intellects, learning styles, personality types, relationships with God, and personal preferences, we will relate to God according to our individual understanding of God. Even in corporate worship, we find ourselves as individuals in the company of other Christians who share our common goal — the worship of God.

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Building a Philosophy of Music Ministry

Building a philosophy of church music is an ongoing process, for we will never complete the task of thinking and studying about church music and its role in church and society. Developing a sound

5 Kierkegaard, Søren, Purity of Heart Is to Will One Thing, trans. Douglas V. Steere (New York: Harper & Row [Harper Torchbook ed.], 1956) 181.

philosophy of church music will involve knowledge of church music history, knowledge of what the Bible says about church music, and careful analysis of culture and its impact. Furthermore, it involves knowledge of one's worship tradition and church hierarchy, and of one's own individual skills and gifts. A philosophy of church music is different for each individual, and aspects of a philosophy will change throughout life and with different ministry settings. Our philosophy of church music is most noticeably seen in the way in which we carry out ministry in the real world, for our beliefs inform all ministry decisions. One way of approaching a church music philosophy is to consider it as a statement of what you believe about church music. This can be equally helpful to confirm his/her beliefs for a beginning minister of music or as a reflective exercise for a seasoned minister of music.

The following questions are a starting point in developing a philosophy of church music:

1) What does the Bible say about church music?

The Old Testament frequently speaks about music. Key passages include (1) Miriam's song at the Red Sea (Exodus 15:21); (2) setting aside the Levites as leaders of music and worship (Numbers 1:47-54; I Chronicles 16:4; 23:5a); (3) the elaborate music of the dedication of the temple (II Chronicles 7:4-6); (4) David's use of music to calm Saul's spirit (I Samuel 16:14-23); (5) the book of Psalms and others. The Book of Psalms is a record of the worship of the Old Testament and has provided a rich resource of worship material for each succeeding generation. Their beauty, sensitivity, and identification with the individual and corporate worshiper are unparalleled.

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The New Testament is less specific in its musical mandates. References include (1) Mary's song of joy at the news of her pregnancy (Luke 1:46-55); (2) the song of Zacharias (Luke 1:68-79); (3) the song of Simeon (Luke 2:29-32); (4) the song of the angels at the birth of Christ (Luke 2:14); (5) Jesus' reference to music at the Last Supper (Matthew 26:30, Mark 14-26); (6) references to music in Paul's letters (Romans 15:9-11; I Corinthians 14:15, 26; Ephesians 5:19; Colossians 3:16); and (7) numerous references to music in Revelation (5:9-14; 15:3-4; 18:22). While the Bible offers few specific guidelines regarding music, it does provide helpful models.

2) What role has music played in both church history and music history?

A careful analysis of church music history particularly as related to significant turning points informs a philosophy of church

music. A thorough study of historical events that includes the roles of the major reformers (Luther, Calvin, and Zwingli) in music and worship can prove helpful. The opinions and approach to music ministry of J. S. Bach, the Oxford Movement and its impact on church music and hymnody, and the role of Vatican II in shaping the direction of church music today will provide additional information.

3) What is the role of music in different cultures?

By analyzing the role of music in culture, you learn more about the role of music in the church and the power of music to effect change in the lives of people. Church music is always related to a specific cultural context. Therefore understanding the role of culture, both within the local church and in the larger world, helps us adapt our music ministry to our congregation. Understanding music's power is an important component in developing a philosophy of church music.

4) What is the purpose of church music and where/how does it fit with the overall work of the church?

One way to approach the work of the church is by viewing the work of the church as worship, nurture, and outreach. Each of these roles is important; however, since worship is the way in which we exalt God, worship should be the first priority. While music and worship are easily compatible, nurture (building up the body of Christ) and outreach (reaching out to others through various ministries) must be emphasized or they may be neglected.

5) What is the role of the music minister and how does the music minister make decisions regarding his/her time and priorities?

The role of the music minister is to be a pastoral musician. The minister of music is to utilize music as the tool through which he/she ministers. While every music minister should be an excellent musician, the ministry role must be given first priority. In other words, if a choice should arise between music and ministry, the music minister should choose ministry.

6) What is a valid structure for church music? What structure can help church music to reach its full potential?

In order for music ministry to be effective, it should be structured to place priority on the congregation's role in worship. Choirs and other music groups should be organized according to age, interest, and need. The organizational structure should include a commitment to helping each person achieve his/her potential through training. Structures may change from time to time; however, they

should always be easily accessible by the entire congregation and should include opportunities for equipping people for ministry.

7) How is church music impacted by tradition and change?

Church music is strongly influenced by tradition and by cultural changes. Any historical study of church music will show that most turning points in church music have been the result of a major cultural shift. Church music should be built on the foundation of tradition, but it must be adaptable to the culture in which it is placed. Music should readily adapt to the culture of the church while staying true to biblical foundations.

8) How do you express your own unique place in church music? What is your calling?

Effective ministers of music understand their call to music ministry and are aware of the vocational implications that this call has for their life. They are able to see their call to ministry both in terms of the immediate and the long term. Realizing our unique role in church music ministry is vital to effective ministry. However, our role should continually change and grow.

9) What is the responsibility of music ministers to preparation and continued education?

Music ministers should seek to prepare for long-term music ministry. This will involve continuous education. Being called to church music implies giving our best, which involves ongoing preparation. Don't be content with what you have learned up to this point.

10) What provisions do you make for dealing with change?

Change is inevitable, and with advances in technology and communication, the speed of change will likely increase in the future. Music ministers must make decisions regarding which aspects of music ministry are negotiable and which are non-negotiable. While ministry materials and contexts will change, other aspects of ministry will remain constant. Non-negotiable items may include (1) a priority on worship, (2) the inclusion of all people, and (3) commitment to biblical principles.

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Personal Issues

amily Concerns

For a married minister, a healthy family life is vital to success. In fact, in some situations, divorce can nearly assure an end to the minister's career. Yet with the busy and often unpredictable nature of music ministry, giving appropriate attention to one's family can be challenging.

Setting Priorities

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Ministers must set priorities regarding family. Obviously, God should be our ultimate priority. Following a close second should be family, then the church. Since most ministers feel a sense of call to their professions, they may have an unrealistic commitment to their work (ministry) and their employer (the church). For instance, ministers often have difficulty saying no to a parishioner who has a need, even when it conflicts with direct needs in their own family. The relationship of church/vocation to family must be carefully analyzed before conflicts arise. When a spouse or potential spouse is considering a ministry vocation, careful thought must be given to the demands that may follow. Some people are not capable of being married to a minister because they are not willing/able to share their spouse with other people in the way that ministry may require. Furthermore, the minister and his/her family should seek a ministry position that has needs/demands that they are capable of meeting. For instance, if a minister's spouse chooses little or no church involvement and the church wants a traditional ministry spouse, then this church relationship may not work. If the family doesn't consider their children's church attendance as important and the church has a different view, conflicts will eventually surface.

Positive Aspects of Ministry and Family

Ministry careers can offer many positive aspects to family life,

most of which are primarily related to flexibility. Ministers are often able to determine aspects of their daily schedules; therefore, they are often free to attend school events of their children or have lunch with their spouse. In addition, ministers often are able to include their families in travel and other events. Furthermore, ministry families are often the recipients of goodwill from the congregation. Often they have opportunities to develop deep and meaningful friendships, to have increased opportunity for spiritual focus within the family, and the privilege of seeing God's work in the lives of others.

Challenges Facing the Ministry Family

The music minister's family faces many challenges such as setting and maintaining priorities, bringing the job home, expectation that they are models for others, difficulty in saying "No," planning time away from the church, stress and health issues, conflict at church, finances and confidentiality.1 The life of the music ministry family tends to run in cycles. There will be excessively busy seasons with little or no family time and other times when the schedules may be more relaxed. Music ministers work long hours during Advent/Christmas, Easter, choir tours, camps, and other times associated with special projects. The music ministry family must recognize and anticipate these cycles. However, these cycles are not unlike tax season for an accountant, football season for a football coach, June for a florist, or December for a retailer. Anticipating these cycles and planning accordingly can make coping much easier.

Spousal Issues

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Some churches have expectations for music ministry spouses that are similar to the responsibilities of the paid spouse; however, these expectations are rarely communicated initially. Just as we learn spousal expectations from our families of origin, churches usually develop expectations for their staff spouses from previous ministers and their families. While no church has the right to place expectations on the minister's spouse, realistically most churches do. Failure to acknowledge these expectations shows either a high level of naiveté or an intentional unwillingness to deal with this reality.

1"Ministers, Spouses Cite Pressures on Family," Word and Way, 2000, n.d.

What could be deemed reasonable when considering spousal expectations? This answer is directly related to the congregation and their view of the minister and his/her family. As a rule, the minister's spouse might be expected to be involved according to the church's unwritten definition of a "good church member." This definition will vary widely from church to church. This doesn't mean that the minister's spouse should be involved in everything. A minister's spouse should choose to serve where he/she is personally fulfilled and challenged.

Another common issue affecting the minister's spouse is the tendency of some church members to tell the spouse what they actually want the minister to know. My wife has learned to tactfully remind church members that I will be happy to talk with them about the issue and that talking with her does not mean she'll tell me.

Closely related to this issue is the making of commitments for our spouse. Through experience, my wife and I have chosen not to speak for each other. For example, in staff meeting, when my wife is mentioned as a possible leader for a ministry, I do not volunteer her nor do I agree to contact her. I simply say, "You'll have to talk with Brenda about that; I can't speak for her." Similarly, when I'm mentioned as a good person to coordinate music for a ministry in which she is involved, she doesn't make a commitment for me. When either of us is invited to participate in activities that involve the other (or our family), we do not make a commitment without consulting each other. We always say, "We'll have to talk about that and get back with you." This allows us time to talk in private and to consider the larger picture of our involvement individually, as a couple, and as a family. Through this policy, we're better able to balance the demands on our lives.

Issues Involving Children

Inevitably, the children of the minister will be highly visible and will be carefully observed; however, the same is true for other professionals whose work is public (politicians, entertainers, and public servants). Because they are visible, expectations for minister's children are sometimes excessive. Added to this dilemma is the fact that often only one parent is available to care for the children at church since the other parent may be "on the job." Frequently, how you and your spouse deal with the discipline and deportment of your children will be public. This reality is undeniable! Accept it,

and commit to give your best energies to being an effective parent and to raising respectable children. At times, all parents feel inadequate. This is not exclusive to ministers and their spouses.

Children of ministers are usually expected to be involved in church. Most ministers establish non-negotiable church activities in which they expect their children to be involved. These may include Sunday school, worship, choir, or some other activity. Once these expectations are met, additional involvement is a choice. Actually, these expectations are no different than non-ministry parents might have for their children. Sometimes parents who are involved in ministry are so afraid that their children will grow up disliking the church that they fail to have appropriate expectations for their children's involvement.

It is critical for parents to recognize the impact that their attitudes have on their children. Parents should help their children to develop healthy attitudes about God and the church by avoiding negative talk about the church and church members. In fact, people they are discussing negatively may be the "heroes of the faith" for their children. Because of parental attitudes, sometimes children of ministers grow up cynical about the church. Parents must intentionally share the joy of ministry with their children and avoid overstating the negative.

When Family Problems Arise

When problems arise in the minister's home, these issues are often complicated because of the minister's community status. When marital problems occur, ministry families are sometimes afraid to seek help from local counselors because of fear of a breech of confidentiality. While these fears can be realistic, the more important concern is the potential for a failed marriage. Most denominational offices offer support for the minister. If the minister does not pursue help from the denomination, then he/she must get help from someone that he/she trusts! However, discretion must be used in telling others within the congregation or community.

Similarly, when problems arise with children, the child's needs are always more important than the perceived need for the minister to protect his/her reputation. Many ministers fail to realize the forgiving nature of most people. Ministers' children are not immune to the problems that others face. Many congregations are more understanding and grace-giving than we think. Ministers must learn to trust their faith communities in times of crisis.

Practical Suggestions for the Minister's Family

The following suggestions provide practical ideas for managing the challenges of a minister's home:

1) Get control of your calendar. Plan far in advance for free Saturdays, for vacations, and for family nights at home. When these dates are blocked out in advance, then you can honestly say, "I already have a commitment for that time." When genuine emergencies arise, the special times should be re-scheduled.

2) Plan special times with your children. Look for opportunities to spend individual time with your children. Many parents have lunch with their kids at school, meet their children for after-school snacks, or do other things to spend quality one-on-one time.

3) Plan special times with your spouse. Consider a monthly/weekly date during which you catch up on your week, plan for the days ahead, and reconnect.

4) When you're home, be home. Avoid the tendency to be at home but have your mind in the office. Find ways to separate yourself from the church: screen calls and return them after the children are in bed, don't check e-mail from home, and turn off the cell phone.

5) Be the pastor to your family. In the rush of meeting the spiritual needs of others, don't neglect your own family.

6) Find time for worship and prayer with your family. Many families practice family worship at breakfast, dinner, or bedtime. Find a time that works and stick with it. However, realize that the same time will not work forever. Be flexible.

7) Involve family members in your ministry. Whenever possible, allow the family to be involved with you. Often family members can go along on trips or conferences, can attend rehearsals, and can assist with other aspects of ministry.

8) Develop genuine friendships. Sometimes ministry families fail to develop meaningful relationships in their church and community. All families need to be connected to others. Be willing to trust. Also, encourage your spouse to develop valued friends.

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9) Avoid abusing the flexibility of ministry. Many ministers abuse the flexibility of their jobs by having their children at work too often, by coming in late, or by expecting special treatment because of their status as a minister.

10) Practice just being there. Allow time just to be at home with no particular agenda or schedule. Sometimes your spouse and children simply need your presence.

11) Help your family learn to see the big picture of your commitments and recognize your job's cycles.

Summary

Many studies have shown the relationship of success on the job to stability at home. When job stresses are overwhelming, sometimes we withdraw from family, thereby increasing family stress as well. We find ourselves caught between two competing entities that seem impossible to reconcile. Good communication is the key to sorting this out. When responsibilities within the church are particularly stressful, be careful to communicate these stresses carefully to your spouse so that he/she does not assume your temporary change in behavior is related to him/her. Your family deserves your best efforts. Don't give them the leftovers of your life.

Special Issues for Single Ministers

While much of the information in this chapter is applicable to all ministers since we are all part of a family structure, some is not applicable to the single minister. While in some faith communities married ministers are the exception, in others single ministers are rare. Single ministers sometimes encounter the following issues:

Salary Discrimination

Churches may wrongly assume that since a person is not responsible for a family, he/she can be paid less for his/her services. Several years ago, a single minister friend of mine was not given the same raise as the rest of the staff with the justification that he did not need as much money because he had no family responsibilities. Obviously, such treatment unfairly penalizes the single adult minister. Additionally, single ministers may have family responsibilities even though they are not currently married. Some studies show that married people are often more financially secure since they may have dual incomes without having dual living expenses.

Lack of Respect for Time

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A single minister should not be expected to work more hours, or work hours at inconvenient times, to accommodate married ministers. While all ministers should cooperate in trading off inconvenient responsibilities, this should be a choice, not an expectation.

Lack of Respect for Age and Experience

Sometimes single people are viewed as younger and less experienced. Marital status should have no bearing on assessment of ministry experience and wisdom.

Failure to Accept Single Status

Single adults should not be seen as incomplete people. They are complete units within themselves. Assumptions that all single people desire to be married are incorrect.

Managing Relationships

The life of the minister of music is an intricate web of work relationships and personal relationships over time. Family concerns have been addressed in the previous section, and Chapter 4: "Working with Church Staff" will include a discussion of relationships with the pastor and staff; however, many other relationships form a part of this network. Music ministers must invest time in maintaining relationships with music ministry colleagues, close friends, and mentors.

Relationship to God

The minister's relationship to God is the relationship from which all other relationships proceed. When this relationship is not nurtured, other relationships will be less effective. What determines a good relationship with God? Good communication, healthy worship, and a strong dependence are vital. In order for this relationship to be maintained, you must spend time with God, pray regularly, and develop other spiritual disciplines.

Relationship to Self

Without a healthy relationship with yourself, other relationships will nearly always suffer. This relationship involves self-respect, and self-respect is gained by bringing actions in line with expectations and values. When our actions are not congruent with our beliefs, we do not feel good about ourselves, and we have difficulty maintaining our self-respect. Maintaining respect for self is a process that requires continued evaluation, careful analysis, and honesty. Also important is good self-knowledge. Who are you and what are your skills, abilities, and gifts? Are you honest about those? Are you confident without appearing conceited? Have you cultivated the ability to work among your peers with a quiet confidence? A quiet confidence implies that you don't put yourself down or consider yourself of little value; neither do you mask your insecurities by being boastful and haughty.

Musicians often have difficulty developing a healthy view of self. As musical children we are encouraged to be perfectionists, and we soon realize that our performances will never measure up; however, our pursuit of perfection continues. Since much in music is competitive (guild, all-state, and scholarships), this pattern continues throughout childhood and adolescence. When we matriculate for college, we enter another competitive world; but the stakes are higher as we prepare to become a professional musician. Additionally, often we're the best in our high school or hometown only to discover in college that there are many people more talented than we. In any music school, students can readily size up each other according to "best singer," "best pianist," or best in other ways. Eventually, this process can deplete the self-esteem of musicians. In most other disciplines grades are confidential; however, since musicians constantly perform in public, skills are easily assessed and judged.

As we leave the ranks of college, this process can continue into the church, for we often invest our energy in having the best choir, best salary, best facilities, and strongest numerical growth. In order for us to be effective, we must reconcile the issues described above. We must learn to separate musical skill from self worth through God!

Also related to a healthy self-understanding is the ability to recognize our motives. Often we spend our time analyzing our actions when we should evaluate our motives. This process requires honesty; however, such evaluation is ultimately worthwhile.

The issues described above are closely related to our integrity and ethics. Integrity can be defined as the quality or state of being of sound moral principle, uprightness, honesty, and sincerity. Integrity is sometimes described as what we do when no one is watching and we assume no one will ever know. It is also a deep sense of rightness that drives our motives and actions and the peace of knowing we've done our best in decision making. It is personal and central to our core beliefs. Our integrity must be protected and nurtured.

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Ethics can be defined as "the study of standards of conduct and moral judgment; moral philosophy." To what standards of conduct and moral judgment do you subscribe? How do you carry out your personal code of ethics in music ministry? Your personal code of ethics will determine your choices in regard to managing budgets, dealing with difficult people, choosing people for special solos and parts, and in many other ways. Music ministers sometimes have

lapses in their ethical choices. Good accountability and careful and thoughtful decision-making can often abort these lapses. We are never above the code of ethics and morality that we expect from other Christians!

Relationship to Church

The minister of music is intricately tied to relationships both within the church and with the church as a body or institution. This corporate relationship is more than casual and contractual, for the church is a faith community as well. The contrast of the church as employer and as faith community is often difficult to decipher, for sometimes these roles blur. There are times when the minister of music has to separate the two; however, neither of these roles must be neglected. If the spiritual community aspect is neglected, then music ministry becomes just another job. If the employer aspect is neglected, then contractual obligations and roles defined within the job description can easily be minimized. While the minister of music is a minister within the church and works for the church, he/she is also a member of the church. With this membership comes a responsibility to be supportive of all ministries in the church and to be appropriately supportive of the church's finances. Each minister must participate in the life of the church in the same way that he/she would expect from the most devout member!

Relationships Within the Congregation

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I believe that personal relationships within the congregation are possible. Many of our best friends through the years have been members of the churches where I have served as minister of music. However, some issues are confidential, and these issues must not be discussed among church members. As a minister, you will often know more than you desire to know about some church members, yet you are called to minister with grace and impartiality. Many ministers miss the joy of knowing people within their congregation on a personal level. Relationships always involve risk, and they must be built on mutual trust.

Furthermore, some ministers do not develop relationships with parishoners because of their fear that jealousies will develop among church members, i.e., he/she cares more for some members than others. This concern is genuine and must be dealt with carefully. It is usually more pronounced in a small town or community where

people tend to be more knowledgeable of social interactions. In reality, ministers are never completely partial and they do enjoy the company of some people more than others. Problems arise when these relationships begin to interrupt their ability to offer genuine ministry to everyone and their friendships within the church hinder their ability to make decisions that are beneficial to the entire congregation.

Relationship to Community

Every minister of music should see the community in which the church is located as a part of his/her wider ministry. Who are you to the community? How do they view your role? What services should you provide this community, and what should you contribute as a ministering musician? Investing in the community is enriching. I encourage you to seek ways of becoming involved with events such as community sings, community choruses, arts events, and service groups.

Establishing a Support System

Every minister of music needs a system of support to sustain him/her in difficult times. In some instances this support comes from people within the church, and at other times it comes from people who are outside of the church. Both of these networks are important in times of need. Pete Butler once said, "Relationships are like fine glue: (1) They are ineffective if the application is overdone at the beginning. (2) A little time is needed for the bond to seal before it is tested. (3) A true bond is virtually impossible to break."1 I have found his words to be true.

Ministers of music should establish relationships with other professionals. Mutual support can be gained from regularly spending time with other ministers of music. If these groups don't already exist, create them. Consider developing them across denominational lines as well. From these gatherings relationships will emerge that provide personal support and friendship.

With e-mail, staying in touch with colleagues from previous ministry positions is easier and less expensive. I communicate regularly with friends from the past who offer me support. Sometimes, in our search for new relationships, we fail to maintain healthy relationships from the past. I regularly consult my college roommates

1 From class notes which A. L. "Pete" Butler used in his classes at Midwestern Baptist Theological Seminary, Kansas City, Missouri.

(both are ministers) for counsel and encouragement. When you have a friend who knows you well and can be honest with you, maintain this friendship! These relationships are rare and should be treasured.

Mentors and Mentoring

Ministers of music should continually be mentored and should mentor others. Mentors may be former teachers, retired professionals, a respected colleague, or a private teacher. Mentors vary; however, we all need to develop relationships that assist us in growing in each aspect of music ministry.

While we are receiving professional support from others, it is important to seek opportunities to offer this to others. Many bivocational music leaders are desperate for assistance, college students need someone to shepherd them in the process of music ministry, and young people interested in careers in music ministry need support and encouragement.

aintaining a Healthy Lifestyle

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All ministers desire to serve effectively over a long period of time. Good health management is a key to realizing this goal; however, being healthy goes beyond physical health and also includes emotional, mental, and spiritual well-being. In his book The Effective Minister, Michael Cavanaugh uses the violin as a metaphor for the minister caring for himself/herself. He writes: "A violin is a musical instrument that is both sensitive and strong. It is sensitive in that it is affected by the slightest touch and it is strong because its strings can withstand a good deal of pressure. A violin must be continually and properly tuned to be played well, for if it is not, even the finest violinist cannot call forth beautiful music from it. As an instrument of the Lord, a minister shares these qualities with a violin. Ministers must be sensitive enough to feel with people yet strong enough to withstand the pressure. When ministers are in tune with themselves, they can touch people in beautiful ways, but when they are out of tune with themselves, not even the Lord can make music with them."1

1 Quoted as a secondary source from Myron and Jan Chartier. "Clergy Self-Care: Defining and Valuing the Self," The Clergy Journal, no. 9, (August 1994): 70, 2.

Physical Health

The relationship between good health and effectiveness on the job is well documented. People who have good physical health often have better mental and emotional health as well. They are usually able to deal more effectively with stress, miss less work for health related concerns, and have more stamina. In addition to the many books, magazines, web sites, videos, and other materials specifically devoted to staying physically fit, the following suggestions may prove helpful:

1) Get regular check-ups with your physician. They can help you avoid major problems.

2) Be alert to your body's warning signs. Significant irregularities in your body's normal functions should never be ignored. See your doctor.

3) Get regular exercise. Most authorities recommend approximately 30 minutes of aerobic exercise at least 3-4 times per week. In addition, some type of strength training and stretching is also recommended. Remember to stretch before exercising, progress slowly at first, cool down after exercising, wear proper shoes, and be cautious in extreme heat and cold.

4) Practice good eating habits. Your diet should be abundant with fruits, vegetables, and whole-grains. Avoid too much red meat, oil, sugar, processed food, and food that is high in fat. Eat regular meals and avoid snacking. Practice moderation. Avoid fast foods and eating on the run.

5) Maintain acceptable weight. Maintaining weight within acceptable ranges has many health benefits. People who stay within the norms have fewer health problems, higher self-esteem, and generally feel better. God expects us to care for our bodies, and maintaining an acceptable weight is an important part of staying healthy and vibrant for ministry.

6) Set reasonable goals. If you are not exercising at all, don't fail to exercise a little because you can't do the maximum! Start where you are and have long-term goals.

Spiritual Health

Good spiritual health is assumed for the minister; however, in an effort to accomplish all the tasks of ministry, this important area is often overlooked. Good spiritual health is maintained by paying careful attention to spiritual disciplines such as prayer and Bible reading. The minister's ongoing relationship with God cannot be

ignored if the ministry is to remain viable for the long-term. In addition to spiritual disciplines, ministers should seek to find a ministry opportunity beyond what is expected of them vocationally. If ministers do not participate in any ministry beyond that which is expected of them in their jobs, they are not modeling what they expect of their parishioners. A minister might volunteer in a local ministry or start a ministry above and beyond his/her job description or offer services to the community through someone else's church or ministry.

Emotional Health

The potential for emotional unhealthiness among ministers is great. Ministers may be crippled by the need to control and may even use God as a trump card in their quest for control. Some ministers are deeply wounded and use ministry to retreat into the quietness of study and solitude. Others are addicted to applause and spend their days finding ways to receive more gratification and recognition. These are but a few of the emotional pitfalls that entrap ministers. The following suggestions by Robert Adams offer assistance in maintaining emotional health.2

1) Unhook the applause meter. The desire to please and be recognized is normal; however, addiction to applause results in destructive behavior, for this addiction is never satisfied!

2) Accept your limitations. We all are limited by our time, abilities, and circumstances. Often our need to be valued causes us to accept more than we are capable of doing well. We often fear rejection if we say no.

3) Manage the pace of your life. Avoid filling every day with endless activity. Have some time in every day where nothing is planned.

4) Maintain clarity of the nature and purpose of your ministry. Work from your personal ministry mission statement in determining your priorities. Many opportunities may come your way, though not all of them will be right for you.

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5) Develop relationships with people who are not in your church. These relationships help to keep you balanced.

6) Be honest about motivations. Ministers should continually evaluate their motivations for ministry.

7) Stop thinking about a better place for ministry. Avoid the

2 Robert Adams, "Journey Toward Wholeness: Becoming Emotionally Healthy in Ministry," Church Administration , no. 5 (February 1993): 35, 66-68.

temptation to think that the grass is always greener somewhere else. Spend your energies doing your best in your present position, and wait for God's guidance. Other options may eventually come your way.

8) Continue after failures. According to Robert Adams, "Emotionally healthy ministers are not those who have lived perfectly but those who have learned how to recover. The key to recovery is forgiveness. "3

9) Develop a growing devotional life.

10) Laugh often. A healthy sense of humor can add perspective to the unfair side of life.

11) Recognize your true worth. "Your true worth is firmly established in the fact that God made and loves you."4

12) Maintain your gratitude level. Learn to be thankful in life circumstances. One's happiness is often in direct proportion to one's ability to practice the art of gratitude.

13) Understand your emotions. Learn to read your emotions and recognize them accurately. Listen to your body's signals.

14) Look for ways that stretch your ability to think and to process information. Seek opportunities for continuing education, to work on complex problems, and to learn new skills.

Spiritual Development

The minister of music's spiritual development is critical to longterm effectiveness in ministry. Since ministry through music is our goal, the ability to be alive spiritually and have freshness to offer others is vital. Spiritual development is not a one-time process; it is a dynamic process rooted in relationship with God. Relationships take time and are never complete; therefore, spiritual development must have life-long attention. Spiritual development occurs in many ways and is varied according to each individual.

Public Worship

Christians should be involved in regular public worship since worship is a prime source of spiritual nourishment. Some music ministers maintain that they must find venues for worship apart

3 Ibid., 8.

4 Louis McBurney , "Emotional Well-Being," Church Administration, no. 1, (October 1996): 39, 8.

from their church's worship because when they lead worship they are more concerned with details and logistics and are distracted from God as the object of worship. While this perspective is true for some music ministers, it is not true for all. Personally, I have found that I worship most effectively when I have been a part of the planning process and am a worship leader. For me, worship takes on deeper meaning when I am involved at different levels, such as planning, leading, and participating.

However, our worship preparation and leadership can become pedantic and can lose its power in our lives. Martha Postlethwaite states, " . . . worship can move from being that which feeds to the meal one is expected to prepare, serve and clean up after, on a weekly basis!"1

In order to fulfill your need for public worship, you may want to consider participating in the worship of a congregation that meets at a time different from your own congregation. Perhaps you could attend a Saturday evening service or a service at some other alternative time. Regular participation in worship with a body of believers is important for your spiritual development.

Private Worship

Also important for the music minister are regular times of private worship — times where your heart and mind are centered on God. Prayer and meditation on scripture should provide the core of private worship. Times and locations depend on individual preferences, and different people need different levels of structure and spontaneity. Ultimately, most people will need a regular plan. Often this includes a written prayer list containing specific names and needs as well as areas of one's life that need specific attention. Prayer takes on different forms for individuals as well. Some people prefer praying silently while others prefer praying aloud, some prefer spontaneous prayer, and still others prefer written liturgies and praying scripture and hymns. Some people use music, sung or recorded, while others prefer solitude. Some prefer to pray with a group while others prefer praying alone. The options and preferences are limitless. Find a model that is effective for you, and remain open to new ways of having private worship. Resist finding out what works for someone else and copying their model. Their model may not work for you. The focus of private worship should be

1 Martha Postlethwaite, "You Must Breathe First", The Clergy Journal, no. 8 (July 2000): 76, 4.

communication with God in which God has ample time to speak to you and you have opportunity to speak to God.

Reading

Reading can provide spiritual nourishment. While devotional books may be most obvious, other books can also offer spiritual development. When you are intentionally seeking relationship with God, God begins to speak in very unlikely places. Many wonderful books address spiritual development including devotional classics, poetry, and novels.

Retreat

When so little of our time is spent in silence and listening, regular times of retreat are important. A friend of mine observes quarterly daylong retreats where he goes away and listens for God's voice and speaks to God in intimate personal language. Some spiritual communities offer the opportunity for a spiritual guide during a longer retreat format.

Find a Spiritual Mentor

Every minister should have a spiritual mentor. This person should be someone whose spiritual life you admire and respect. He/she may be either a minister or a layperson from whom you can learn deeper spiritual truths. This relationship may be formal, and the mentorship may be structured and intentional. However, it may involve a close friend with whom you regularly meet for lunch, and the other person is not actually aware of his/her role in your life. I regularly meet with people whom I sense are in contact with God in a deep and continuing manner. I find that by spending time in their presence, I'm drawn into God's presence as well.

Seek Ministry Involvement

As ministers we are always involved in ministry; however, this is not the same as being involved in a ministry that is outside your job description, sphere of influence, or level of control. Ministers should seek a balance of both contemplative and active spiritual development. While God can be found in the quiet of meditation, God can also be found in the chaos of action. To be sure, God is a part of all things in the life of a Christian. We are charged with the pleasurable task of seeing God and experiencing God's presence.

voiding Burnout

Burnout is far too common among ministers of music. Even those ministers of music who remain productive and appear to thrive for an entire career have periods where their spirits and energies are low and moving forward becomes difficult. Although burnout implies a complete lack of ability to function, most ministers of music experience burnout in lesser forms and for briefer periods of time. When you spend an extended time around a group of ministers of music, you will readily see and hear signs of burnout as you interact with them.

What is Burnout?

Burnout is a condition in which a person's source(s) of energy is depleted. In other words, the flame that keeps our lives and work empowered is no longer burning. We often use the term "burnout" to mean that we are tired and stressed. Although a prolonged period of stress and fatigue could result in burnout, burnout is much more serious than these symptoms imply. Burnout will result in a number of the symptoms outlined below.

Each of us receives energy from a variety of sources. Foremost, as ministers we should receive energy and purpose from our relationship with God. However, some of us are extroverts and have a strong need to receive energy from others while others of us are introverts and receive much of our motivation from within ourselves. In addition, our desire to please others often drives us to greater activity and commitment. Musicians often have difficulty with setting priorities because we are accustomed to pleasing teachers, audiences, or congregation members, and we genuinely enjoy participating in many activities. In addition, our performances are public, and we are constantly aware of being evaluated. Most musicians have received music training from childhood. From our earliest musical experiences to the present, we performed in recitals, were critiqued by guilds and adjudicators, were given grades by juries, and were cheered to our next performance by the applause of an audience. Maintaining a healthy perspective in this externally motivated environment is one of the greatest challenges of church musicians. Learning to re-condition ourselves from the performance mentality of our training to the servant mentality of ministry can be a difficult pursuit. Part of the role of dealing with burnout is

analyzing the sources of our energy and either rekindling them or learning to receive energy in new ways.

What are the Signs and Symptoms of Burnout?

There are many signs and symptoms of burnout, and different people experience them in different combinations. Some of the most common are listed below:

Depression – Depression manifests itself in a variety of ways including many of the other symptoms below. Clinical depression is more serious than having a series of bad days or a period when you are feeling down. True depression is prolonged and becomes obvious in all areas of one's life.

Sexual Dysfunction – Lack of interest in sex and lack of ability to function normally.

Sleep Disorders – Failure to wake up in the morning and get out of bed, lack of excitement about the day's activities, failure to sleep at night, and habitual use of sleep aids.

Missed Deadlines – Repeatedly missing deadlines and failure to produce work in the amount of time allotted.

Fatigue – Being tired even when you are getting adequate sleep.

Lack of Ability to Get Excited About the Future – Failure to visualize the future positively.

Negativity – Failure to have a positive outlook.

Short-temper – Becoming easily irritated and short tempered.

Compulsive Behaviors – Exhibiting compulsive behaviors such as paranoia or constantly checking the status of projects.

Job Difficulties – Lack of fulfillment in one's job, changing jobs and still not being content, and failure to get along with colleagues.

Health Problems – Problems such as indigestion, hypertension, or headaches are often related to high stress and potential burnout.

Eating Disorders – Eating too much and gaining weight or loss of appetite and weight loss are potential symptoms.

Loss of Self-Confidence – Actually cannot function because of fear of failure.

What Causes Burnout?

Burnout can have many causes. Usually burnout has multiple causes rather than a single cause. Some of the possible causes are:

Hyper Expectations – When a minister of music has impossible expectations for him/herself or for the position or the church, then difficulties will follow. Sometimes we find that we are not qualified

to do all aspects of our job equally well, and we may become disappointed and frustrated with ourselves. We may accept a new position and once we are on the job, we find out that there are deeply rooted problems of which we were unaware. When we are unable to reconcile situations such as those above and accept our limitations, we become candidates for burnout.

Can't Keep Up – When we feel for prolonged periods that we can't keep up with the pace of our job, we begin to become discouraged. This problem can be related to a heavy workload, or it can be skill related, i.e., we do not have the skills to do our job within the time allotted. While ministers of music anticipate unrealistic involvement during seasons such as Christmas and Easter, when this pressure doesn't let up the flame can begin to fade. Ministers of music depend on down times to compensate for the periods when they can hardly keep up. When these down times do not come, beware!

In addition, ministers of music can realize that they do not have the necessary skills to remain viable in their present position. This can be related to musical, administrative, or other skills. A minister of music who didn't grow up with the complex music of today can spend an inordinate amount of time each week working on music for rehearsal. Eventually, this can be discouraging. A minister of music can serve in a church that has transitioned to a contemporary style of worship and realize that she no longer has the needed skills to do her job effectively. Furthermore, a music minister who is in charge of a multi-person staff for the first time may lack administrative skills.

Inner Personal Conflicts – Various personal issues can be debilitating for ministers of music. Conflict with spouse or family, issues from the past, or conflicts with other colleagues or the pastor all have the potential to be debilitating. Burnout can result from longterm un-reconciled conflicts within ourselves or with others.

Perfectionism – Most ministers of music are perfectionists in some areas of their lives. If they weren't, making it through a music degree would probably be difficult. Music requires that we seek higher ideals and are never satisfied with the status quo. While this perspective may have a place in the art of music making, serious problems can result when this is transferred to other areas of life. Ministers of music depend on others for their work to be accomplished. Each Sunday, we depend on dozens of people for worship to transpire. Obviously, some people will not carry out their

responsibilities as we envisioned. Successful ministers of music develop an attitude of acceptance of "good enough." "Good enough" is different for all of us; however, our level of "good enough" has to lie somewhere between the "good enough" of those we work with and ours. If not, the people we work with are frustrated, and so are we! "Good enough" does not imply lack of quality; but it does recognize that we cannot do everything perfectly.

It must be noted that perfectionism is often born out of insecurity. In order to deal appropriately with perfectionism, the insecurity must be dealt with first. Ask questions such as: "What will be the long-term effect if this is less than perfect?" "In six months will it really matter?" "Is the personal and collective cost of perfectionism worthwhile in this situation?" Also, the old adage, "If it's worth doing, it's worth doing right" is only partially true if we interpret "right" as perfect. Most of the work of our ministries will not be perfect; however, our work can be acceptable without being perfect.

Often, a tendency toward procrastination is a sign of perfectionism. Many of us postpone action because we're afraid that we can't perform tasks well enough. Eventually, when a deadline looms, we rush and accomplish the task with the excuse, "If I'd just had more time, I could have done it better." Therefore, procrastination becomes a sure habit of the perfectionist, for it gives us an immediate excuse! If you're a procrastinator, you may also be a perfectionist. Additionally, most perfectionists will deny their perfectionist tendencies because they are acutely aware of their failures. If others consider you a perfectionist, you probably are!

Ministers of music must be careful not to use people to fulfill their goals and aims. At a recent funeral I heard the following quote used to describe a well-known conductor and teacher, "He used music to make people, not people to make music." If more of us followed this simple yet difficult axiom, our ministries would be much more effective.

Too Much and/or Too Little Work – While most of us immediately assume that burnout is caused by a workload that is too heavy, this actually may not be true. Sometimes the workload is not too heavy, but the passion and fulfillment for the work are lacking. In contrast, some ministers of music become burned out because of lack of effective work. It is easy to escape in ministry and actually do very little work that really matters. Some ministers of music have learned to appear busy without doing substantive work. Over the years, this practice can result in burnout, for while you may have

convinced others that you are effectively doing your job, you've not convinced yourself. This festering sore of dishonesty can become so painful that it is eventually debilitating.

On the other hand, many ministers of music are workaholics, i.e., people who are addicted to work. These people involve their whole life with church and have little or no time for family, hobbies, recreation, or relationships. Workaholics are often people who have developed an unhealthy need to prove themselves and to receive praise for their efforts. Work addiction is a formula for burnout.

Family Problems – Problems at home can take the most devastating toll on our productivity. Arguments with your spouse, problems with children, and unresolved parental issues can halt effective ministry. Such problems must be reconciled early in one's ministry with appropriate time, energy, and counseling (when needed). In my years of ministry, teaching, and encouraging ministers of music, I've observed too many ministers who denied the reality of family problems until the problems couldn't be solved. When faced with problems, many ministers absorb themselves in greater amounts of work to mask the pain they are experiencing. When problems are not resolved within a reasonable amount of time, ministers should seek outside help.

Lack of Time Off – Music ministers often fail to take their day off. While there are times when the day off must be given up for the short term, this must not become a habit. All of us could use an extra day per week in the office. This extra day could allow us to be better organized, to work ahead, to catch up on reading, or to do a myriad of other things. Frequently, when a task is near completion, I think, "If I'd just had one more day!" Over time, I've learned that this is a part of who I am. I simply have to tell myself, "You don't have another day!" "Now is the time to complete the task." "You've done the best you could given your limitations."

The long-term toll of failing to take time away from the office is not worth the extra organization that you'll gain. While it may seem so in the beginning, in the long run it isn't beneficial. Also, working on your day off becomes a habit that is difficult to break. Eventually, you'll not be able to get your work completed in the time allotted because you've become dependent on the extra day of work, or you've accepted additional responsibilities that require an extra day per week.

Lack of Continued Education – All of us must take time for the re-tooling that continued education affords. Though sometimes we

don't feel that we have the time or money to be away from the office, we must be continual learners if our ministries are to remain viable. Times of continued education should be included to assist us in building skills that will enhance our ministries. In addition, these times should allow us to reconnect with others in our field and receive the encouragement they offer. In order to avoid burnout, continued education should be used to enhance skills that are weak. Unfortunately, many ministers of music spend continuing education money and time building up areas that are already strong while having to spend great amounts of energy each year masking weaknesses. Covering up weaknesses is a stressful and time-consuming task. For the long haul, work to build skills and habits that enhance your weaknesses rather than spending energy trying to keep others from seeing them.

Spiritual Issues – Spiritual issues can plague the music minister and can severely limit effective ministry. Spiritual issues can range from un-reconciled issues in one's past to issues regarding one's call to ministry. Since our primary role in ministry is to be spiritual leaders, we must carefully protect our spiritual lives.

What Can Be Done?

Take Time to Retreat – Often ministers of music do not spend enough time alone. We are constantly surrounded by people and fail to plan a time of retreat for spiritual and professional reflection. Retreat time can easily be perceived as wasted time — at least in comparison to the mountain of items on our "to do" list; but we must re-train ourselves to view time alone with God and self as integral to maintaining vibrant ministries.

Check Your Balance – In order to remain effective, we must balance work and play. The nursery rhyme line, "All work and no play makes Jack a dull boy," can easily be applied to our lives. We must consciously balance work, family, professional activities, and recreation. When one aspect of our life begins to consume our energy and passion, we must revisit our priorities. As a small boy, my Dad would sometimes come in from work and find me working on homework or practicing piano. He would often say to me, "It's time to go play. You've worked enough for now." Now I realize how fortunate I was to have a father who recognized my tendency to work too hard. As an adult, I try to play the role of my father and give myself permission to go out and play!

Seek Out a Confidante – Every one needs someone with whom his/her feelings are safe; however, as ministers, we must choose this person carefully. Knowledge is power, and others can use that knowledge against us. You may choose to have a confidante outside your church family – perhaps a minister from another congregation, a seminary friend, or a colleague from a previous church. While a confidante should be someone who encourages and listens, he/she should also be a person who gives honest advice and evaluation. I have learned to value friends who are honest with me in a kind and gentle manner. It takes time to build lasting relationships, and sometimes we think we have developed long-term friendships when we haven't. A day spent driving to visit with a trusted colleague in another city, or money spent talking with someone long distance is often time/money well spent. Always build relationships slowly and allow ample time to observe life patterns. Ministerial confidantes usually have a lot to risk; therefore, they are aware of the importance of confidentiality.

Be Aware of Those with Whom You Spend Time – Frank Lloyd Wright believed that we shape our environment, then our environment shapes us. I believe the same is true of the people with whom we choose to spend our time – we have a strong tendency to become like those with whom we associate. Choose to spend time with people who are positive. When I've become negative and disliked my job, I've sometimes discovered that I was spending too much time with people who were cynical and negative. Cynical people are always around, but it is better to avoid them.

Resolve Family Issues – If family issues are problematic, they must be resolved. Don't be afraid to get help. We can become so intimately involved in these situations, that our perspective is inaccurate. We must depend on others to help us.

Seek Opportunities for Inspiration – Opportunities for inspiration may include spiritual retreats, motivational conferences, spending time with people who enjoy their work and ministry, and reading or listening to inspirational materials. Sometimes we have the mistaken perception that we've outgrown the inspirational stories and people that helped to shape our ministries. To remain an inspiration for others, we must continue to let others inspire us.

Pay Careful Attention to Spiritual Issues – In the business of our career, we sometimes neglect regular prayer, Bible reading, and devotional times. Analyze your life carefully to see where you are out of step with God's intentions. Give these areas special attention.

Discover Energy Sources and Energy Depleters – Some activities and people give us energy while others drain our energy. To stay balanced, recognize what gives you energy and what depletes your energy. You must have a reservoir of energy if you are to continue to minister effectively. When this reservoir becomes too low, you will begin to experience burn out. Avoid people and situations that drain your energy. When possible, schedule your week so that you do not have a series of energy-depleting activities in one day. Spend additional time in activities that restore your energy.

Say "NO" to Something – After careful assessment, say "no" to some things that are not within your mission and are not energygiving. Saying "no" and getting control of your schedule can provide renewed energy. However, it is important to note that saying "no" is not always an appropriate response. We accept some responsibilities from a sense of duty rather than delight. While these tasks may not be energy giving or delightful, they may be necessary.

Address Physical Needs – Addressing physical needs can help to build a new vision, for sometimes physical problems disguise themselves as emotional problems. Dealing with obesity, blood pressure, cholesterol, blood sugar, or other health problems can give us renewed energy. When we're feeling overwhelmed and are afraid that burn out is approaching, a physical examination should be a first step in assessing our situation. Physical problems can occur so gradually that we're not aware that we've become ill.

Evaluate Time Management – Evaluating time management strategies can be an excellent way to renew ministry. We may have become too accessible and have too little time to get our work done. Perhaps we're spending time on tasks that others should be doing, or we're taking lunch breaks that are too long. Maybe we've gotten into a habit of coming to work late, not making decisions quickly, or not dealing with clutter. The list is endless. If time management is a problem, develop new work strategies.

Conclusion

The goal of all ministers is to remain effective in ministry throughout one's career. If we use all of our life's energy in one big burst, and nothing is left to sustain us for the long haul, then we have not reached our maximum potential. By remaining steady over many years, we are able to work better and longer.

eveloping As a Leader

What makes a great leader? The answer to this question has often been debated, and the study of leadership continues to be one that receives much interest and consumes many printed pages, web sites, and seminar hours. Can leadership be learned, or is it a trait that is present at birth? Most authorities believe that effective leadership is a combination of innate ability and learned behavior. Most of us have leadership potential, although for many of us this potential may be latent and untapped. We all know persons who seem to have few of the qualities we normally associate with leadership; but in the right context they excel as leaders, and we all know those who have natural leadership gifts who never actualize their potential. The title of this section implies that music ministers will be leaders. Because of your position, you have taken on the responsibility for leadership of your church's music. It is your responsibility to develop your leadership to its fullest potential so that you may lead effectively in the context in which you serve.

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A popular definition for leadership comes from John Haggai in his book Lead On!: Leadership That Endures in a Changing World. He states, "Leadership is the discipline of deliberately exerting special influence within a group to move it toward goals of beneficial permanence that fulfill the group's real needs."1 This definition is helpful, for it captures many important qualities such as discipline, being deliberate, exerting influence, and movement toward goals — all for the purpose of benefit to the group in response to its needs. Haggai further states, "Those who lead effectively have a generous endowment of physical and emotional energy. They have a compelling drive toward a specific purpose or goal. They have a mastery of the methods of achieving the aim they profess. They are capable of sustaining the confidence, loyalty, and frequently the affection of those whom they lead. They are persuasive in enlisting followers to support the cause that demonstrably leads to the followers' own best interests."2 Following are some qualities and characteristics of effective leaders:

Leaders Have Vision – In order to be an effective leader, you must have vision. You must have the ability to look beyond what is and imagine what might be. Basic to the human psyche is the desire

1 John Haggai. Lead On!: Leadership That Endures in a Changing World, (Waco: World Books, 1986), 4.

2 Ibid., 7.

to improve one's status. Since you are a leader, you are to lead in setting a vision for the group.

Leaders Maintain a Positive Attitude – Being positive in your attitude is a first-step for an effective leader. This does not mean being Pollyanna-ish or blindly positive; however, it does mean seeing challenges as possibilities.

Leaders Practice Goal Setting – Effective leaders are able to turn vision into goals. According to Haggai, goals should be specific, measurable, attainable, realistic, and tangible.3

Leaders Develop a Style That Works For Them – Leadership is not something that can be copied wholesale from one person to another. The effective leader learns principles of leadership from others and then applies them to his or her situation. Effective leaders capitalize on their strengths and use them to determine their leadership style. While some leaders are extroverted and boisterous, others are quiet and contemplative. Those you lead will learn to accept your personality and perspectives. An effective leader is true to him/herself and is never phony. Being genuine and authentic is absolutely necessary.

Leaders Are Effective Communicators – Effective leaders learn the art of communication. They learn how to make their words count and how to speak in order to resonate with their constituency; however, leaders don't all communicate in the same manner. While one leader may give rallying speeches, another might read purposefully from a prepared manuscript. Many would-be leaders become intimidated by the extroverted leaders around them and fail to utilize their own unique leadership skills. Furthermore, communication is not just about public speaking. Communication involves written communication as well as non-verbal messages.

Leaders Have Physical and Emotional Energy – Effective leaders seem to have an extra measure of physical and emotional energy. They are people who are persistent. They have the ability to put physical needs behind them for the purpose at hand. They also have emotional resiliency that allows them to deal with many conflicting opinions and perspectives and remain centered on larger goals and priorities.

Leaders Are Effective Planners – Leaders are able to turn vision into plans that can be communicated to others. They are able to see a goal and to work backwards from that goal to discern the steps necessary for achievement.

Leaders Are Flexible – Leaders are able to listen to the needs and desires of others and to be flexible in including them. When a project does not proceed as planned, the leader is able to capitalize on the moment and move toward another plan. Leaders are careful not to become so wedded to an idea that they are not able to change and move toward what may be better.

Leaders Are Risk-Takers and Are Not Paralyzed by the Prospect of Failure – Leaders are people who are willing to take risks and move into uncharted waters. Often the solution is one that has a high possibility for failure. The effective leader is not afraid of failure and has learned the art of recovery. When you fall, get up, and try again.

Leaders Are Intentional and Move Forward with Confidence –Effective leaders move with confidence and are intentional in their actions. This doesn't mean that they are not afraid and don't doubt; however, they are able to put their doubts aside and move forward.

Leadership Is Always Earned – Perhaps this is the most important aspect of leadership. In the past, people were often impressed with status, degrees, and special training. People today are less interested in your qualifications and more interested in your ability to lead them effectively. The right to lead is an ongoing process and must be continually earned. Leadership is not something that is earned once and maintained forever — it is ongoing.

Leadership Is Always within a Context – All leadership is contextual; therefore, what works effectively in one place may not work in another. The contextual nature of leadership also demands that the leader be in tune with his/her surroundings and listen carefully to the people that he/she leads.

A Leader Accepts Responsibility – When things go well, the leader gives credit to his/her followers. When things don't go well, the leader accepts responsibility.

Leaders Have Integrity. Leaders are who they say they are, and they do what they say they'll do, whatever the cost. They are true to their word and never use others for personal gain.

Leaders Understand the Power of Compromise – Leaders don't have to "have it their way." As long as the larger goals are being met, the details can vary. Leaders continually ask themselves the question, "Does this affect the long-term outcome?" If the answer is "No," then compromise.

Leaders Expect Conflict – Leaders expect conflict and see it as potential for growth. Conflict is a natural part of growth.

Leaders Listen to Others/Understand the Pulse of the Group –Leaders spend much of their time listening to others and assessing the values of the group. They are in tune with the group and understand the motivations of the members of the group.

Leaders Are Persistent – Leaders don't quit. When they receive rejection and are misunderstood they regain perspective and decide on a new plan of action.

Leaders Learn to Deal with Negativity – Leaders learn to deal with negative people and circumstances in positive ways. Although negative people and circumstances are difficult for leaders, they learn to move beyond these hindrances.

Leaders Are Patient – Leaders don't have to have everything done immediately and can alter their timetables. They learn to be patient with others, especially those that take considerable time to "come on board."

Leaders Capitalize on Their Strengths – Leaders are aware of their strengths and use them effectively. They find ways to compensate for their weaknesses and surround themselves with people who have expertise that they don't have.

Leaders Are Proactive – Leaders move forward with confidence and take responsibility for their own actions. They anticipate situations and are proactive rather than reactive. They attempt to avert potential hindrances by using their time wisely.

Leaders Do What Is Important – An effective leader chooses a few important things that most closely reflect the group's priorities. Time is spent on these items rather than on trying to accomplish everything at once.

Leaders See the Big Picture – Not only do leaders see the big picture, they spend much of their time in this realm. They are also capable of attending to details; however, they generally approach life from large to small rather than becoming consumed with details without ever completing the broad stroke.

Leaders Understand Importance of Solitude and Time Away –Effective leaders understand that they must have time to renew energies. They do not spend all of their time with the organization. They diversify and have many interests.

Employment and Vocational Issues rofessional Preparation

PFor a minister to be maximally effective, he/she must be well trained to accomplish the many tasks of music ministry. Training for music ministry can range from degrees and certificates to short-term workshops. The following items represent skills and areas of knowledge that effective music ministers should strive to attain.

Specific Skills and Knowledge

Worship/Liturgy – Ministers of music should have knowledge of their church's liturgy and worship. Furthermore, they should understand worship history and the theological precepts that inform worship, and should have an in-depth grasp of worship planning and other factors that affect their congregation's worship.

Congregational Song – Congregational song includes all the music of the congregation — hymns, choruses, liturgy, responses, and any other music the congregation sings. Insight into both the history of congregational song and new developments is essential. Although congregational song information is specific to a particular liturgy, all church musicians should have a basic mastery of the shared body of congregational music. As the field of congregational music grows with the influx of world music and contemporary elements, the study of congregational music continues to be dynamic and challenging.

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Instruments – Ministers should be familiar with ranges, transpositions, characteristics, and other qualities of orchestral instruments. They should know about guitars, synthesizers, and other instruments associated with popular music. Experience with the pipe organ and piano is also essential.

Children/Youth/Adult – Knowledge of the developmental characteristics of different-aged persons and its applicability to worship

and education is vital to good leadership within age-specific groups. This includes such information as comprehension of appropriate vocal development, techniques, literature, and motivational strategies.

Solo Literature – Solo literature used in worship includes instrumental solo repertoire and vocal and keyboard repertoire. While solo literature varies from congregation to congregation, the minister of music should have basic awareness of what is available within different genres. He/she should know where to obtain help when additional resources are needed.

Administration – The minister of music must have administrative skills to manage a music ministry with numerous choirs and additional paid employees. These skills include budgeting, scheduling, and organizing. Generally, the larger the music ministry, the more time the minister of music spends doing administrative tasks.

Philosophy – Philosophy is the study of why we do what we do. Music ministers should have a good grasp of the philosophy of music ministry. If we do not know why we do what we do, we are likely to make poor choices. In an effort to master skills and accomplish tasks, we often overlook this thoughtful and critical phase.

Theory/History – Theory background should include harmony, sight singing, ear training, form, analysis, counterpoint, and other appropriate items. Additionally, music ministers should be literate in various periods of music history and should be able to connect them with the history of congregational song and church history.

Conducting – An effective music minister should be confident conducting choral and instrumental groups of various levels. Gestures should be expressive, easily understood, and appropriate for various musical styles.

Applied Music Skills – Music ministers should have at least one performing area in which they are proficient. They should also have functional keyboard skills and be able to produce a good vocal sound for choral demonstration.

Improvisation – These skills are an asset to any minister of music, especially the ability to do keyboard improvisation.

Vocal Pedagogy – Ministers of music should have a thorough understanding of how the voice works and should be able to provide instruction in individual and group settings.

Ethno-Musicology – Acquaintance with the music of different cultures is helpful for ministers of music, especially in light of the influx of global music now available for the church. In addition,

understanding music from different cultures is valuable for understanding popular music and other musical styles used in worship.

Biblical/Theological – A good knowledge of the Bible, theology, and church history is helpful in understanding the church's doctrine, our personal faith journey, and the faith journey of others.

Ministry Skills – Music ministers must be not only musicians but ministers as well. They must understand the dimensions of ministry and be willing and equipped to minister in the lives of people.

Sources for Training

Undergraduate Programs – Many schools have undergraduate programs in church music. These programs are designed to prepare potential ministers for graduate study and/or to launch them into an initial ministry position.

Graduate Programs – Graduate programs are available through seminaries and universities. They are usually specialized and allow the student to major in church music with an emphasis such as organ or voice. These programs usually have a theological component, and they are specifically designed to equip students with skills and knowledge for effective ministry and/or for the pursuit of further study.

Professional Certifications – Professional certifications are sometimes available for church musicians. These may include various certificates through such groups as the American Guild of Organists, Kodaly, and Orff. Some denominations also have certificate programs for completing various course work; however, these programs may be recognized within denominations yet have limited acceptance ecumenically.

Other Issues

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Training for ministers is sometimes long and rigorous, and personal and family sacrifices are significant. While most ministers train in their 20's, there is an increased tendency for people to experience a call to ministry during a first or second career. Often these people return to school for further training. Certainly there is no ideal time to train for ministry. When one enters seminary or graduate school at a young age, he/she has little life experience from which to draw whereas older students have many life experiences. Education for ordained ministry varies widely from denomination to denomination. Before entering a seminary or graduate program with the idea of ordination, carefully consult the group with which

you will pursue ordination to confirm that this program meets their ordination requirements.

Financial concerns must be carefully considered before beginning a program leading to vocational ministry. Few denominations cover the entire cost of training clergy, and often clergy are paid salaries that make it difficult to repay large school loans; therefore, a clear financial plan should be in place from the beginning. Additionally, some denominations may not recognize a music minister as clergy; therefore, financial assistance during graduate school or seminary may be difficult to attain.

Another primary concern is family. While parents' hesitancies regarding their child's being a minister are usually not a long-term hindrance, since most people eventually gain independence from their parents, spousal issues are of greater concern. If your spouse, or potential spouse, does not support your becoming a vocational minister, you must carefully evaluate your call. Since a call is not exclusively a private decision, your spouse's refusal to support a call to ministry almost assures failure. Sometimes spouse's (and parents') concerns are related to fears that the minister will not make an adequate salary to care for his/her family, will have little privacy, and will have little status. If you are facing resistance to ministry from family, these issues must be thoroughly resolved before you enter graduate school, seminary, or any other program leading to ordination.

A decision to pursue professional training must be made with the counsel of family, friends, and the faith community. No call to ministry and preparation is exclusively a private decision. There is no substitute for listening to the voice of the community of faith in discerning God's plan for your life.

ontinuing Education

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Continuing education helps the minister of music maintain his/her skills at a level consistent with others in the profession, which keeps him/her viable for ministry. Initial education ventures (undergraduate or graduate) are only the beginning, for ministry itself is a career of continued learning. Continuing education is so important that many denominations now require annual continuing education units (CEUs) for the minister to continue parish ministry. Instead of feeling guilty for being away from the church for training,

ministers should seek opportunities for continuing education. The time spent participating in continuing education activities will likely increase your ministry productivity in the long run.

The following represent reasons why ministers of music need continuing education: (1) Needs of ministers change in different life situations; (2) Different churches have different expectations for ministers of music; (3) The fields of music and worship are continually changing and call for new skills; (4) Music ministers become burned out when they are not exposed to new ideas and do not have time to interact with others in their profession; and (5) Ministry requires giving great amounts of one's self, sometimes without significant opportunity to receive from others.

Developing a Plan

Before choosing continuing education activities, spend time carefully evaluating yourself so that your continuing education activities adequately address your present and long-term needs.

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When developing a continuing education plan, begin with an analysis of your strengths and weaknesses. While it is important to be an expert at some aspect of ministry (and this area must be cultivated), it is also important to evaluate weaknesses and develop a plan to improve these areas. Decide in which areas you feel confident and in which you would like to become stronger, and then formulate a plan. Continuing education usually falls into one of the following areas: gaining deeper knowledge, developing new skills, or experiencing spiritual renewal. Since few of us will have the time in one year to significantly improve a serious weakness, the plan should span several years. By designing a multi-year plan, we know that we will have time and resources to experience long-term benefits. Many people do nothing because they can only do a little; however, small efforts can eventually produce great results. Next, produce a time line that considers both your continuing education budget and the cycle of your work within the congregation. Attempt to be away from the church during down times. Finally, meet with the personnel committee to seek their assistance in implementing your plan.

Continuing education options are numerous. The following list provides proven options:

Attending Conferences – These may include conferences sponsored by denominational groups, seminaries, universities, or professional organizations. Conferences may be subject specific or may

have a wide range of course offerings. Conferences may last for a day or for several days.

Participating in a Professional Group – An opportunity to perform in a professional ensemble can provide an on-going education in choral/instrumental techniques and rehearsal procedure as well as help to keep you musically fit. Some denominations have groups that are comprised of music ministers.

Reading Books and Journals – Reading books and journals can help you gain new knowledge and develop skills. Select a particular number of books that you will read each year and subscribe to several professional journals.

Working with a Mentor or Private Consultant/Teacher –Working with a mentor or private consultant can be an excellent way to develop professionally. A mentor can be an experienced minister in another local congregation, a local professional musician, or a college professor. A local minister might assist you in developing administrative or ministry skills, or you may choose to study voice or conducting with a private teacher. You could enlist a consultant from another city to evaluate your church's music ministry and offer suggestions for improvement.

Meeting with Other Ministers – Ministers should meet regularly with other ministers to share ideas and gain support. These groups can be either denominational or ecumenical.

Watching Videos and Listening to Recordings – This can be one of the least expensive ways to enhance your ministry/music skills. In order to process the information with someone, consider watching or listening with a ministry friend. Videos and recordings are easily accessible by browsing music publisher web sites.

Spiritual Retreats – Ministers should take periodic spiritual retreats. Discover retreat centers in your area. Look outside your denomination and be creative about finding places for spiritual retreats. Since most opportunities for spiritual retreats will be shortterm (perhaps only a day) look for places that are close and affordable.

Taking a Class – A structured class can often be the best way to gain new skills. Classes are available through local community colleges, universities, or seminaries. Also, many classes and seminars are offered through the Internet.

Sabbaticals and Study Leaves – Increasingly, churches provide sabbaticals and study leaves for ministers. Sabbaticals provide excellent opportunities for learning and renewal, and may include a variety of the ideas mentioned above.

Minister of Music Exchange – Swapping ministry settings with another minister of music for a period of time can be an excellent way to learn from a different setting and to be renewed in a different location.

Self-Directed Study – You may choose to study an issue on your own. Utilize a local library, the Internet, books, and videos to accomplish your study.

Conclusion

When developing a plan for continuing education, be sure that you have a balance of activities. You should include both "how to" events and activities that cause you to think and ask better questions. Avoid choosing conferences that only provide help to survive another year. When money is severely limited, consider your choices carefully. Rather than spending money on a reading session, perhaps ministers of music from your area can rotate attending music reading sessions and sharing their findings with the others. While one minister of music has spent his/her money on a reading session, the others can spend their money on other activities.

Most importantly, don't neglect continuing education. While the short-term toll may seem minimal, long-term failure to continue your education will result in a lack of effective ministry and contribute to burn out.

ompensation

Determining fair compensation for ministers is a complex and sometimes misunderstood process. Finding the balance between doing God's will and providing for self, family, and future can be challenging. Often the issues are even more complex for part-time or bi-vocational ministers since some congregants may fail to understand why they should be compensated. I recently had this discussion with someone in my church who asked, "Why is it that we pay the minister of music, the pianist, and the organist (all of whom are part time) when we don't pay Sunday school teachers and others who also invest lots of time in the work of the church?" The question is certainly a good one that deserves careful thought. I explained to this inquiring church member that one of the reasons part-time musicians are typically paid is that congregations have high expectations for musicians, and they must pay them for their years of

preparation and skills. Attaining these skills is expensive and involves great personal sacrifice. Also, few people are aware of the weekly preparation that is required of effective church musicians. Additionally, supply and demand also plays a role since many ministry positions are available, and there are few qualified people to fill them. Determining a fair salary for ministers of music is difficult, and ideally churches should simply pay the best that they can afford. The following information should inform this discussion. Preparation/Education – Ministers with significant education should be compensated accordingly. In one church where I worked as a part-time minister of music, the church developed a pay scale for ministers that considered educational background. This scale classified ministers according to (1) student or no degree, (2) bachelor's degree, (3) master's degree, (4) doctor's degree. Each classification was factored in differently when salaries were decided. Not only does a plan such as this show that the church values preparation, but it also encourages ministers to upgrade their training and skills. However, having advanced training does not assure good music ministry skills.

Experience – Much like education, experience also is an important factor in determining salary. As ministers gain more experience, they are able to accomplish tasks with greater efficiency, and they bring more depth to processes such as worship planning, organizing, and musical interpretation. Churches may opt to compensate for various levels of experience according to a scale such as the following: (1) 0-5 years experience, (2) 5-10 years of experience, (3) 1015 years of experience, and so forth. Plans such as these can make salaries more fair and equitable.

Community Issues – The community also plays a major role in determining salary. What is the overall cost of living in this community? How expensive is housing? What is the cost of transportation? How much commute is involved? What are the costs of property taxes? What are the salaries of other comparable professionals in this community? To determine a fair salary for the music minister, some churches use salaries of music teachers in local schools or in universities to establish a base; however, most teachers are paid on 9 -10 month contracts whereas music ministers work on a 12-month contract. Therefore, if a teacher makes $36,000 for a 9-month contract, a minister of music could reasonably make $45,000 in the same community. Comparable education and experience should also be factored in. While this method is not a rule for music minister

salaries, it can be a point for beginning salary discussions. Another option is to compare salaries of comparable ministers in your area. Reasonably, a half-time minister of music should be paid half of a full-time salary for a church of comparable size and expectation.

Church Size – While church size is not a sole determiner of salary, it does play a role, for larger churches are able to pay more, usually have greater expectations, and require more responsibility. When comparing salaries of other churches, church size should be considered.

Expectations – What does the church expect the minister to do? Expectations may vary widely from church to church. Will this minister be expected to be in charge of multiple ministries? Will he/she supervise a large staff? Does the church have multiple services each week? Is each of the services different? Does the church expect the minister of music to maintain relationships with other professional musicians on a local, state, or national level? How high profile is the position? These are all questions that affect salary! Also, churches differ in their expectations regarding education and musical style. For example, a church made up of professionals will generally require a person with comparable educational background and one who is comfortable in this community.

Benefits

Benefits should be considered as a separate category from salary because they are not salary! However, benefits do make salary packages more or less attractive.

Insurance – Will the job include insurance benefits? If so, will it include medical? Dental? Optometric? What deductibles, co-pays, or other out-of-pocket expenses are included? Is there a portion that the minister must pay? Insurance should always be listed in the benefits category, for it is a non-taxable expense and should never be included with salary.

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Retirement – Will the church pay a portion of the minister's retirement? If so, how much? Many churches have matching programs where the church pays a percentage and the employee pays a percentage. Also, churches should discuss vesting options as well. Churches may opt to increase retirement payments with greater tenure.

Moving Expenses – Reimbursed moving expenses are non-taxable, and churches should pay moving expenses for their ministers. Moving expenses include the cost of moving a household, travel,

and lodging.

Housing – Some churches provide housing for ministers in the form of a parsonage. If housing is provided, it is a non-taxable expense and should not be counted as salary.

Vacation – Vacation should be determined early in the hiring process. Most churches provide vacation based on experience and tenure. Many churches grant vacation according to years of experience, and they count experience from other church-related work.

Continuing Education – Time for continuing education should also be negotiated, and ministers should be allowed adequate time for continuing education each year. Two weeks is usually standard. Many churches offer sabbatical programs every 3-5 years. These sabbaticals might be from one month to six or more months. Often, they can include one month per year and can be accumulated for several years.

Accountable Reimbursement Plans – Churches should set up accountable reimbursement plans for ministers to cover expenses in the following areas: travel, entertainment (taking someone to lunch, etc.), conferences, books, and other valid expenses. These expenses should be seen as "the cost of doing business" for the minister, and they should not be treated as salary. They are expenses that directly affect the ministry of the church, and they should be considered as such. In order to reimburse these expenses, the church should set up accounts for each. The minister is responsible for documenting each expense for which he/she is reimbursed or money is advanced. The expense must be documented within 60 days, and any excess money received by the minister from the church must be returned within 120 days. Accountable reimbursement plans should not appear on the church's budget in the salary category. They should appear in another place on the budget with other expenses for carrying out the church's ministry.

Expense Reimbursement Accounts – These accounts, sometimes known as cafeteria plans, allow ministers to put money into an account each pay period to be used for medical expense reimbursement or childcare expenses. The money put into these accounts is non-taxable. The amount must be carefully estimated because any money that is not used at the end of the year cannot be returned to the minister but must be retained by the church. In order to access the account, the minister must submit receipts to the church that document the expense, i.e., medical deductibles and other nonreimbursed medical expenses. In order to be reimbursed for child-

care, the minister must submit receipts for money paid to a childcare provider.

Annual Salary Review

Each minister should have an annual salary review, for perhaps nothing is more uncomfortable and misunderstood than a minister's having to ask for a raise. Churches are notorious for not discussing salary issues with the minister. In extreme cases, salary is not discussed with the minister until the recommendation reaches the church's governing body.

Each year, the church's personnel committee should discuss salary with the minister. This is best handled through discussion with one or two persons who become the advocate for the music minister. This usually helps the larger group to discuss the issue more freely, and it takes the minister out of an otherwise awkward situation. The discussion should include issues such as cost of living increases or changes in status, i.e., new responsibilities, growth, additional education or training, merit pay, and other related area. See the following page for a Minister's Compensation Worksheet. This form can assist in determining the minister's salary and can help with decisions related to designating salary and benefits appropriately. It is important to note that a cost of living increase is actually not a raise; it is simply money that keeps the minister's salary at its current level. Additionally, dealing with staff salaries prior to other budget discussions is important so that salaries do not reflect what is (or isn't) left after everything else has been budgeted.

SALARY:

MINISTER'S COMPENSATION WORKSHEET

This YearNext Year

A.Cash salary, less designated housing/furnishings $_________________ allowance

B.If parsonage owned by church, fair rental value_________________ including utilities and any housing/furnishings allowance

C.If parsonage not owned by church, cash housing _________________ allowance provided (plus utilities, maintenance, or any other housing expenses paid directly by church)

D.Tax deferred payments (TSA, 401 (k), IRA)_________________

E.Cash bonus_________________

F.Other_________________

Total Salary ________ _________

FRINGE BENEFITS:

A.Denominational pension fund__________________

B.Social security reimbursement__________________

C.Medical expense reimbursement__________________

D.Insurance premiums paid by church

1. Health__________________

2. Disability__________________

3. Long-term care__________________

4. Group-term life__________________

5. Dental/vision__________________

6. Professional liability__________________ 7. Malpractice__________________

E.Other__________________

Total Fringe Benefits

PROFESSIONAL EXPENSE REIMBURESMENTS: (limited to ordinary, necessary, and actual expenses)

A.Auto/travel__________________

B.Books/subscriptions/tapes__________________

C.Continuing education__________________

D.Conventions/conferences__________________

E.Professional dues__________________

F.Church-related entertainment__________________

G.Child care__________________

H.Other__________________

Total Professional Expense Reimbursements

Housing Allowance and Self Employment

Most ministers are entitled to receive a housing allowance as part of their salary. Simply put, this means that ministers are eligible by law to receive a tax break by designating a portion of their salary as housing allowance. However, it should be understood that a housing allowance is neither an exclusion from income nor a deduction because it is never reported as income. This portion of salary is not reported on a W-2 as income; therefore, it is not taxed. For instance, if my church were to pay me $40,000 per year and I were to designate $20,000 for housing allowance, my end of the year W-2 would show that I had made $20,000 for the year.

Who Qualifies?

Ministers of the Gospel are the only taxpayers who qualify for a tax-free housing allowance under Section 107 of the Internal Revenue Code. Most professional ministers qualify for a housing allowance. Ordained ministers almost always qualify and sometimes licensed and commissioned ministers qualify as well. The following criteria serve as a guide to check for qualifications:

1. Must be licensed, ordained, or commissioned by a religious body whose governing documents permit such action;

2. Must participate in administering sacraments;

3. Must be considered a religious leader in their church or denomination;

4. Must participate in conducting religious worship; and

5. Must be responsible for management (control, conduct, or maintenance) in a local church or religious denomination.

As seen in the above criteria, this does not allow everyone with the title minister to qualify; however, most professional ministers should qualify. Court rulings on qualifications have differed through the years and could change in the future. Make certain to check with your denominational offices/headquarters or tax lawyer/accountant before setting up any of these items.

Bi-vocational and part-time ministers qualify for housing allowance and could reasonably claim their entire ministerial salary in housing allowance. For instance, if I work as an accountant and work part time as a music minister, I could not claim any of my accountant salary as housing allowance but might feasibly count all of my $12,000 music ministry salary as housing allowance. In this

case, if my housing expenses were greater than $12,000, I could only count $12,000.

Retired ministers also qualify for housing allowances as long as a portion of their retirement income comes from a church-related pension fund. This is an excellent incentive for ministers to keep at least a part of their income in a church-related pension fund rather than investing solely in an organization that has for-profit status. The surviving spouse of a minister may not have a housing allowance.

What expenses count as housing allowance?

Generally, all expenses related to the purchase and maintenance of a home can be designated. These include payments toward purchase of a house (including down payment, mortgage principal payments, interest, taxes) or rent on leased properties; garage rental (if not included in above); utilities (gas, electricity, water, local phone, and Internet); insurance; repairs and maintenance (including lawn care, landscaping, updating); purchase or rental of furnishings (as well as repairs); cleaning supplies; homeowners' fees; pest control; and other expenses directly related to the upkeep of a home. Home equity loans cannot be counted as part of a housing allowance unless the home equity loan paid for housing. If a minister's house is already paid for, he/she can count other expenses as outlined above; however, he/she cannot count fair rental value as part of this amount since the house is paid for.

A good way to determine housing allowance is to use a form similar to the one on page 68 as a guide for figuring a housing allowance. You should also keep notes from year to year for easy reference. Paying utilities on an average per month plan helps the minister to more accurately figure his/her estimated utilities for the upcoming year. Also, you should project possible home updates and purchases of major appliances and should allow for funds to cover unexpected emergencies. Ideally the minister should keep monthly records of housing allowance so that he /she can more accurately project housing allowance for the upcoming year. Additionally, if you've incurred unexpected expenses, you may choose to defer expenses/purchases into the upcoming year.

Are there limits to housing allowances?

Ministers who own their homes can exclude the lowest of the following three amounts: (1) the amount designated by the church;

(2) actual housing expenses; or (3) the annual fair rental value of the home including furnishings and utilities. In most cases, a minister can count the actual expenses of paying for and maintaining a home; however, if there are questions regarding this amount, a letter from a realtor stating the fair rental price of your home may be needed. Usually, such a situation might occur in the year of an initial purchase where a large down payment was made or when very large amounts were spent on updating or remodeling and these expenses are not financed or rolled over into an existing loan. In this situation, you might not be able to claim the actual amount spent on housing as housing allowance because of number three above. Ministers with more than one home can claim a housing allowance only on their primary residence.

How is the money designated as housing allowance?

To designate a portion of your salary as housing allowance, you must first determine in advance what the amount of your housing expenses will be. Then, the church must approve (in a business meeting) the amount of your salary that will be designated as salary and the part that will be designated as housing allowance. This action MUST take place prior to the beginning of the calendar year. Although the IRS has recognized oral designations of a housing allowance, this is very risky and should not be practiced. The housing allowance can appear as a part of the budget line item; however, it is preferable to have the church governing body pass a separate resolution. This action cannot be retroactive and cannot be changed within the year. If you spend more money for housing than you designated, you cannot claim more; if you spend less, you will pay taxes on the remaining amount.

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The only way that a minister can avoid the problem of forgetting (prior to the end of the year) to have a housing allowance approved by the church's governing body is to have a "safety net" resolution. The resolution could say the church designates "40% of the minister's salary for 2005 and for all years in the future until this amount is changed in writing by the church."

One other exception to housing allowance designation is when housing status changes within the year, such as selling/buying a house within the year. In this case, the church needs to modify the agreement, and the minister would prorate the money according to the amount of time that he/she owned each house.

Can you still deduct mortgage interest?

Yes, ministers can still deduct mortgage interest the same as non-ministers. This is often referred to as "double dipping," but it is totally legal.

What happens if the minister lives in a parsonage or manse?

If you live in a parsonage or manse, you do not report the value of the parsonage as income. The minister may designate other housing expenses as housing allowance such as utilities, furnishings, maintenance, etc. The church should designate a housing allowance to cover any expenses not covered by the church.

Where does Social Security tax fit in?

While a housing allowance is free from income tax, it is not free from Social Security taxes (SECA). The minister must pay SECA taxes on the amount that he/she claims as housing allowance.

Self Employment

Is a minister considered an employee or an independent contractor? According to the Internal Revenue Service, all persons who are paid for work are either employees or independent contractors. Most ministers are employees for income tax purposes; however, ministers are always considered self-employed (independent contractors) for Social Security purposes. Therefore, ministers are often considered to have dual tax status. What this means for the minister is that he/she must make quarterly estimated tax payments to the IRS for Social Security. These payments must be paid at the higher self-employed rate of 15.37 percent since the employer is not allowed to pay half of this amount as in the case of other employees. Social Security taxes (FICA) are never withheld from the minister's pay. However, the minister can have enough federal income tax withheld to cover his/her self-employment Social Security tax obligation.

Can I opt out of Social Security?

Ministers can opt out of Social Security if the following statement from Form 4361 describes them: "I certify that I am conscientiously opposed to, or because of my religious principles I am opposed to, the acceptance (for services I perform as a minister,

member of a religious order not under a vow of poverty, or a Christian Science practitioner) of any public insurance that makes payments in the event of death, disability, old age, or retirement; or that makes payments toward the cost of, or provides services for, medical care. (Public insurance includes insurance systems established by the Social Security Act.)" When ministers are in full agreement with the statement above, they may opt out of Social Security with their ministerial income; however, other earnings are subject to Social Security. In order to opt out of Social Security, the minister must file Form 4361 "Application for Exemption from SelfEmployment Tax for use by Ministers, Members of Religious Orders and Christian Science Practitioners," early in his/her career. The form must be submitted in triplicate and the minister must receive a form authorizing receipt by the Social Security administration. Typically, this decision is non-revocable, although there have been periods in the last decade where ministers could re-enter Social Security. While opting out of Social Security may seem like a wise choice since ministers intend to invest the extra money in other retirement options, this rarely is the case. In addition to the failure of many ministers to invest the funds, survivor benefits in the event of death and Medicare benefits at retirement are two good reasons to stay in Social Security. With the continuing escalation of health care cost, Medicare may be a single good reason to stay in Social Security. Should you opt back into Social Security you would have to have 10 years of payments prior to receiving benefits.

(See page 68 for form entitled MINISTERS’ ESTIMATE OF HOUSING ALLOWANCE.)

MINISTERS' ESTIMATE OF HOUSING ALLOWANCE

To _________________________ From______________________ (Church) (Minister)

Subject: Housing Allowance for _______ (year)

The amounts below are an estimate of the payments I expect to make during _______ (year) to provide a home.

1.Payments on purchase of house (including down payment, mortgage principal payments, interest, taxes) or rent on leased properties

2.Garage rental (if not included above)

3.Utilities (gas, electricity, water, etc.)

4.Insurance

5.Repairs and maintenance

6.Purchase of furnishings

7.Other housing expenses ________________________________

Date_____________________Minister's Signature___________________________

Financial Management

Whether we like it or not, ministers are held to a higher expectation of financial management than other people, and often our financial documents become more a matter of public record than those in other professions. Because church members can have access to salary information, people often know a great deal about our financial status (at least our salary); however, how we manage our finances is up to us. We all know people who have had relatively low-paying jobs throughout their careers, yet they retire with plenty of money to sustain them because they have managed well. We also know those who have made comfortable livings, but always seem to struggle financially.

Many ministers change churches often. This possibility provides an additional incentive for ministers to manage well. Ministers should be prepared for an unexpected job change. Generally, every move is expensive, even if a significant raise is involved. Additionally, many ministers live in church-owned housing for a portion of their careers and are slow to accumulate home equity. Sometimes they don't have a home paid for at retirement, which causes undue hardship in later years.

Ministers should plan carefully and conservatively in order to adequately meet the demands of ministry and to insure flexibility in responding to difficult situations. The following areas deserve careful attention.

Insurance – Almost everyone needs insurance unless he/she has significant personal wealth to cover life's potential catastrophic situations. Good health insurance is a must and is often provided by the church or can be purchased in a group plan with other ministers. Life insurance is also very important unless (1) you are not married and have no dependents or (2) the house is paid off, your children have completed college, and you have adequate money set aside for retirement. The primary goal of life insurance is to provide for your death and burial needs and to provide for your dependents. How much life insurance do you need? Some people say 5-10 times your annual salary; however, this depends on your situation. Basically, you need life insurance to cover your net income minus the social security benefits that your family would receive if you died. You should have enough life insurance to cover the following: (1) sending your children to college; (2) paying off the mortgage or continuing to pay the mortgage; (3) money for burial expenses; (4) short

term loans such as automobile or credit cards; and (5) money for your spouse's retirement if he/she were depending on your retirement. If your spouse is employed in a good career, your life insurance needs are less. In summary, there are no set rules for life insurance; moreover, life insurance needs are constantly shifting as your life situations change.

Retirement – Every minister should plan adequately for retirement by beginning to save early and remaining consistent.

Estate Planning – Being a good steward of your resources includes what you leave when you die; therefore, every minister should have a planned estate. This may include a will or trust. Most of us have more assets than we think, and we want to assure that they go to those we want to have them rather than losing them on estate taxes and other fees. Additionally, if you have children, you must be sure that your children will be adequately cared for.

Managing Debt – Our culture is one that makes debt seem inevitable. With the exception of a mortgage payment and an occasional period of car payments, debt should be kept to a minimum or should not exist. Since most credit cards have astronomical interest rates, balances should be paid off monthly, and debit cards are strongly encouraged since they do not build up debt! Remember that debt is easily accumulated and difficult to pay off. Many ministers have used credit cards for living expenses early on in their careers and eventually find themselves in mid-life having to deal with years of poor management.

Save Your Money – Make the habit of paying yourself, and invest your money wisely. Save until you feel that you are sacrificing.

Take Advantage of Tax Deductions – Numerous tax deductions are available for ministers, and you should take advantage of all of them. Keeping records for a housing allowance is tedious; but it does pay off. Similarly, paying yearly to an IRA or other investment is well worth the discipline required.

Allow Time to Manage Your Money – Everyone should take time monthly or quarterly to manage his or her money. This involves seeing how your investments are doing, shifting retirement allocations, raising retirement deductions, or otherwise reallocating your money.

Keep Good Records – Find time to keep good financial records because good record keeping ultimately pays off. For instance, keeping up with receipts related to upgrades on your house allows

you to count these expenses against the profit of your house should you sell it.

Live Within your Means – Whatever your salary, always live within (or under) your means. In other words, spend less than you make. When you realize that you are spending more than you make, you must take immediate action to bring your expenditures under income.

Make Purchases Wisely – Spend money for purchases only when needed. Avoid upgrading for cosmetic reasons. Upgrading cars too often or always buying new cars results in never having any discretionary money.

Save Windfalls – When you receive extra money such as an income tax deduction, money for a funeral or wedding, for publishing an article or judging a festival, try saving the money. Also consider putting raises into your retirement account. Doing this early on in your career will help you avoid having to save greater amounts of money later in your career when time is working against you.

Evaluate Social Security – Social Security benefits are constantly being changed, i.e., younger and middle-aged people should not expect to receive full benefits until age 67 or later. Continually monitor your benefits throughout your career. Plan to retire without Social Security. If available, it will be a bonus.

Charitable Contributions – As a minister, practice good stewardship to your local church and to other charities. You should set an example for others. etirement

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RYou can never start too early to prepare for retirement; in fact, retirement planning should begin with your first job. As you will see, taking advantage of retirement options during the early years of one's career produces tremendous benefits. When you invest early, even if your investments are small, you will benefit from time. In the long run time is your greatest asset in building a retirement. However, there is more to retirement than money, and ministers should view their career sequentially with retirement is an eventual stage.

Financial Planning

Sound financial planning is crucial for retirement to be an

option. It is important for the young minister to see the big picture and develop the habit of setting aside an adequate amount for retirement - most sources recommend a minimum of 10% of gross salary. Several options are available for investing retirement dollars including 403 (b) Tax-sheltered annuities (TSA). Ideally, you should fund your 403 (b) plan to the maximum. These amounts change over time, and you should contact your denominational annuity board or other retirement expert to learn your maximums. It is often wise to invest in a denominationally sponsored tax-sheltered annuity so that you can retain housing allowances in retirement.

Employment Stages (Many financial experts encourage you to see your career in stages.)

The Accumulation Stage (Ages 20-55) – In this stage you are accumulating money in your retirement account(s). Although these are the most important years for accumulating retirement, they are also the most difficult, for most people are buying a home, educating children, and becoming established. During these years you should attempt to put at least 10% of your gross salary in a 403 (b) account. Time is on your side, and you should use it effectively. Your investments should be riskier, including putting a large percentage in stocks or mutual funds. With the large window of time available to you, you can afford to exercise some risk during this time. It is wise to consult with a professional to determine what percentage of your retirement account should be in different types of investments at different stages. While there are suggested percentages, these are largely determined by your own risk tolerance and your ability to absorb risk.

The Conservation Stage (Ages 55-65) – As you move into this stage you should become more conservative in your investment strategy by moving more money into bonds and other less volatile accounts.

The Preservation Stage (65-death) – You will want to further reduce your risk at this stage; however, a common mistake during this period is putting all of your assets into certificates of deposit (CD's) and fixed-income investments. When you do this, you significantly reduce the power of your portfolio to continue to make money, which can ultimately mean that you could run out of money before you die.

Individual Retirement Accounts (IRA) – If you are fully funding your TSA, then you should fund your IRA as well. Currently, IRA's

are available in traditional forms as well as Roth IRA's. Each has different advantages, and you should talk with a tax specialist or financial consultant to discuss your options. IRA maximum contributions change from time to time.

Variable Annuities and Fixed Annuities – Most financial experts do not recommend these unless you are fully funding other sources.

Can You Afford to Retire?

The following steps can assist you in determining when you can afford to retire.

(1) Determine your annual spending needs during retirement; (2) Subtract, from number 1 above, the amount estimated by social security; (3) Subtract, from number 1 above, the amount supplied by pension plans, IRA's, and other retirement accounts; (4) When you have subtracted items 2 and 3 from item 1 above, the remainder will be the amount you will need to supply through personal savings. Divide your personal savings over the estimated years you will live, and you will know whether or not you can retire; (5) Determine how you will save the needed funds to finance your retirement in the years that remain.

While many people plan to work part time to supplement retirement income, be sure that you are not too dependent on part-time work in retirement. Sometimes health issues preclude long-term part-time retirement employment.

Social Security – While Social Security will likely be a major source of retirement income for many years to come, the age to receive full benefits is steadily increasing. As you plan for retirement, keep this in mind.

Other Factors Affecting Retirement

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Spiritual Preparation – As in all life decisions, spiritual preparation is important in preparing for retirement. Now that you're approaching this stage, what is God's plan for your life? What does God want to accomplish in your life at this stage? Is now the right time to retire, or should you continue working for a few more years? These are questions that should be approached with thought and prayer.

Emotional Preparation – Retirement is a huge emotional adjustment for many people, especially ministers. Perhaps this is because most ministers have a great need to be needed, which is often met through their ministry. Long before you intend to retire, begin to

talk with others who've retired successfully to seek their advice. Read books, seek counseling, and prepare for the eventual reality of answering the question, "What do you do?" with the answer "I'm retired." Decide how this answer will affect your self-esteem and emotional security.

Occupational Preparation – Do you intend to have a second career in retirement? What might it be? Begin to prepare yourself for this transition. Will you continue to be a minister of music in a parttime situation? Will you do interims? Studies show that most ministers continue to work in some ministry capacity after retirement.

Physical Preparation – Many people come to retirement only to find out that they've not been conscious of their health through the years and are not prepared physically. Stay physically fit, establish good health habits, and maintain them.

Social Preparation – Spend more time with your spouse. Begin to develop or re-develop friendships outside ministry circles. Your friends will become increasingly important to you. Prepare for this.

Relocation – Many people choose to relocate at retirement, although most experts suggest that you not make relocation decisions for at least 3 months after retirement. Most experts also recommend that you continue to live close to your friends because moving requires establishing new relationships. Before making an actual move, consider living in the new location temporarily for several months. This initial period can help you decide if you will be happy with a permanent move.

Many people mistakenly believe that they can somehow return to the good old days of their youth upon retirement. This is rarely possible, for we have changed through the years, as have places and friends. Relocating to live near family (especially children) can also be disappointing, for your children may re-locate eventually. Furthermore, your children may not have as much time to spend with you as you anticipated. Many people make the mistake of believing that moving to live near family will be akin to a long-term vacation. They are disappointed to learn that within a short time the relationships are often taken for granted and they don't actually see their family members frequently.

Conclusion

Retirement is a time filled with both many potential risks and joys. Making adequate financial preparations can make many of the other adjustments easier.

4

Working with Church Staff

Working with the Pastor

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Usually, we enjoy our work in direct proportion to the degree that we enjoy the people with whom we work. Simply put, if we enjoy our colleagues, then we usually enjoy our job. When you and your colleagues share similar goals and values, have a healthy mutual respect, enjoy being together, and show genuine concern for each other, then you can face external opposition and still have a deep sense of purpose in your work and ministry. Nowhere is this more obvious and important than in the relationship of pastor and music minister. Often I've observed that strife between the pastor and minister of music is a source of deep grief for both; however, sometimes neither seems to be able to mend the relationship. Conflict between the pastor and minister of music is often the cause for transitions for ministers of music and occasionally for pastors. When I am around a group of ministers of music, the discussion will invariably turn to relationships with pastors. Similarly, when I'm around pastors, the discussion is often about ministers of music. Several years ago, I was asked to speak to a group of pastors. Having been through a difficult period with a pastor, I decided to speak on the topic "Love Thy Minister of Music as Thyself." The talk generated a lively discussion about the problems that often arise in this relationship. I remember being surprised to learn that pastors are also hurting in their relationships with ministers of music. While ministers of music are sometimes grieving because of relational issues with the pastor, the pastor is often experiencing similar pain. Since that time, I have tried harder to work effectively with the pastors with whom I've served.

Although ministers of music would sometimes like an opportunity to tell our pastors how they could make our lives easier, we are rarely in a position to do this without significant risks; therefore, as

in any relationship, we must work to initiate change where we have control — within ourselves. The following may serve as reminders of how music ministers can work more effectively with pastors.

Respect the Position – The pastor is the person in charge. Put simply, he/she is boss! Hopefully, the pastor will see himself/herself as a leader of a team instead of a boss; however, the pastor has the power to pull rank if he/she chooses. Often ministers of music (who are accustomed to being in charge) forget that they are not in charge of the church. Hopefully, the pastor will continually work to earn your respect; however, the position of the pastor must be respected even if respect has not been earned.

Suppress Your Ego – Most ministers of music and most pastors have strong egos. Would we be able to do our jobs without strong egos? As musicians, we are accustomed to being in charge, and we often work hard for recognition. Since pastors tend to have many of the same qualities, a collision sometimes occurs. The minister of music should be constantly aware of his/her ego and work to keep it under control.

Spend Time Together – Look for ways to spend time with the pastor. Particularly when the pastor initiates interaction, do your best to clear your schedule. It is only through spending time with others that we get to know them and understand their backgrounds and their motivations. Pastors and ministers of music do not have to be best friends; but they should try to enjoy each other's company and make time to be together.

Discuss Worship – Worship should be a primary topic of discussion between the pastor and the minister of music. If the pastor does not initiate this discussion, then you should bring it up. It is important to talk about worship in theological, philosophical, and practical terms both within and separate from the context of planning next Sunday's worship. Worship discussions are best accomplished at a time other than when planning worship. Ideally, both the pastor and the minister of music should plan worship. If the pastor wants the minister of music to plan seamless worship with smooth flow, then ministers of music must have adequate lead-time with sermon material. Furthermore, the pastor must give the minister of music more than a topic and scripture. A brief narrative is most helpful. Some pastors want ministers of music to plan thoroughly; however, they are not always aware of the lead-time that it takes to prepare others and to enlist leadership. In order to adequately prepare an average choir to sing a new anthem, the music

minister will need approximately six weeks of rehearsal. Additional time is needed to order and receive new music.

Respond to the Pastor's Leadership Style – Every pastor has a different leadership style and you should carefully study that style. Realize that your leadership style may be different, and you may have to work hard to accommodate the pastor's leadership style.

Learn Your Boundaries – Different pastors have different areas over which they will exercise territorial rights. Learn where these areas are, and respect them. For instance, some pastors want to do all hospital visitation, while others may be upset with you if you didn't visit a hospitalized choir member. Learn how much to suggest. Learn how assertive you can be and how autonomous you can be in decision-making.

Affirm the Pastor's Family – All of us like to have our family affirmed and, often, a pastor's family is under undue pressure. Spend time with the pastor's spouse and children, and get to know them.

Communicate, Communicate, Communicate – There is no substitute for effective communication. Always give the pastor more information than he/she wants to know. You will soon learn what he/she doesn't want to know and what he/she always wants to know. Avoid surprises! You never want the pastor to hear about something critical from someone other than you!

See the Pastor as a Real Person – The pastor is a real person who has needs similar to yours. Constantly remind yourself of this, recognize his/her vulnerabilities, and be supportive of them. Recognize that the pastor carries great responsibility, and that sometimes results in being lonely.

Maintain Confidences – If/when the pastor confides in you, always keep confidences. Never assume sharing information with someone else is acceptable. Nothing can hinder a budding relationship quicker than lack of confidentiality.

Use a Wide Variety of Music – Many pastors complain that ministers of music do not utilize a wide enough variety of music in worship. Pastors generally want music that has both "head" and "heart." Additionally, pastors expect music ministers to be innovative and creative, and they may view you as the expert in the arts. They will also expect you to be able to plan worship that has continuity, flow, and pace.

State Your Expectations – Learn to clearly and respectfully state your expectations of the pastor. This will happen over time as you earn his/her respect.

Be Interested in the Total Church Program – Many ministers of music fail to be interested in the total ministry of the church. They are obsessed with the music ministry and show little concern or support for other ministries. Nothing works more quickly to tear down team building. While you are expected to have intense passion for music ministry, you must never forget that other ministries are also important.

Learn to Accept Suggestions – Be open to accepting suggestions from the pastor regarding music selection as well as other areas. This may not be easy, but it is critical. When suggestions are offered, instead of micro analyzing them, accept them on the basis of what was communicated.

Remember: Ministry Is More Important than Music! – Never forget the importance of ministry. Failure to be an effective minister will ultimately cost you the respect of the pastor and of your other colleagues and will perhaps cost you your position as well. Music is the tool through which ministry is accomplished.

Working with Other Ministers

Working with other ministers can be the most rewarding and challenging aspect of ministry. When a group of ministers have healthy self-esteem and have learned to contribute effectively for the good of the whole, the results can be astonishing both for the congregation, the broader community, and the ministers themselves. In addition, each individual will enjoy his/ her ministry position and is likely to have a long tenure.

In my first job out of college, I was a band director in a small high school. I will always remember the principal's telling the faculty, "I want everyone of you to feel that the subject that you teach is the most important subject in the world - as if there were no other subjects taught in this school. If you don't feel this way, you shouldn't be teaching in this school; however, you must also have the ability to step back and realize that this isn't true." This principal was expecting both passion and cooperation — two qualities that are vital for successful ministry. While it is normal and positive for each minister to be truly passionate about the particular ministry that is

within his/her responsibility, he/she has to learn to respect and cooperate with the ministries of others. Ministers must develop the ability to see the big picture.

No meaningful relationship is built without a great amount of effort, and staff relationships are no different. The following guidelines are helpful in developing relationships that allow us to work effectively with other ministers:

Establish Good Communication – In order for relationships to be established and sustained, effective communication must happen. In working with other ministers, I have found that communication takes on two meanings: (1) communication regarding scheduling, events, and deadlines; and (2) communication regarding interpersonal styles and understandings.

Understand Meanings – Develop the ability to understand the communication styles of other staff members, i.e., how they communicate and what their various forms of communication mean. Whereas one minister may make a passionate and emotional plea for something that he sees as important, another minister may communicate in measured, unemotional tones. While presented very differently, these two approaches may not indicate a difference in importance or in the amount of passion that each feels regarding the proposal. They simply indicate different styles of communication. Our communication styles are as different as our personalities; however, some communication patterns are unacceptable and should not be tolerated. Examples may include uncontrolled outbursts, passive aggressive behaviors, or blind siding.

Who is Sending the Message? – Learn to recognize who is sending the message. A message sent by the pastor may carry different meanings than a message by another minister. A message about someone's area of expertise carries a different message than one outside his/her area.

Make Time for Communication – All ministers on a church staff should have regular meetings together where the work of the various ministries is thoroughly discussed. These times are important even when there isn't much on the agenda. When you start to cancel such meetings and have them only on an "as needed" basis, communication will break down and problems will begin to emerge fairly quickly.

In addition, ministers should have yearly or bi-yearly retreats to discuss longer term planning and goals. These retreats provide time away to focus on larger issues than can be discussed in regular

meetings. Retreats are also valuable when new projects are emerging and when new directions are projected.

Utilize the Calendar – Calendars are an important means of effective communication. Learn to look at the calendar both short term and long term. Each week, look at the calendar one month out, two months out, and so on. Maintain both a short-term and a longterm perspective. When calendaring an event, always observe the appropriate calendaring protocol. Even though you have an event calendared in advance, another event may pre-empt your event. Calendars must be seen as guides, not as law!

Take Advantage of Pre-Meetings – Before any major event is brought to a meeting, it should have been discussed in a number of pre-meetings, especially when other ministries are affected or involved. Learn to hold brief one-on-one or small group visits with other ministers before bringing an issue to the whole group. Through this practice you will gain the support of your colleagues, and you will be able to refine your proposal before bringing it to the larger group.

Overcome Location Barriers – All of us tend to communicate best with those whose offices are close to us. When visiting with someone is inconvenient, we tend not to visit. Make an extra effort to communicate effectively with those whose office space is not convenient for you.

Communicate Formally and Informally – Learn to utilize informal channels of communication as well as formal ones. Take advantage of hall talk and talk during breaks and lunches to discuss items that are important to you.

Develop Relationships

Pastor Each Other – Become a pastor to others with whom you work. Realize that they need a pastor, and you can help to meet their spiritual needs through your pastoral role. Because of the intense pressures that ministers often encounter, they may be hurting and need pastoral care.

Relax Together – Find ways that you can spend time with other ministers in relaxed settings. For some staffs this might be golf. Bowling, hiking, or just hanging out together might be effective for others. Whatever the activity, find time to do it!

Maintain Confidences – In order to be a valued colleague, you must learn to maintain confidences. Many ministerial relationships are damaged because a minister confided in another minister who

did not keep his/her confidence. Realize that we all have periods of negativity. Don't judge someone when they have a bad day and need to unload on you.

Support in Public and Private – Many articles about staff relationships encourage you always to support your colleagues in public. While this public support is critical for ministers, we should also seek to support each other in private. While we will always have differences of opinions, we should still continue to support the overall ministry of our colleagues in public and private. When disagreements arise, they should remain within the ministerial staff.

Be Honest but Respectful – Being honest with someone never gives you the right to be disrespectful. Furthermore, being honest with someone means being as honest about his/her assets as you are about his/her liabilities. When we are honest and open in our support, we will be able to be honest and open with our criticism as well.

Learn to Give Credit – Whenever possible, give credit to others, especially the other ministers with whom you work. We've all experienced times when we worked diligently on a project and someone else took credit for our work. Nothing violates trust more quickly than taking undue credit.

Play by the Rules – Abide by the rules that have been established even if you wish they were different. When you expect others to play by the rules, you must do so yourself. Rules must not be discarded in order for you to meet your goals more efficiently.

Pray Together – Regularly pray with your colleagues and spend extra time in prayer during times of intense stress.

Have Energy and Enthusiasm for Your Position – Enthusiasm for your job will be contagious and appreciated. It can determine how willing others are to be cooperative and supportive of your ideas.

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Pull Your Weight – Remember that someone else's energy may pull you through a difficult time in the future. Many times in ministry, we are like a team of horses pulling a large wagon. We will take turns being the lead horse and carrying the greatest weight. Whatever your current position in the team, do your part! When someone fails to pull his/her weight, someone else must do double duty to compensate.

Be a Mentor and Be Mentored – Be a mentor to younger or lessexperienced staff members, and be willing to allow others to mentor you. Perhaps you may mentor a younger staff member on

pastoral skills while he/she mentors you regarding computer usage. We each have skills and abilities through which other's ministries can be enhanced.

Discuss Aspects of Your Team – Periodically, the ministers should discuss the strengths and weaknesses of their team. Through this honest evaluation, the team can be strengthened and become more effective. A retreat is a good time for such a discussion. Recognize the different personality types, learning styles, leadership styles, and other traits of your colleagues. Do your best to understand their past experiences and to let your understandings inform your working relationships.

Don't Be a Lone Ranger – Because a music minister has spent much time alone practicing or doing many of the solitary things that musicians must do, many music ministers have a tendency to work alone without receiving appropriate input from others. Recognize this tendency and consciously work to compensate for it.

Learn About Each Other – Ministers can learn about each other by participating in a learning styles seminar, personality profiling exercise, or other assessment that helps them identify various patterns of communication. Workshops such as these are extremely valuable in helping us respect the differences that each of us brings to the group.

Working with Staff Members

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Not only do we work with other ministers, we work with staff members as well. Usually these are ministry assistants, secretaries, librarians, and others. While these relationships are somewhat different from working with other ministers, they have many similarities; therefore, much of the material in the previous section, "Working with Other Ministers," applies here as well. Good relationships with staff members can make your ministry possible, for whenever you do not have the administrative support that you need, you will lose effectiveness.

Develop a Team Concept – Few people simply want to be hired, do their work, and have no part in the larger vision of the organization. Most people genuinely desire to be part of something important that allows them to give back to others. Discover ways to help staff people become a part of the ministry team. When you hire someone, hire with this goal in mind.

Communicate – Many staff persons are frustrated because they do not have adequate information to do their jobs. For instance, church secretaries are expected to answer questions regarding activities, whereabouts of the ministers, calendars, and many other items. Often they are not given enough information to answer questions appropriately, and they feel that they appear incompetent when church members call. When possible, allow staff members to participate in meetings. When not possible, they should be informed regarding anything that others would expect them to know. One of the goals of a supervisor is to provide adequate resources for people to accomplish their jobs effectively. Resources include information!

Establish Procedures – Establish procedures to cover normal daily, weekly, monthly, and yearly tasks. These procedures will allow staff members to do their work effectively. For example, when an administrative assistant knows that a report is due at the end of each month, he/she can begin work on the report when other work is slack.

Procedures should be in place for answering the phone, transferring calls, interrupting, dealing with access to your office, e-mail and phone messages, your desk, and many other details. Once procedures have been adopted, everyone should follow them.

Ideally, no one should have more than one supervisor. Problems always occur when several people are supervising the same person and messages conflict.

Additional problems will likely emerge when procedures are not followed. For instance, if a procedure is established for the weekly task of preparing a worship folder, and the music minister frequently breaks the procedure by not getting information to the secretary, the secretary may be afraid to ask for the information or to express the difficulty that this places on him/her. Difficult working relationships will surface. Staff members, ministers, and others need to follow established procedures. It is never appropriate for you to fail to give someone information that he/she needs to accomplish a task! When deciding priorities, give highest priority to things that directly affect the ability of someone else to do their job.

Establish Boundaries – Establish boundaries within which a person can work effectively. For example, let staff members know what decisions they should make on their own and which ones they should bring to you. Once boundaries are established, they can be expanded as more trust is developed.

Respect Their Time – Be respectful of the time of those with whom you work. Don't ask for overtime or longer hours except in a crisis, and a crisis should not occur on a regular basis! If someone needs to work late on a particular day and this becomes a pattern, then seek to negotiate the work schedule so that the person is given time off at another time during the week. If a secretary or administrative assistant attends your church, avoid asking him/her to work while at church unless this is a part of your working agreement.

Expect Confidentiality – All church staff members must respect confidentiality. Many aspects of church business are confidential and should not be shared with anyone. Church staff members should not talk about phone calls, appointments, correspondence, or other matters that may be confidential.

Give Credit – Many ministers take full credit for the work of staff members. Whenever possible, give credit to those with whom you work. When you're honest in giving credit, you will gain loyalty and trust.

Recognize Special Occasions – It is important to recognize special occasions for those with whom you work. Be aware of staff anniversaries, administrative assistants' week, holidays, and other special occasions. Acknowledge these special times with cards, gifts, or lunch. Many times, church staff members have few job perks. Discover ways to provide them.

Seek Their Advice – Once trust is earned, seek the advice of staff members. Often they will have important insights that will benefit everyone. Learn to recognize the gifts of all of the people with whom you work. Allow them to utilize their gifts as a part of the team.

Be Their Advocate – Whenever possible, be an advocate for those with whom you work. Advocate for them in terms of salary, benefits, flexible work hours, or other work conditions as may be deemed beneficial. Through being their advocate, you will not only be a person of integrity, you will also win their respect.

Working with Accompanists

The working relationship between the music minister and the accompanists often sets the tone for the whole music ministry. Obvious conflict is apparent to people in the music ministry. The relationship between the music minister and the accompanist(s)

should be based on trust, respect, honesty, and mutual goals. Music ministers and accompanists must frequently remind themselves that success is mutual — when one succeeds, all succeed!

In order for music making to be ultimate, musicians must be willing to be vulnerable. In order to genuinely express our emotions and lead others to do likewise, we must be willing to share ourselves by sometimes expressing our vulnerability. When relationships are strained, this becomes difficult or impossible, and the music suffers, as does the ability to experience God's spirit among us.

All musicians in the church must be viewed as ministers. Occasionally, an accompanist is not comfortable being viewed as a minister. However, I believe that our view of others strongly shapes their identities. When we choose to view a keyboard colleague as a minister, the person usually discovers that a minister is exactly what he/she wants to be. However, we must all realize that being called a minister does not make us one, for the title of minister is always earned and is given to us by others over time. It is not a title that we can give ourselves. If we are truly ministering through our roles at the keyboard, more and more ministry opportunities will surface.

The relationship between minister of music and accompanist usually involves both rehearsal and worship; however, these two venues are very similar and always intricately connected. The following suggestions will prove helpful in building a good relationship between the minister of music and accompanist.

Confer with the Accompanist About Musical Issues – Respect the musical opinions of the accompanist. Be willing to ask his/her opinions about musical interpretation, selections, tuning, vocal production, and other matters. A number of years ago, I participated in a weeklong workshop with Robert Shaw. Throughout the week, he frequently turned to the accompanist and asked his opinion about tuning or some other aspect of the music. I thought, "If Robert Shaw can seek the input of the accompanist, then certainly I can be vulnerable enough to do the same." I began to practice this with both the church choir and school choir accompanist, and I soon discovered that the accompanist listened more intently, often kept a list of problem areas, was less likely to speak out when not asked, and provided me with great insights into the music and group. As an occasional accompanist, I am keenly aware of the difference between listening to the choir from the piano bench and listening from behind the conductor's podium. I'm aware that I hear much more when I'm

on the piano bench. When I'm conducting, my mind is very multitasked. I'm thinking about gestures, vocal illustrations, diction, group dynamics, and much more. Accompanists tend to be centered on the music itself. This puts them in a good position to analyze musical aspects that may escape the minister of music/choral director. I have learned to see choral music as collaborative. I attempt to view the accompanist as one who can offer musical and supportive expertise. Many accompanists are highly trained and may have musical skills superior to the music minister. We must not be intimidated by their skills but find ways to utilize their musical knowledge in productive ways. The best rehearsal accompanist I've worked with was also a school choral director. She instinctively knew where the problem was, and she gave the pitches almost before I announced the problem.

Ideally, the accompanist has many of the skills of a choral director, for he/she must hear the problems and anticipate them. If the accompanist is willing and able, ask him/her to fill in for you when you must be gone from rehearsal.

Offer Input – I believe that accompanists want and expect you to offer input regarding the music. In fact, I've found that when no musical input is offered, most accompanists will ask for it. As musicians, we expect our work to be analyzed and positive suggestions to be offered. Several years ago, I was talking with a fine accompanist who expressed her pleasure in working with a particular conductor. I inquired as to why she enjoyed this particular collaboration so much. She replied, "He always offers me suggestions about my playing, and I like that. I never have to wonder how I'm doing." Incidentally, this conductor was also a fine accompanist in his own right and was uniquely qualified to offer suggestions. Often our input is simply to acknowledge aspects of the music done well and comment positively on them. Be willing to recognize particularly sensitive playing in rehearsal or mastery of a highly technical passage. I will sometimes turn to the choir after such a moment and say, "I hope you realize how fortunate we are to have an accompanist who plays so sensitively. Many choirs are not able to experience the musical joy that we've just experienced."

Provide Good Instruments – Perhaps nothing affirms the accompanist more than the opportunity to play on good instruments. However, even inferior instruments can be kept in tune and in good repair, and a good organist or pianist can help to convince the congregation of the need for higher quality instruments. Ministers of

music should utilize the expertise of the accompanist in keeping instruments in good condition and in seeking upgrades. Accompanists should be expected to keep a list of items that need to be repaired so the technician will make all necessary repairs in one visit.

Plan Ahead – Accompanists appreciate ministers of music who plan in advance for upcoming music. Choral music should be planned weeks if not months in advance. Advanced planning gives the accompanist plenty of time to be prepared when music comes up in rehearsal. While the accompanist may enjoy the occasional challenge of sight-reading, this should not be the usual practice, or it may become a source of contention. Likewise, worship music should be planned in advance. This gives accompanists adequate time to look for creative treatments and other resources.

Planning in advance allows multiple accompanists time to decide who will play on what anthem or how they will work with additional resources. The absolute deadline for Sunday's worship to be in the hands of the accompanist is the weekly rehearsal; however, it is much more desirable if accompanists have the worship order earlier in the week and come to the mid-week rehearsal with ideas. When the minister of music plans ahead, he/she can expect accompanists to plan ahead as well and to be prepared.

Rehearse with the Accompanist – This is absolutely necessary for effective worship. When the minister of music and the accompanist(s) rehearse every detail of the worship service, they are freed to worship during the service. Rehearsing the worship service insures good tempos, knowledge of introductions and interludes, and a good sense of the service. Even though I've worked with the accompanists in our church for quite some time, I still rehearse everything. When I have assumed we didn't need to rehearse, I have always been regretful. Recently, on a particularly busy Sunday morning, I failed to listen to an interlude on a closing hymn. In the service the organist played a longer interlude than I expected and cadenced early. I brought the congregation in, and he wasn't finished with the interlude. This is a perfect example of what can happen when you don't rehearse, even though you work with the same accompanist week after week. If you don't rehearse with worship accompanists, you have no right to complain about tempos, registrations, or anything else.

Involve in Worship Planning

– Whenever possible, involve the accompanists in worship planning. If schedules are compatible,

involving accompanists can increase the quality of your church's worship. If schedules cannot be altered to include the accompanist in worship planning, set aside another time during the week to brief the accompanists about the service. Describe to them what you intend to happen in each section of the service. Talk with them about moods, desired outcomes, and other expectations. Communicate as much detail as possible, and invite them to offer their input.

Show Respect – Accompanists deserve your highest respect. Under no circumstance should you belittle them or put them down in public or private. Offer them the respect that you want to be given, and look for ways to affirm them. Find small, yet significant ways to acknowledge their gifts to the congregation. Involve accompanists in the total process of the music ministry, and seek their assistance.

Know Their Skills and Technical Abilities – You should know their skills and technical abilities and plan accordingly. However, giving them plenty of advance notice to prepare a difficult anthem is fair and encouraged. Most musicians like challenges, and through challenges we grow; however, we must offer support and assistance in the process. For instance, if you are expecting the organist to play "Hallelujah" from the Messiah and he/she isn't comfortable doing so, help him/her find a simplified arrangement (some are available). Offer your assistance in deciding how music can be adapted and altered. These efforts will be greatly appreciated. In addition, plan some anthems that are specifically written for organ and some that are specifically for piano. Accompanists can become weary of adapting accompaniments week after week.

Provide Resources – Provide money to assist accompanists in purchasing resources for worship, and be willing to purchase new items for them when they are available. However, be careful that you don't purchase materials that are meant to send an unspoken message to the accompanist. If you would like more variety in offertories, preludes, and postludes, you should discuss this rather than send hints through gifts of new music. It is never affirming to receive gifts to which unspoken agendas are attached!

If accompanists are not good at transposing, modulating, and improvising, then you must provide resources to assist them if you expect them to have these skills.

Be an Advocate – The minister of music should be the primary ally for the accompanist. He/she should advocate for the accompanist's salary and should be his/her advocate to the congregation.

Since the organist will need to practice in the worship room, the minister of music can help to keep the organist's practice time from being taken by other organizations, and the minister of music can do whatever is possible to assure that the room is not unbearably hot or cold.

Feature the Accompanist – Whenever possible, feature the accompanist. When more than one accompanist is used, vary which instrument introduces the piece, or which accompanies the choir. Alternate which plays the prelude, offertory, postlude, and other service music. When the choir does a special concert or presentation, consider utilizing the accompanist in solo works. Encourage accompanists to do occasional recitals. Be a supporter and advocate of these events! When the accompanists are involved in community programs, school programs, or other events, be present to support their efforts and rally the support of the choir and congregation.

Minister to the Whole Person – Although you are both professionals, you are still the minister to the accompanist. This role goes beyond a professional, collegial relationship — you should be the accompanist's pastor. One way that this can be done is to get to know and appreciate the accompanist's family and friends. Be a minister to the whole person. Learn what is important to him/her and respond accordingly. Learn to be sensitive in recognizing special events and holidays in his/her life.

Work as a Team – The minister of music should view the accompanists as key players on the music ministry team and on the church leadership team. Expect them to be ministers to the whole congregation through their keyboard skills.

Dealing with Conflict

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Engstrom and Dayton have defined conflict as "when two or more people disagree on a solution or the value of a goal."1 Conflict has also been defined as two or more people trying to occupy the same space. In order to understand this definition better, it may be helpful to imagine two children playing with a box. Both children want to be in the box at the same time and are arguing about who will get to be in the box.2 Obviously, with some appropriate

1 Ted W. Engstrom and Edward R. Dayton, The Christian Leaders 60-Second Management Guide, (Word Books: Waco, 1984), 73.

2 This illustration is taken from G. Douglass Lewis, Meeting the Moment: Leadership and Well-Being in Ministry, (Abingdon Press: Nashville, 1997), 93.

guidance, the range of solutions is broader than which child will get to be in the box.

Some degree of conflict is present in all relationships. Conflict is inevitable when people feel strongly about their work and ministry. Hiring creative, highly motivated people will invariably result in conflict, but conflict has the ability to inspire creativity and result in positive change. In fact, conflict is so important that some leadership experts advise that one aspect of leadership is to bring about conflict and become an expert at seeing it resolved creatively!

Conflict is one of the inherent risks that we take when we express ourselves. When we are in positions to express ourselves often, conflict will result. Whether conflict is positive or negative depends on the manner in which we, and others with whom we work, deal with it.

When another hinders any of our needs (i.e., physical, emotional, ego, or status), conflict will result. We become frustrated because our needs, wants, and values may be in jeopardy.3 Someone will oppose any idea that is considered, and you can always count on opposition.

Types of Conflicts

Kilinski and Wottord outline the following types of conflicts:4 Role Conflict – Role conflicts occur when roles are not clearly defined, and conflict arises over who should accomplish a task or make a decision. When a minister of music sees his/her role as setting direction and determining broad range goals with some degree of autonomy, and the pastor sees the minister of music's role as managing an existing ministry and only making decisions with the pastor's help, conflicts will immediately result. Role conflict also arises when each of two people feels that a task or responsibility is within his/her role.

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Personality Clash – A personality clash occurs when two people approach their work and ministry in such opposite ways that they invariably collide. For example, a thoughtful, reflective person will have difficulty working with an outspoken and domineering person. Although sometimes real, many excuses for not getting along with another person are too quickly blamed on personality clashes when other conflicts are often the cause.

3 Kenneth K. Kilinski and Jerry C. Wottord, Organization and Leadership in the Local Church (Zondervan Publishing House: Grand Rapids, 1973), p. 103.

4 Ibid., 100.

Unjust Treatment – One feels that he/she has been treated unjustly when he/she perceives the needs of others are met adequately but his/hers are not. This may occur when one person receives a new computer and another does not or when one is passed up for a raise or promotion. One ministry area may get an increased budget while another ministry area gets no increase. A colleague may be given time off to attend a conference while another's request is denied. Situations such as these always cause conflict.

Competition – Competition results when two people seek a goal that cannot be shared. For example, the pastor resigns and a colleague is named as the administrator. Many situations allow only one person to "win." These situations are cause for conflict.

Resolving Conflict

Conflict must be resolved. Although many of us would prefer to ignore it, we must seek to resolve conflict if we are to move forward in a productive manner. We often postpone dealing with conflict to avoid approaching the situation in a spirit of anger; however, we frequently find that the anger resurfaces. Conflict is best handled within a reasonable amount of time. When we fail to deal with conflict in a timely manner, it often builds up and causes us to respond inappropriately at a later time. Unresolved conflict can be like having a splinter in your foot. If the splinter is not removed, the injury may heal on the surface but may cause more serious problems later on. Kilinski and Wottord offer the following approaches to resolving conflict:5

Ignoring – Ignoring a conflict and pretending that it doesn't exist is the easiest way to deal with conflict in the short run. However, by ignoring conflict, we may harbor resentment rather than dealing appropriately with the situation. Often we don't want to appear petty, so we choose to ignore the conflict. After considering the situation for several days, if we are still nursing resentment, then we are better off dealing with the conflict.

Telling a Third Party – Telling someone else is a typical reaction to conflict; however, rarely does our telling end with the first person. Telling a trusted person can be positive if it is for the purpose of seeking guidance and clarity. I often share conflict situations with a trusted mentor to see if I'm overreacting and if my actions and plan of action are appropriate. Beyond this step, you should not tell

others about conflicts with other ministers, church members, or anyone else.

Confrontation – Confrontation is usually the best alternative. Confrontation is healthy for you and is biblical, but you must confront in appropriate ways. Confrontation should involve mutual respect. Confrontation may be individual or may involve a third party. In most cases, confrontation should be individual. A third party should be used only when individual confrontation is not successful, you are afraid of the reaction of the other person and feel that you must have a witness to authenticate your actions, or you have confronted the other person unsuccessfully in the past and there is a lack of mutual respect.

Effective listening is essential to confrontation, for first you must allow the other person to express himself/herself before you speak. When listening, seek to hear everything the other person is saying. Ask leading questions to keep him/her talking, and stop from time to time to summarize so that you are sure that you understand the message that is being communicated. When the other person has finished telling his/her side of the story, ask, "Is there anything else you'd like to tell me?" It is fully appropriate to ask this question more than once to be sure that the other person has completed his/her side of the issue. During the conversation, attempt not only to hear but also to understand. Statements such as "I understand how you could feel that way" can go a long way toward establishing understanding. Seek to build trust throughout the conversation.

After you have heard the other person's side, you must express your views in non-accusing language. You must be honest in letting the other person know why you considered this situation worthy of confrontation. Statements such as, "I feel betrayed when . . . ," or "I feel misunderstood when . . ." are preferable to statements that are accusatory and cause the other person to become defensive.

Barriers to Effective Communication

Kilinski and Wottord offer the following list of barriers to communication:6

Tendency to Evaluate – When listening to others we are often tempted to evaluate their comments by judging their motives, stereotyping them in various ways, and making judgmental statements. Our efforts at conflict resolution will only be effective if we can resist the temptation to evaluate and, instead, truly listen.

Interpersonal Hostility – Often when we feel attacked, and someone shows hostility toward us, we react with hostility toward him/her. As hostility grows, the messages become less coherent and the situation may disintegrate further. As a result, little pertinent information is actually communicated.

Defensiveness – When we perceive that we are being attacked, most of us respond with defensive comments; thus the situation often worsens, and we may lose our position. When we are defensive, we show that we're not hearing the other person's view of the situation, and communication breaks down further. We often become defensive when we feel that we're about to lose face. We must avoid the tendency to always explain our viewpoint. Sometimes we simply must allow others to tell their stories.

Fear – We are often afraid of what the other person can do to us when we expose our vulnerabilities. Fear can come in many forms. A minister can be afraid of the pastor because he/she feels that the pastor can have him/her fired. A church member can fear a minister because of the super-human position that he/she assumes the minister holds. We can fear what the other person will say about us after the confrontation, and we can fear for our physical safety. All these situations are barriers to effective communication.

Approaches to Dealing with Conflict

Different sources offer various ways to deal with conflict. The following lists several of the most common:

Controlling – The controlling person has all the answers. He/she is here to announce the solution, not to go through a process. A person of this type may attempt to listen at first, but it is soon evident that he/she has already made up his/her mind.

Relinquishing/Accommodating – This person tends to give in and agrees to accept your ideas. He makes such statements as, "I'll try to do what you say," or "I'll go along with you on this one."

Withdrawal/Avoidance – This person will simply withdraw from the conversation and refuse to participate. He/she may make such statements as "I think we're wasting our time here."

Win/Lose – This person views every conflict as a contest. It is either win or lose, and there's no room for other alternatives.

Win a Few/Lose a Few – This person is willing to win, is also willing to lose, and is open to compromise. He/she is willing to give up some of his/her goals to achieve others. A person of this type usually values other relationships enough not to want to do anything to

risk losing them. This person approaches conflict as a way to gain deeper understanding and solutions to problems. He/she assumes that mutually agreeable alternatives are yet to be discovered.

Win/Win – This is the best alternative. A person with a win/win attitude is determined to discover ways that each person can win. Win/win is different from compromise because each person is able to feel good about the result. Compromises are often viewed as watered-down solutions with which no one feels good. In contrast, a win/win situation allows all parties to be victorious. Being a win/win person requires great amounts of creativity and the ability to think in new ways.

Principles of Conflict Management

In his book Meeting the Moment, G. Douglas Lewis offers the following principles of conflict management.7

1) People manage conflicts better when they feel good about themselves. They are less defensive, able to see the perspective of the other person, and are less likely to see confrontation as a personal attack.

2) Effective communication is essential to conflict management. Good listening is at the heart of effective communication. It involves being able to express your views as your own perceptions and reflecting to the other person what you hear him/her saying. Reflective listening also assures the other person that you are engaging with him/her. Furthermore, you must communicate that your thoughts are simply perceptions and not absolute truths.

3) Conflict management involves examining assumptions. Often our assumptions do not reflect reality. In any conflict situation, everyone enters with assumptions, and some people will continue to believe that their ideas are all true. Unexamined assumptions are often a key factor in the failure to resolve conflict effectively. Assumptions can be made regarding a person's motivation of action, time frame, and other factors. When we hear another person's story, we should evaluate and adjust our assumptions and replace them with truth.

4) Ask yourself, "What am I trying to accomplish, and what is the other person trying to accomplish? What do we each want that has led to this conflict?" We must continually examine our motives and desired outcomes. Also, trying to understand what the other

7 G. Douglas Lewis, Meeting the Moment:Leadership and Well-Being in Ministry, 9599.

person values is critical to finding resolution. We sometimes discover that we actually don't desire the same outcomes and that win/win is easier than we thought. When probing for answers to these questions, avoid asking "why" questions. "Why" questions always put people on the defensive where as "what" questions give information.

5) Identify the central issue and pursue it. While this seems simple and logical, often in our rush to solve a problem, we don't discover the central issue. Many conflicts resurface because the core issue is left unresolved while peripheral issues receive attention.

6) Search for win/win solutions. Alternatives that allow everyone to achieve his/her goals are desired. When we approach a conflict with a win/win attitude, we are much more likely to achieve such a solution!

Conclusion

Dealing appropriately with conflict is a life-long pursuit. We should seek to learn all that we can about working with and understanding others. We should attempt to become secure people who are willing to work for win/win solutions. We should develop good listening skills that allow us to be effective communicators. We should also develop an approach to life that allows us to enter into conflict solutions with the understanding that conflict is a normal and potentially creative part of life. Ultimately, fulfillment in life is not in avoiding conflict and other stressful situations but in learning to deal with them in creative and affirming ways.

eveloping As a Ministry Team

Learning to work together as a team is the most important step in being an effective ministering unit within the local church. Many groups of ministers are comprised of several leaders who never unite to form a team. Sometimes the pastor does not provide effective leadership to guide team building, and other times one or more of the ministers refuse to work with the others.

Why is teamwork desirable? To use an athletic analogy, there can be no victory without concentrated teamwork. In other words, without teamwork we cannot expect to win. What is it that we want to win as a group of ministers? Victory for us will be in serving the ministries of our congregation effectively, empowering them for

greater service in our world, and helping them grow as Christ's disciples. This is a daunting task and will require our best efforts.

What makes a group a team? In order for a group to become a team, there must be a reliance on each other, an interdependence, and an ability to work together for the common good. On a team, we all win or we all lose. If we're the third base player on a baseball team and the team loses a game, we don't declare ourselves a winner because we got everyone out on third base! Team members all subscribe to a mutual goal, and all positions must be covered to ensure success. We can't all be front liners or all be supportive players. In a game, someone has to make the points and others have to see that the infrastructure is in place for the points to be made! This requires cooperation.

We desire diversity in a team because we realize that we cannot do it all. We realize our finiteness and our need for others who can make up for our deficiencies. One of the greatest mistakes churches make is to choose a group of ministers that have too many similarities; therefore, they are less able to explore new ideas and have a broad perspective. Sometimes, when a team is too homogenous, it reflects a group of insecure people who are not willing to risk diversity. However, boundaries can limit the amount of diversity that can be tolerated. Usually, the problem doesn't lie in the amount of diversity that can be tolerated but in the differences in goals of the individuals.

The leader of such a team must be a person who can understand and appreciate the contributions of each team member. The job of the leader is to clear the obstacles in order for each team member to do his/her part. Furthermore, he/she must define goals and provide ongoing focus!

Short Term Teams – Some teams within the church ministerial staff are short-term groups or committees, i.e., a group to research a new idea or a team to plan and execute the church's 100th anniversary. These groups meet for a shorter period of time and plan for a relatively shorter-term project.

Long Term Teams – These groups include the regular staff-meeting group, ministry team, and other ongoing groups.

Process of Team Work

Several processes are inherent in building a group that functions as a team. The following processes as outlined by Jeff Story are typical:1

Aggregation – This involves convening or meeting. Always choose the best possible people, and attempt to choose people who bring different perspectives to the team. At this stage, everyone will have diverse goals and will bring different backgrounds and experiences to the group. Resist the temptation to choose people who are just like you; however, don't choose people who have adversarial traits.

Emulation – This stage can also be called posturing or competing. At this stage, the goals are diverse, and each member wants the team to see what he/she can bring to the group. At this stage the leader will see (clearly displayed) the contributions that each person will make. Some will want to study the subject longer, some will want to move toward decisions, and others will want to spend more time defining the problem. During this stage, tensions can mount, and the group can fragment.

Clarification – During this stage, the leader must give direction to the group and clearly define the role that each team member should play. The leader should define these roles verbally so that each member is affirmed and knows what is expected of him/her and the other members of the team.

Unification – At this point the team goals become clear, and everyone begins to do his/her part to achieve the defined goals. The team leader must remove barriers that will inhibit success, and he/she must create an environment that encourages success. The leader's function is to be the conduit between resources and results.

Summary

Each team member should be carefully chosen for what he/she can offer the team. Choosing team members is one of the most important jobs of any group and should be approached with great care and committed prayer. Whenever possible, utilize various personality and learning style profiles to assist the team in choosing the right person. Team members should represent different viewpoints and perspectives. If you choose people who share similar personalities, learning styles, and other traits, you'll end up with a team of

1 Jeff Story, "Team Building and Lay Leadership," Church Administration, no.2 (November 1998): 41, 25.

people that specialize in one aspect of a project but will not enjoy other aspects. Ultimately, this will breed discontentment on the part of all involved.

The process of assimilating and working together as a team is never completed, for often when a good team is formed, someone leaves or joins, which requires the entire team to adjust their roles. A team is always in the process of adjusting and assimilating.

Personnel Supervision

Most ministers of music likely will not supervise a large group of paid personnel; however, most ministers of music will supervise the organist/pianist, perhaps a secretary, and some will supervise an associate minister of music. Ministers of music rarely receive training in personnel supervision, which can result in occasional problems.

Most problems with personnel supervision come as a result of poor communication. Goals and tasks often are not communicated clearly and responsibilities are not clearly defined. In addition, administrative support is often shared with other ministers, and no one is clearly in charge. When several ministers work with a support person and none of them is the designated supervisor, supervision may be non-existent or ineffective. Another common problem among all personnel supervisors is the failure to deal with issues as they arise rather than expecting them to magically disappear if they are ignored long enough. This system never works!

Have High Expectations Even When Someone Is Not Paid Very Much

Many of the problems I've had with supervising personnel have been a result of my not having high enough expectations of them because I didn't feel they were paid their worth. However, for a period in my life I served in a church where I was grossly underpaid based on my education, experience, and job performance. I spent time griping about my poor salary and how unfair it was; but I eventually came to the realization that I had accepted the job for the salary I was being paid. If I had a problem with the salary, I should have made my feelings known from the start. Since I took the job, I was obligated to do it well whatever the salary. I've since tried to

apply the same measure to others with whom I'm associated. If we agree to do a job for a certain salary, we should do it well! When we supervise others, we should expect them to do their jobs well regardless of salary. When we play the game of feeling sorry for someone because they're underpaid, they soon become the victim, and we find ourselves in debt to them.

Have Clearly Stated Job Descriptions and Personnel Policies

Having a clearly stated job description is the first step in appropriate supervision, for often the person is unsure of his/her responsibilities. A job description should include tasks in three major categories: daily, weekly, and monthly. Daily tasks should include items such as answering the phone, taking care of correspondence, and other typical office matters. Weekly tasks should include newsletter preparation, preparation of the worship folder, and preparing music for rehearsals. Monthly tasks might include preparation of monthly reports, preparation for certain meetings, and maintenance tasks such as cleaning files.

The job descriptions and/or personnel policies should also contain expected skills and the level of the quality of work desired. In working with administrative assistants, I've sometimes found them to have willing hearts but minimal skills. The same has occasionally been true of accompanists.

The personnel policies should contain information regarding beginning and ending work time, lunch breaks, other breaks, and time off (sick, vacation, and compensatory). Churches are unique in that most of the ministers have flexible hours, and they often come in late or leave early in order to meet other appointments or to compensate for evening work. Conflicts arise when administrative support persons begin to adapt their work schedules similarly. At first, the situation is often ignored and may be seen as allowing support personnel to be a part of the team; however, less work is accomplished, phones are not answered, and everyone becomes frustrated. The following example is illustrative. I once worked with a secretary who came in early each morning (supposedly) to get her work done; however, her extra time in the mornings was spent talking with her friends who happened to be church members. To complicate matters, her extra hour in the mornings accrued overtime, which she always took as compensatory time. Invariably, her compensatory time was taken when workloads were high. The same

secretary took very long lunches to run church errands. Sometimes the shopping trips took nearly the whole afternoon. It is imperative to define expectations before a problem arises.

Periodic Reviews and Evaluations

Periodic reviews and evaluations ultimately benefit everyone, for the communication that results allows everyone to perform better. Sometimes reviews and evaluations seem formal, and churches avoid them. Often an employee is functioning well, and reviews and evaluations are not completed. However, the employee may cease to produce appropriately, and no precedent is set for evaluation. In this case the employee will usually ask, "Why didn't you tell me earlier?" It is important to have reviews and evaluations regularly so that effective employees continue to be affirmed and less effective persons are made aware of their need for improvement. Many times churches need to dismiss someone; however, they can't because they've not completed periodic reviews and evaluations and have no evidence to support their position. To dismiss a person without having ever formally evaluated him/her is never appropriate. Ideally, a review should be held every six months and an evaluation held once per year. When a person is newly hired, he/she should be reviewed after three months.

How to Conduct a Review

In order to conduct a review, you should announce the review to the person at least one month in advance. This month gives you and the person to be reviewed plenty of time to prepare. You should ask the person being reviewed to come to the meeting prepared to talk about his/her effectiveness on the job. Suggest that he/she re-visit the job description for help. You should do the same. Look carefully at the job description, the person's personnel file, and talk with staff members, ministers, parishioners, and others who may observe the person's work. Go over goals that were set in previous reviews and be prepared to evaluate progress. Preparing for the review is an excellent time for the reviewer to decide if he/she is providing what the employee needs to be successful.

It is often best to have a job review in a neutral location, perhaps away from the church. A couple of weeks prior to the meeting, you should give the person an agenda for the meeting and ask for input. It is always helpful for the person to know what will take place in order to prepare; the meeting should not contain surprises. The

agenda will typically include goals of the appraisal, review of the job description, results, feedback from others, performance expectations, barriers to performance, suggested improvements, training and development, and future goals.

During the meeting you should allow the other person to talk for 65-70 percent of the time. Self-evaluation is always most effective. By being a good listener, you are showing that you care and are willing to help. Be prepared to ask open-ended questions to help the person in the self-evaluation process. Such questions might include: How do you think you are doing in reaching your goals? What parts of your job do you enjoy most? What parts are most challenging for you? How can I help you to do a better job?

Supervision Is Ongoing

Most of us fail in supervising others because we don't see supervision as an ongoing process. It is never over. We must provide feedback on a daily basis in order to assist others in being effective. We must offer lavish amounts of honest praise and be patient when improvements are needed. Remember that the best time to offer feedback is immediately. When we wait for long periods of time to offer feedback, it makes the issue look larger than it is, makes employees fearful that we have a long list of undisclosed issues, and breeds distrust. When people know that we'll approach them immediately if there is a problem, they will be much freer to do their work without worrying about unspoken agendas.

Keep Accurate Records

In any type of supervisory capacity, always keep accurate records. These should contain the person's strongest assets as well as liabilities. Each review and evaluation should be carefully documented for future reference.

When Termination Is Necessary

When a person must be terminated, accurate records are a necessity. As a minister, I've observed church employees such as ministers, support persons, custodians, and accompanists who should be terminated; however, the church did not have accurate records to support its claims. Since accurate records were not available, everyone knew that termination was neither possible nor fair. When considering termination, be sure that you have accurate and substantive evidence and that you involve others. You must

involve ministers, personnel committee members, and other appropriate people in order to protect yourself in the process. For example, when ending the employment of an organist, I talked extensively with the pastor, personnel committee, and the music committee before approaching the person. Although I had the support of each committee, I was the person upon whose shoulders the responsibility rested. When the meeting time occurred, the organist was embarrassed that other people knew; however, had she not responded gracefully, I would have needed the support that the other groups provided.

Why Make Good Hires?

Hiring the right person takes persistence and patience; however, a good hire saves time and energy in the long run. Although the search may take longer, and you do more of the work yourself, a good hire is worth the time and energy that must be expended. Resist the temptation to give up and assume that no one of quality is available. Find out everything you can know about the person and involve others in the process.

Developing Job Descriptions and Organizational Charts

Everyone needs a job description so that he/she is able to accomplish all aspects of his/her job successfully. Ideally, job descriptions should be in place before someone is hired — minister of music, organist, pianist, music associate, secretary, or other music ministry leaders or helpers. If job descriptions are not currently in place, they should be written. When job descriptions are not in place and are not updated, reviews and evaluations tend to be ineffective. A job description is simply what it suggests — a description of a job. If job descriptions are not in place, a good beginning point is to ask each person to write down what he/she does over the span of a week, a month, or a year. This may be best accomplished with a time log. After the time log is completed, turn the document into a job description without negotiating what they should be doing. For a new position, you should consult a job description such as the ones at the end of this section. The job descriptions in this chapter may also be used to evaluate what your church ministers and staff actually do. A job description is a work in progress and should

accurately describe what is done, not what someone else did in the same job 10 years ago; therefore, job descriptions need to be revised periodically. A good time to revise job descriptions is during reviews and evaluations. Supervising personnel should have the authority to adjust job descriptions as long as they don't depart from the original intent.

Effective job descriptions are a blend of specifics and flexibility. They should provide enough specific information to accurately evaluate the person's effectiveness and enough flexibility to allow the person to be creative within his/her areas of responsibility.

While job descriptions explain the job and its responsibilities and, to some degree, desired outcomes, they do not usually contain information related to benefits, vacation, time off, and other similar items. These issues are usually dealt with in a personnel manual. However, many smaller churches do not have personnel manuals and, in these cases, the job description should be more detailed and should outline the information above. When you are being hired, always have a job description and all other information related to the job in writing! A job description is a friend to every employee because it protects you when someone asks why a job isn't being done. Be aware that some people can use a job description to protect them from doing effective ministry. There are always people who use the excuse "It's not in my job description" for not being a team player. For this reason every job description should have flexible statements such as "Other duties as assigned." The following provides examples of typical job descriptions:1

Minister of Music Principal Function

The minister of music is responsible to the church and the pastor for the development and promotion of the music program of the church.

Responsibilities

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1) Direct the organization and implementation of a comprehensive church music program including choir, vocal and/or instrumental ensembles, and drama teams.

1 The following job descriptions and organizational chart are drawn from N. Lee Orr, The Church Music Handbook for Pastors and Musicians (Nashville: Abindgon Press, 1991), 72-7.; and Bob Hatfield and Tom Willoughby, "Organizing Effectively: Organizational Charts and Job Descriptions," in The Music Ministry Resource Manual, comp. Gerald P. Armstrong, Jere V. Adams, and Clinton E. Flowers (Nashville: Convention Press, 1990), 1-11.

2)Assist the pastor in planning congregational services of the church and be responsible for the selection of the music, particularly during special seasons such as Advent, Christmas, Lent, and Easter.

3)Serve as a leader in the worship services, giving direction to the congregational singing, choir, and other phases of worship.

4)Direct major service choirs and other choirs or ensembles as personal schedule will permit.

5)Supervise the work of paid music staff workers and volunteers. Conduct regular staff meetings for the purpose of evaluation and planning.

6)Cooperate with the church nominating committee to enlist and train leaders for the church music ministry.

7)Serve as a member of the church council; coordinate the music program with the organizational calendar and emphases of the church.

8)Lead in maintaining a church music committee or council. Seek input from committee members in matters such as goal setting, evaluation, leadership, and personnel policies for paid staff, facilities, finance, and administrative procedures.

9)Serve on, and work with, church committees as assigned.

10) Plan, organize, and promote concerts, choir tours, mission trips, retreats, festivals, workshops, clinics, and other special programs to enhance the music ministry.

11) Oversee maintenance of the music library, materials, supplies, musical instruments, and other equipment useful in the music ministry.

12) Prepare reports necessary to keep the church fully informed concerning the music ministry.

13) Participate in special ministries to music personnel (hospital and home visitations, and other matters as needed.)

14) Prepare, with assistance from the music committee and music staff members, an annual music budget reflecting the needs for the entire music program. Administrate the budget once the church approves it.

15) Be informed of denominational goals, emphases, publications, materials, policies, and plans for employing them as they relate to the local church.

16) Assist other staff members in church-wide events when necessary.

17) Assist in the selection and provision of appropriate music for weddings, funerals, special projects, and other church-related activities.

18) Give direction to, and participate in, a plan of visitation and enlistment.

19) Visit hospitals and assist in pastoral care when called upon.

20) Attend workshops or conferences concerning church music.

21) Keep informed on current music methods, materials, promotional ideas, and administrative techniques.

22) Maintain a consistent program of self-improvement.

Music Associate Principle Function

The music associate is responsible to the minister of music and the church for assisting in the development and promotion of the music ministry of the church.

Responsibilities

1)Assist in the planning, coordinating, and evaluation of the music ministry.

2)Meet regularly with the minister of music and other music staff members for coordination and planning.

3)Direct various music groups as assigned by the minister of music.

4)Direct rehearsals and services in the absence of the minister of music.

5)Assist with music leadership for special church events (retreats, socials, banquets, and so forth).

6)Enlist persons for participation in the music ministry through visitation and other means.

7)Assist with special training opportunities for the congregation and music ministry participants.

8)Assist with sectional rehearsals and other special rehearsals as needed.

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9)Work with the media associate in setup and operation of audio equipment for special events.

10) Assist the minister of music in special projects as needed.

11) Participate in special ministries to music personnel (hospital and home visitations, and other matters as needed.)

12) Supervise the work of the instrumental and handbell divisions of the music ministry.

13) Assist the minister of music in developing the annual music budget.

14) Supervise the work of the drama coordinator.

15) Serve as a member of the church music council.

16) Make recommendations concerning space, literature, music, library, instruments, leadership resources, equipment, and supplies as needed.

17) Seek to upgrade personal knowledge and skills related to the field of music ministry and stay abreast of developing methods and materials.

18) In the medium-sized church, this position is often combined with the position of organist, children's choir coordinator, or music secretary.

Organist Principal Function

The church organist is responsible to the minister of music and to the church for providing worship leadership from the organ for congregational services and for accompanying performing groups as assigned.

Responsibilities

1) Regularly meet with the minister of music, church pianist, and others to coordinate worship planning.

2) Play the organ for all regularly scheduled worship services.

3) Plan and use appropriate repertoire for preludes, offertories, and postludes.

4) Rehearse each week with choral or instrumental groups as assigned by the minister of music.

5) Rehearse with, and accompany, soloists as needed for worship services.

6) Play for special services and meetings at the church.

7) Serve, when assigned, as accompanist for soloists and music groups for appearances outside the church.

8) Be available, as schedule permits, to play for weddings (additional compensation involved).

9) Play for funeral services at the church or, when possible, at funeral chapels.

10) Allow adequate practice time each week for thorough preparation of rehearsal and service music.

11) Maintain a regular practice schedule for the development of

skills at the organ, including special studies, reading, and selfimprovement.

12) Assist the minister of music in the selection of music and worship planning when requested.

13) Supervise the use of the church organ by persons other than the organist.

14) Be responsible for seeing that the organ is regularly maintained and tuned.

15) Assist, as needed, with special projects of the music ministry.

16) Serve on the church music council.

17) Develop a program for the enlistment and encouragement of young keyboard players within the church.

Pianist Principal Function

The church pianist is responsible to the minister of music and to the church for providing worship leadership from the piano for congregational services and for accompanying performing groups as assigned.

Responsibilities

1)Meet regularly with the minister of music, organist, and others to coordinate worship planning.

2)Play for services of the church as assigned.

3)Plan, maintain, and use a comprehensive library of appropriate piano solo music for use in worship services.

4)Rehearse each week with choral or instrumental groups as assigned by the minister of music.

5)Rehearse with, and accompany, soloists as needed for the worship services.

6)Play for special services and meetings at the church.

7)Serve, when assigned, as accompanist for soloists and music groups for appearances outside the church.

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8)Be available, as schedule permits, to play for weddings (additional compensation involved).

9)Maintain a regular practice schedule for the development of skills at the piano, including special studies, reading, and selfimprovement.

10)Assist the minister of music in the selection of music and worship planning when requested.

11)Supervise the use of church pianos. Be responsible for over-

seeing the regular maintenance of church pianos.

12) Assist as needed with special projects of the music ministry.

13) Serve as a member of the church music council.

14) Work with the organist in developing a program for the enlistment and encouragement of young keyboard players within the church.

Music Secretary/Administrative Assistant Principal Function

The music secretary is responsible to the minister of music and other music ministers to provide administrative service as support to the work of the music ministry.

Responsibilities

1)Serve as receptionist for the music area.

2)Answer all incoming calls to the music area and direct them to the appropriate people.

3)Perform personal administrative duties for the minister of music.

4)Perform administrative duties for other music staff members as time permits and as requested by minister of music.

5)Prepare and send all written communications and promotional materials for the music ministry.

6)Maintain calendar of music activities and send proper notification of meetings to appropriate committee members and staff members.

7)Maintain an up-to-date membership roll for the music ministry.

8)Order music for all music organizations. Work with music librarian for proper processing of music.

9)Prepare weekly orders of service for the Sunday worship services.

10) Prepare printed programs for special music events.

11) Work with the robe chairman in maintaining the choir robes.

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12) Assist in the preparation of music bulletin boards throughout the church facility.

13) Assist the minister of music in making sure the choir room and music suite are kept neat and orderly.

14)Work with the children's choir leaders and other choir officers in maintaining accurate attendance records.

15) Serve as secretary for the church music council.

Organizational Charts

Organizational charts are effective because they let people know to whom they should report. They protect us by keeping us from being directly supervised by more than one person. The following is a typical organizational chart for paid ministers and staff. Unpaid music staff will be addressed in a later chapter.

Music Secretary

Age-Group Choir Directors

Working with Local and National Organizations

At some time in their career, music ministers may be asked to work with local and national organizations. These relationships may include local affiliates of national organizations such as the American Guild of Organists, the American Choral Directors Association, or a Choristers Guild chapter. They may also include

Church Pastor

Music Librarian

Minister of Music

Instrumental Assistant Drama Coordinator

Handbell Director

Preschool/Children’s Choir Coordinator

Music Assistant

Church Organist

Media Assistant

Church Pianist

working with a local honor choir, high school chorus, community choir, or any number of other musical activities that may enhance music either in the local community or nationally or both.

All music ministers are encouraged to become involved with various professional groups both locally and nationally (see Appendix 1 for a list of professional organizations). When you become involved and attend meetings, conferences, or conventions regularly, you may be asked to assume a position of leadership. Since volunteer leaders usually run professional groups, you are encouraged to take your turn at some point in your career. Many church musicians choose to serve with various groups throughout their careers.

While being involved with organizations outside your church may be very beneficial to you, this work may also consume valuable time. Before accepting these responsibilities, carefully analyze the amount of time that will be involved, and be sure to discuss these opportunities with your pastor and others who evaluate your work. Know both the amount of time that this responsibility will take away from your work and the expenses involved.

At times in your career, you may be better able to serve in leadership capacities beyond your church. Once you have been in a position for a considerable period of time, you are better poised for service than when you are new in a position. In addition, it is probably better to avoid serving a professional organization while you are working on a degree, starting a new choir, raising a family, newly married, or dealing with other life-changing circumstances.

Hosting Conventions and Other Events

If your church is in a well-traveled city, has good acoustics, and has a desirable location, you may be asked to host a convention or event for a national or local organization. Before accepting such invitations, be sure you know all the parameters of your obligation. In addition, you MUST have the support of your pastor and of the church. Be sure to have everything in writing including space needs, hosting responsibilities, financial obligations, and needs for sound, lighting, dressing rooms, food service, and a great many other things. When considering such an option, you are wise to seek advice and input from a colleague, in another city, who has hosted a similar group. The above also applies when hosting a college choir, professional music ensemble, or other music groups or organizations.

Hosting Local Organizations

Many churches regularly host professional meetings or local organizations such as civic choirs. Whenever possible, you are encouraged to support groups in this way; however, you must understand your obligations and be sure that you have support from all involved. Churches are usually supportive of these activities; but problems can occur with building access, damage to facilities, custodial issues, and liability. It is important to have procedures for these items spelled out ahead of time.

Working with Interns

Throughout a music ministry career, many ministers will be given the opportunity to work with interns and become a mentor. Often this is a formal relationship as part of a student's educational process, or it may be a paid position, such as a summer intern. However, ministers of music often informally mentor students who have grown up in their ministry.

Covenant

Mentoring and working with interns is usually most effective when a learning covenant is in place. The covenant provides a framework for both the mentor and the mentoree. The covenant should state goals for the internship period including personal, ministerial, and professional. It should include subjects that will be discussed during the internship and other activities that should be noted. For instance, if the student is to work with choirs of different ages, this should be included. Time frame, work hours, financial obligations, evaluations, and other items pertaining to this particular internship should all be included, although the covenant itself usually becomes the evaluation instrument.

What Does an Internship Provide?

Ideally, an internship gives the student an opportunity to bridge the academic world with the practical/ministry world and allows the student a glimpse into the career for which he/she is preparing. This is done through involvement in all aspects of church life. The intern should attend staff meetings and committee meetings, assist in worship planning, conduct choirs, file music, visit hospitals, and

participate in all other activities in which the music minister is involved. These experiences provide the intern the potential for personal growth, skill development, and career assessment.

An internship provides the supervisor an opportunity to share what he/she knows, to pass on a legacy of ministry, and to see ministry through the eyes of someone less experienced but perhaps more enthusiastic. Through the fresh perspective of the mentoree, a mentor relationship can sometimes help the experienced minister create a new vision for ministry. In order to be an effective mentor, you should share time and experience and have a willingness to become involved in sharing your life and ministry with someone else.

Requirement

An internship or mentoring relationship requires considerable time on the part of the mentor. The mentor must be prepared to slow down his/her schedule in order to explain common procedures and answer questions. If the supervisor does not have adequate time to dialogue regularly with the mentoree, then the mentor should not agree to the relationship. Although students can/will learn much by example, they will also want/need adequate opportunities to dialogue and ask questions.

The relationship will also require the mentor to hold high standards in performance and professionalism as well as spiritual and moral conduct, set a stellar example, become personally involved, deal with personal problems, establish a friendship, become vulnerable, and assist with career development.

Involving Others

Enlisting and Training

In order for a music ministry to function effectively, there must be many leaders. Most paid music ministers are directly in charge of some groups and supervise the leadership of other groups. There must be accompanists for multiple choirs, leaders for children's groups, and directors for ensembles. Most music ministries involve many volunteers. Each of these persons has to be recruited and trained in order to lead effectively. Most full time ministers of music will conduct 4-5 choirs, although multiple scheduling may prevent one person from conducting this many groups. The number of groups the minister of music can conduct also depends on the level of administrative responsibility, number of services to plan, pastoral responsibilities, and other duties.

What workers are needed?

The answer to this question depends primarily on the structure and size of the music ministry and the overall philosophy of the church and music minister.

Children's Choir Workers – All churches should have a children's choir(s), and the choir(s) must have strong leadership to be effective. Normally, you will need one worker for 4-5 preschoolers, one worker for every 5-6 younger children, and one worker for every 6-7 older children. When more than 16-18 children are in the choir, dividing the group into two choirs is suggested since the children will learn best in a smaller group surrounded by children closer to their ages. Each group will need workers. Smaller churches may need a total of 3-4 workers in children's choirs while larger churches will need many more.

Youth Choir Leaders – Although a single director usually leads a youth choir rehearsal, helpers are needed to make the group run

smoothly. Some directors use other adults to take roll, prepare snacks, pass out music, assist with trips, coordinate outreach, and perform other tasks. Some directors prefer an SATB quartet to function as section leaders. This quartet will sing with the youth in rehearsal and assist with learning the music; however, they do not sing in performance. Adults who enjoy working with youth are good candidates; however, college students, young adults, and parents are often effective youth leaders.

Instrumental Leaders – Churches with larger music ministries will need leaders for handbell groups and other instrumental ensembles.

Other Groups – Other groups include senior adult choirs, college choirs, worship teams, and drama or other related groups.

Where do you find workers?

An adept minister of music is always searching for people who are interested in serving in music ministry. Adult choir members are usually excellent choices. Look carefully at the rolls of all choirs to find new prospects for leadership. College students and older youth are potential children's choir leaders since studies show that high school and college students spend more time in volunteer work than any other age groups. Additionally, senior adults and retired people can help. Also, get to know new people, conduct occasional surveys, and visit Sunday school departments to find potential workers. Before you enlist someone you don't know well, carefully observe them and find out about their background, and experience. Never get in a hurry in enlisting workers. You are never simply filling spots. You always want to find the best person for the job, and this takes persistence and patience!

Under no circumstance should you ask for volunteers, because someone whom you don't want to do the job may volunteer. Qualified people often don't respond to a call for volunteers except for mundane tasks such as bringing food for an event or service projects. Highly qualified people usually respond when asked by the person in charge!

How do you enlist people?

There are numerous ways to enlist people to work in music ministry. Children's choir workers may be enlisted solely by the minister of music, solely by the children's choir coordinator, or by both. In some churches, the minister of music and the children's choir coor-

dinator enlist the directors, and the directors enlist their workers. Unless the program is quite large, I suggest that the music minister enlist children's choir leaders unless the coordinator is skilled at enlistment and has had long tenure in the church. Other workers should be enlisted by the minister of music or by the person(s) with whom they will work directly.

When enlisting people directly, face-to-face contact is preferred. Arrange a time to visit privately with a person before asking him/her. Casual meetings in the halls at church are not appropriate times to talk with someone about service in music ministry. If you are unable to meet with him/her one on one, a telephone call at his/her convenience is the next best alternative. A planned call is better than an unexpected call at home or at work. Always communicate the importance of the position. How you make the contact is important.

In a church where children's choirs are firmly established, a letter or e-mail may suffice for a person who prefers e-mail contact. However, it is easier to say "no" with an e-mail than with direct contact, because with direct contact you can read body language, answer immediate questions, and judge initial reactions. Ideally, talk with the person about the position, highlight its importance, and emphasize qualifications. At the conclusion of the conversation, set up a time to talk with the person in a few days to discuss the options further and hopefully receive a positive answer.

The way in which a person is asked always has an effect on his/her answer. Spend time deciding how and whom you will ask and you will get positive responses. Otherwise, you will make many contacts and receive few affirmative answers. Always explain that this is an important job but not an easy one. Also stress that you are building a team for the long run, and you want them to invest themselves fully in this process. In addition, assure the person that he/she will be adequately trained.

Who needs training?

Everyone who works in music ministry needs training, for all of us are learners. Even when we've been in music ministry for many years, we have much to learn.

How does training occur?

Many models exist for training leaders in music ministry. The

type of training depends on the person(s), the church, the responsibility, budget, and schedule.

Mentor – One of the most effective ways to train is through mentoring. A mentoring relationship is established by assigning an experienced person to advise and guide a less experienced person as a way to groom the younger person for greater responsibility in the future. Mentoring is time consuming and must be ongoing to be effective. It must also have the right match of personalities, goals, and values, and must be built on mutual admiration and trust.

One on One – Although much like mentoring, this approach may simply include private sessions that assist the person in learning the needed skills for his/her leadership position. This might include spending a brief period of time with a person or scheduling teaching sessions once a week for several weeks or months.

In-house Workshops – In-house workshops involve securing a resource person or utilizing people within your own church for training. Many churches have a training session in August before the beginning of the new choir year, and another one in January or early February when teachers need a boost to get through the remainder of the year. Survey your children's choir workers to decide what they would like to study or what would be most helpful to their teaching. These training sessions can be held on a weeknight, on a Saturday morning, or at another time that is good for everyone. They can be effective when held in homes where a meal is provided.

Local Conferences – Music leaders may attend a local conference. Different denominations, local chapters of professional organizations, and other music groups hold workshops and are usually happy to have people join them for a nominal fee.

Regional, State, and National Conferences – Conferences are held on all levels by professional organizations, denominations, and universities. Although conferences may be more expensive and may involve travel, they are usually affordable with enough advanced planning.

Budgeting for Training

Money is required for people to receive training. Even when local people lead conferences, money is needed for materials, food, or other items. However, money spent for training is always well spent. When you have a large group of people who need training, it may be more economical to bring someone to your church rather

than going to a conference. Even if you have to pay an honorarium, lodging, and travel for an outside clinician, you may save money when compared to paying travel, lodging, and food expense for a large group of people to attend an out-of-town or out-of-state event. You might also team with another church in the city or area (or with several churches) to share costs to bring in a clinician(s).

When constructing the music ministry budget, include money for leadership training. Even if the amount is small, do not eliminate these funds from the budget, for it will be a reminder of the importance of training. Each year, work to increase the budget little by little. When people see that money spent on training is being utilized well and is benefiting others, they are eager to see the budget increased!

Communication

Communication is vital for a music ministry to function effectively. Being an effective communicator requires on-going effort, thorough planning, and flexible communication methods. Many people are involved in multiple activities, and music ministry may be only one priority in their lives. If they are not regularly informed, they will view music ministry as a low priority activity and will be less involved and committed. Effective music ministers become skilled communicators and learn to utilize every available medium to communicate to those involved in music ministry.

What is Communication?

Communication involves sending messages. In order for communication to be valid, it must also be received and understood. We communicate on many different levels and through many forms. Nonverbal – Nonverbal communication involves all aspects of body language. These include body carriage, touching, eye contact, posturing, distancing (the use of space), subvocals (hardly audible agreements and acknowledgements of understanding), gesturing, and vocalisms (words or phrases that express agreement or understanding). When non-verbal and verbal communication conflict, non-verbal communication is believed and remembered. Some studies show that younger people rely more heavily on non-verbal communication than older adults.

Symbolic – Symbolic communication includes the overall impression that we give by our clothes, hairstyle, cosmetics, jewelry, automobile, home, and friends. In order for the message to be optimally communicated, symbolic communication should not conflict with other messages. The interpretation of symbolic communication can differ from person to person; therefore, we may communicate more effectively with groups. We may have to make choices regarding groups that we intend to reach most effectively; however, any minister should avoid offending others.

Verbal – Verbal communication uses words to convey meaning; however, the words must communicate our intended message if verbal communication is to be understood. Words may communicate in the following ways: (1) concrete messages (go, eat), (2) image-related messages (soft, warm), and (3) abstract messages (unconditional, patriotic). Become a student of language so that you are able to choose words that communicate effectively with your target audience.

Sending a Message – When sending a message, be sure that the message (1) is understood by the receiver; (2) uses words that the receiver will understand; (3) is specific, simple, and direct; (4) is clearly received (as evaluated by feedback); and (5) is communicated clearly.

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Receiving a Message – When receiving a message, observe the following: (1) Listen or read carefully. Work hard to focus on the source of the message. In verbal communication, keep your eyes focused on the speaker. Avoid distractions. (2) Do not interrupt a vocal message. Allow the speaker to finish before asking questions or responding. (3) Keep open to new information, especially when you perceive messages are contrary to your opinion or values. Always listen to information as if this were your first time to hear this viewpoint. (4) Seek clarification. Ask questions that confirm that you've heard correctly: "Would you please clarify?" "Would you say that again?" "Can you say that in a different way?" (5) Play back the message received. Important messages should be put in writing for referral and protection. Following a particularly important conversation, write a verbatim of the conversation's content for future reference.

Types of Correspondence

Letters – Letters are usually sent to convey information. Letters are particularly effective because they can be saved for reference. Many ministers of music have their own stationery; however, for a group of ministers to use common stationery is often best since the paper must be bought in bulk and is often wasted when a minister changes positions. With colored printers and sophisticated computer programs, it is possible to design your own stationery, which may be used on an as-needed basis.

Cards – Cards can be produced en-masse or handwritten. Reminder cards for rehearsals or events are often duplicated and mailed with computer-generated labels. However, absentee cards should be handwritten and personalized. Cards are also ideal for recognizing achievement and for expressing thanks and appreciation. If you send cards often, you may choose to design a music ministry note card that can be used for many occasions. Although e-mail is widely used, receiving handwritten notes is appreciated. Many ministers send birthday cards to everyone in the music ministry or to those in a particular choir. While this is a thoughtful idea and is always appreciated, it requires diligence and discipline. When sending birthday cards, you must develop a system so that no one is excluded. Some ministers buy a large supply of cards, sign the cards, address them and put them in a box in order of mailing dates beginning with January (write the mailing date on the upper right hand corner where the stamp will go). Each day the file must be checked. Before mailing, write a brief note that highlights recent situations in the person's life. If you travel often, you must take the cards with you or leave them with a responsible person to be mailed.

Telephone – The telephone is most useful in enlisting and in outreach when responses are important and questions need to be answered immediately. If you have large blocks of "waiting time," perhaps waiting for a child at piano lessons, dance classes, or an athletic practice, this time can be spent with a cell phone calling people whom you need to contact. (You will want to build a file of cell phone numbers since people increasingly depend on cell phones for direct communication.) The telephone can also be effective for calling groups of people when a phone chain is in place. Calling lists are probably most effective with older adults although a calling list utilizing cell phone numbers for youth choir may be effective.

E-mail – E-mail is probably the most effective form of communication, for e-mail is private, quick, interactive, and allows the receiver to have control over the time of receipt. E-mail can also be printed if a hard copy may be needed for further reference. E-mail is particularly effective for short messages that don't require detailed responses and is ideal for reminders, updates, or for other reasons. Long e-mails are sometimes not read thoroughly, so if you have several messages to send to the same person or group, you may consider sending multiple e-mails rather than one long e-mail.

Music Ministry Communication

Communicating with Children – Children love to get mail; therefore, postal mail is particularly effective with them. They love to check the mail each day and are pleased when something is for them. When sending mail to children, consider using bright and colorful cards and paper. Sign your name with a colored pen! Remember to print messages since younger children do not read cursive writing. If reproducing many messages, add a splash of color with markers. Add a special touch with an interesting stamp! When communicating with children's parents, you may prefer to use e-mail or letters. Generally, updates and reminders can be sent by e-mail; schedules and calendars should be sent through postal mail. Realize that parents sometimes don't see the mail that is sent to their children nor do they always receive what is sent home with the child. When children check the mail, they may take out what is for them, and their parents may not see important notices; therefore, you may want to send a note to the child and to the parent.

Communicating with Youth – Youth are often the most difficult group to communicate with effectively because they lead very busy lives and are in a phase where they take some responsibility for themselves, yet they depend on their parents to help them with their schedules. As with children, communicating with youth should involve communicating with them and with their parents; however, with children the majority of communication is done with parents and with youth the majority is done with the youth. In order to communicate effectively with youth, variety is important. Search for random ways to send your message. Some of the most effective youth choir leaders send the youth a message each week. Sometimes it is informational, sometimes instructive, and sometimes

devotional. Through a brainstorming session with youth choir officers, you may discover preferred ways to communicate.

Communicating with Adults – Adults will probably rely on more traditional forms of communication; however, you should survey adults to find their preferred forms of communication. Find what works and maintain consistency. Adults will expect similar messages to come from similar sources.

Committees and Councils – Committees and councils should receive notices of meetings, minutes, and follow-up material. If everyone in the group has access to e-mail, utilize it. If not, you may communicate by postal mail or through a combination of the two. Phone calls are effective with smaller groups.

Worship Leaders – I utilize e-mail exclusively to maintain contact with worship leaders. The pastor and I plan worship on or before Monday, and the worship order (with explanations) is sent out by the end of the day on Monday. This e-mail goes to all ministers, church staff, worship coordinators, accompanists, and others who may be involved. A preliminary order of worship is available on Wednesday night and is edited on Wednesday evening; the final copy of the worship folder begins to take shape on Thursday morning

Long-Term Projects – Long-term projects may require many forms of communication. You may begin six months ahead by announcing a date, overall purpose of the event, and speaker. At three months you may publicize the location, specific times, and a tentative schedule. One month prior to the event you will want to supply information about childcare, items to take/bring, food, and other specifics. During the last month you will want to follow up with specific individuals through more personalized communication. Long-term projects should utilize multiple forms of communication.

Newsletters – Music ministers often ignore the potential use of the church newsletter as a source of communication. The church newsletter is important because it communicates not only to those specifically involved in music ministry but to the church as a whole. Newsletter articles are more effective when they go beyond motivational articles about attendance and cover substantive issues regarding music and worship.

Choir or music ministry newsletters are also effective. Many choirs have weekly or monthly newsletters that communicate rehearsal schedules, upcoming music, birthdays, news about mem-

bers, and other items of interest. A weekly publication may take the form of rehearsal notes and updates. If the letter is monthly, it usually takes a broader approach. Music ministry newsletters should contain news and updates from all aspects of music ministry.

Letters to New Members and Guests – A letter sent to all guests explaining the music ministry and potential for their involvement is often the determining factor in whether or not people join your church. Likewise, when people join, they should receive contact from the music minister. Letters to new members and guests may also include a music ministry brochure and/or a recent newsletter.

Web Sites – Music ministries should have web sites that include potential opportunities for involvement in music ministry. Utilize photos as well as testimonials and other information. Web sites must be updated regularly!

Calendars – Yearly calendars of music ministry activities should be sent to all who are involved in music ministry. Work with school and civic calendars to avoid conflicts.

Other Contact – Music ministers should be aware of every opportunity for communication, whether direct or indirect. Music ministers should check local papers for news about choir members and then send the article with a congratulatory note. Illnesses of choir members and their families should be acknowledged as well as deaths and other difficulties. Music ministers should, whenever possible, attend events in which choir members are involved. Always talk with the person afterward or send him/her a note of congratulations. Music ministers must utilize every opportunity to communicate with those who are involved in music ministry.

ecruiting and Working with Volunteers

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Many years ago, I learned an important lesson regarding volunteers from Anne Ortlund in her book Up with Worship. In a section about announcements, the author admonishes ministers never to appeal for volunteers. She goes on to say, "The Holy Spirit is committed to giving gifts to His church which will abundantly fill every need. (Obviously, if He doesn't supply a particular gift for your church, He must not consider this a need). Relying on his promise, those concerned can pray in private for the right ones to come forward and volunteer. Or they can pray for wisdom to discern gifts in

their fellow believers and then ask qualified people. Even the smallest churches can believe in God!"1

This philosophy of volunteers greatly shaped my thinking, and I began to see the church not as a group of volunteers but as a group of people called out for specific purposes and responsibilities. In the churches I've served, I've found people willing to serve when they were asked to participate in what God is doing in a particular ministry. In many churches, ministers are overworked while lay members are under utilized.

When we are seeking people to work with us in music ministry, we must learn to successfully tap into their existing internal motivation. Search for people who share similar dreams and priorities. Find people who are already attracted to your goals and provide appropriate training for them. When you identify people who may be potential co-ministers:

1) Communicate a vision and establish a sense of purpose. They should understand the possibilities of this position and its longterm importance in ministry.

2) Model genuine enthusiasm. Why should this job be accomplished? To whom does this job matter? Model the enthusiasm that you expect from others.

3) Organize for success. Create an organizational model that assures success.

4) Provide continued encouragement, and utilize every opportunity for encouragement.

5) Serve as an available resource. Be available to assist with problem solving and equipping.

6) Evaluate and provide conclusions. Let people know how they are doing.

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Generally, achievement, recognition, challenging work, responsibility, and personal growth motivate people.2 In summary, people like to achieve, and they like to be a part of something meaningful. They like to be recognized for their work. They like to be challenged to be part of something bigger than themselves. They want to be responsible for their own outcomes, and they appreciate the opportunity to grow personally.

Conversely, people are de-motivated by lack of administration, poor supervision, poor working conditions, poor interpersonal

1 Anne Ortlund, Up With Worship: How to Quit Playing Church, Revised and Updated ed., (Nashville: Broadman and Holman Publishers, 2001), 125.

2 These points are outlined in Ted W. Engstrom and Edward R. Dayton, The Christian Leaders 60-Second Management Guide, (Word Books: Waco, TX, 1984), 55.

relationships, and lack of status or security.3 People will not be motivated to continue their work or to work when asked again (1) when work is not planned and ready for them; (2) when they are not supervised and/or are unsure of what they should be doing; (3) when they do not have adequate work space, heating, cooling, or the necessary equipment; (4) when they work with others who do not foster good interpersonal relationships; and (5) when their status is not recognized.

Recruiting Volunteers – Never offer a public appeal for volunteers for important jobs. Emphasize that God has opened up an opportunity for involvement.

Job Descriptions – People who participate in ministry should have job descriptions. The document should consist of a description of the task, the purpose of the task, to whom are they responsible, length of service, skills needed, and resources available. See the section in Chapter 4 dealing with "Developing Job Descriptions and Organizational Charts."

Working with Difficult People

Every church has its share of difficult people and, eventually, you will have an opportunity to work with them or be confronted by one of them. Difficult people range from the person who has a heart for ministry but has a challenging disposition to the person who constantly criticizes and occasionally is confrontational. These people present us with a significant opportunity to grow personally and to minister to a person who has unusual needs. Sometimes getting along with "difficult" people is as simple as finding out what motivates them and working to connect with their needs; however, the situation is usually much more challenging.

If we find ourselves dealing with many difficult people, we need to examine ourselves, especially if these are people not considered "difficult" by other persons. I once worked with someone who thought nearly everyone else was a "difficult" person. It never seemed to occur to her that she was the problem. Ironically, most people that we consider "difficult" consider us "difficult," for they often perceive us as a hindrance to the fulfillment of their needs. It is always possible that we (like my former colleague) are the difficult person and that everyone else is trying to send us a message!

3 Ibid., 56.

Some of this chapter will deal with accepting normal criticism, and other parts will be applicable to major confrontations.

In the normal course of church life, the minister of music will deal with many people who offer criticisms about the music, worship, and any other matter that displeases them. However, another person may affirm the idea that someone else has criticized. Although all criticisms have the potential to wound our egos, most should be considered part of the normal routine of ministry. Generally, criticism should be handled with such as the following: "Thank you very much for offering your suggestions. I have certainly heard your suggestion (restate it), and I assure you that I'll give it good consideration. Your suggestion shows me how much you care about our church and its ministries." If the criticism is offered in a kind and gentle manner and time allows, you may choose to explain your perspective without becoming overly defensive; however, most often you should simply use some variation of the above response. Once you are alone, seriously consider the person's comments and weigh them carefully. I've found that a reply similar to the one suggested above is much more efficient than becoming angry or defensive. Although I may resent their comments at the time, I'm not actually telling a lie to thank them for the comments, for at a later time, I'm usually glad to hear their input. If I respond according to my feeling at the moment, this response would also lack honesty for, at a later time, I may feel differently. If the situation merits a response, then offer one in writing, or make a special point of saying at a later time, "I've really been thinking about what you shared with me the other day, and I think . ..."

The Confrontation

When you are confronted in a more hostile manner, consider the following suggestions:

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Never interrupt. Always listen to the very end. If you listen until the person has completed his/her story, then you will have shown respect and the person will probably immediately soften his/her position slightly. Often your first response might be one of clarity such as "What I'm hearing you say is that you think I'm unfair and don't care about the youth of our church." Attempt to quote him/her exactly. Often this approach will help him/her to see how hard his/her words have sounded, and he/she will begin to back away from his/her original position.

Don't attempt to reason with an irrational person. This will likely not work for they may only become more frustrated and angry. At this time, they do not want to hear logical arguments. You may simply ask questions of clarity or thank them for their input and ask them to leave. You can follow up with them at a later time.

Be gracious. Even though you may be trembling with anger, you must be gracious; otherwise, you'll regret your response, and that could be damaging for your ministry. Picture yourself as a person with incredible power to control the situation. Controlling the situation usually means controlling yourself.

Attempt to love difficult people. Loving them will not be easy now or in the future. It will require loving them through God's power. If possible, state your love for them.

Eventually, work at forgiveness. At the time, forgiveness may be too much to expect of yourself; however, this will be your ultimate goal.

Don't accept every criticism or be immune to it. Sometimes it is best to simply say, "I don't agree with your assessment of the situation, and I'll be happy to discuss it with you at a later time." Stick with your decision not to discuss it at this time. The angry person wants you to become angry in order to justify his/her anger. You must not allow this to happen.

Refuse to take everything personally. A person speaking out of anger is probably only telling a portion of the truth, if any. The person may be using you to express his/her frustrations in other areas of life. Realistically, you may have very little if anything to do with the current situation.

Choose battles carefully. It is easy to get pulled into a battle that you never bargained for. Be careful that you don't get sucked into something from which you can't easily escape.

After the confrontation has ended and a reasonable time has passed, begin to unravel the situation and seek to understand what has happened.

Seek to Understand

What is he/she facing personally? What else is going on in the person's life that might cause him/her to respond in this way? When people feel out of control in one area of their lives, they sometimes seek to gain control in some other area. Often they express their anger in inappropriate ways to inappropriate people.

Do you make them feel insecure? In most of the major confrontations I've had in my ministry and work, I've been perceived as threatening and have added to the person's insecurity. When I've looked carefully at the situation, I've realized that there were probably ways that I could have gone to greater lengths to assure the person that I was not a threat to what was important to them.

Are they jealous? Often conflicts can arise over jealousies. Sometimes jealousies relate directly to the person involved and sometimes they involve a person that is close to the attacker, such as a child, spouse, relative, or close friend.

Is the person a perfectionist? Extreme perfectionists are never pleased and will always be critical of others. In reality, they are taking out on you their displeasure with their own flaws. By exposing your flaws, they have temporarily justified their own flaws. True perfectionists see their own flaws as intolerable, and they may do anything to keep their flaws from being exposed.

Does the person have a rebellious spirit? Some people deal with unresolved rebellion resulting from situations in their past. They are inclined to take out their rebellion either on you or on some other authority figure.

What is his/her power structure? What is important for this person? How does he/she perceive power? Does this person have power in his/her home or work? Is church the one place where he/she feels that he/she can exercise power?

What is your power structure? Are you playing power games that cause others to resist? Have you pitted yourself against another person?

Picking up the Pieces

Eventually, we have to pick up the pieces and move on. When a major confrontation occurs, it can take us several days/weeks/ months/years to recover fully. However, you must recognize that all leaders face similar situations. Once you've been through several major confrontations, it is important to remember that your reactions are similar each time you face a similar situation.

You are discouraged. Often we are so discouraged that we want to abandon ministry altogether. Deep feelings of temporary depression and inability to sleep are normal feelings. Never make an important decision in a time such as this. During these times, you may feel as if life will never be better; but experience shows that circumstances will improve. I have tried to remember, "Never reverse

a decision in the dark of night that you made in the light of day," i.e., do not reverse a well-informed, carefully considered decision during times of difficulty and discouragement. Daylight will always come and deeper insight and wiser perspectives will return.

You are distracted. During these times you are distracted from your ministry, family, and leisure. Nothing seems to bring you pleasure or escape. Again, these feelings are normal.

You can identify with others in crisis. Difficult situations in ministry help us to identify more closely with others who face rejection and disappointment. Ultimately, we become more caring people and are better ministers when we walk appropriately through dark times.

Return to your calling. When dark times of conflict arise, always return to your calling. Why did you become a minister? To whom were you called?

Pray through your anger. Even when angry, you can be honest with God. God will understand your anger even when it is directed at a person or situation.

Is there a deeper message here? Large and numerous, conflicts may be a sign for you to consider moving on. However, if this is a pattern for your ministry, you must get help before recreating the situation in a different setting.

Share your thoughts with someone you trust. In all major conflict situations, you should share your story with someone wise and receive his/her input. Often someone else can point out issues that you cannot see. In addition, you will be wise to journal during this time in order to analyze your ways of dealing with conflict. We can learn much about ourselves when we analyze how we deal with conflict.

Keep notes or notify someone. If the situation could be threatening to you personally or to your family, document the situation carefully and contact someone for help. This is particularly important in a situation where you may be accused of something that could damage your future ministry.

Be gracious. In all situations, attempt to be gracious. All people ultimately need grace. Offer grace; for we will all be on the receiving end at another time in our lives.

orking with Committees

Meetings are what committees are all about, and everyone knows that no one likes to go to a meeting! Why is it that people so dislike meetings? Perhaps people dislike meetings because they are often controlled by agendas that make no significant contribution to life and ministry. In reality, meetings are critical to the life of an organization because meetings provide the opportunity for vital face-to-face communication. Written and oral communication are excellent for passing along information; however, a face to face meeting allows a healthy interchange of ideas and the opportunity to observe voice inflection and body language. Sometimes meetings at church (even though they are filled with smart, articulate people) are less productive than meetings in work places. This may be because, in other settings, people meet with colleagues with whom they communicate on a regular basis. At a church meeting, the lines of communication, acceptance of styles of communication, and focus of ideas have to be established before the meeting can truly be productive. All of this takes time. Sometimes before a church committee begins to function well, it is restructured and the communication styles have to be relearned.

Kinds of Meetings

Meetings may be formal or informal, they may be planned ahead of time, or they may be impromptu. Furthermore, they may be particular or ongoing. A special meeting is called for a special purpose such as making a decision or handling a specific problem. An ongoing meeting is one that is scheduled on a regular basis where the agenda follows a routine format or continues from the previous meeting.

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Another way of classifying a meeting is (1) one that is called to announce or inform people; (2) one that is called to obtain the support of the group (a decision having been already made); and (3) one called for problem solving during which it is expected that everyone will become involved in the issue at hand.1 Conflict can often arise when the purpose of a meeting is not announced and people come to a meeting with a different agenda.

1 Edward R. Dayton and Ted W. Engstrom, Strategy for Leadership, (Old Tappan, New Jersey: Fleming H. Revell Company, 1979), 212.

What Constitutes a Good Meeting?

The meeting should have a purpose. If there is no purpose for a meeting, then no meeting should be held. Simple! At the beginning of the meeting establish the goals of the meeting.

Select the right people. Selecting the right people for a particular task is critical to success.

Be prepared. Prior to the meeting, anticipate questions that will be asked so that the meeting will run smoothly.

Select the right location. Choosing the appropriate location will often influence the meeting's effectiveness.

Keep meetings concise. Meetings should not last longer than necessary. There should be an announced beginning and ending time. These times should be strictly honored. Keep the meeting moving at all times. If discussion gets bogged down, move to the next item and return to the previous item at a later time or date.

Have a printed agenda. A printed agenda assures people that the meeting will have focus. It allows people to see where the meeting will begin and where it should end. An agenda also lets them know where they should be expected to offer input.

Talk little. Listen a lot. As the leader of the meeting, spend most of your time listening to what others have to say. You need their input; that's why you have involved them.

Summarize the meeting at the conclusion. Spend a few moments at the end of the meeting summarizing the discussion and reminding participants of actions.

Thank people for their participation. Always be generous in your appreciation.

Send minutes or the agenda to absentees. Keep absentees informed of the meeting's content. This will help you when they come to the next meeting. They will not ask questions that should have been answered by your correspondence.

Establish the next meeting time before you adjourn. If you establish your next meeting time before you adjourn, it will save you time in the future.

Creative Agendas

Agendas can be as simple as a numbered list of items to be discussed. Always date the agenda and include the names of participants at the top. This can become a roll-taking device. Also, agendas can take more creative forms.2

2 Ibid., 215 - 216.

Have an ongoing agenda. Indicate on the sheet the date the item was introduced, and mark it off when it is resolved. Continue the process down the page recopying the page for each meeting. This format is especially good for groups that begin the new meeting with unresolved business from the previous meeting.

Make three columns to the right of agenda items. The three columns should be labeled information, discussion, and decision. Place an X in the appropriate column beside each agenda item to indicate what step(s) will be taken with that item. This is especially helpful for groups that tend to take too much time discussing issues. People feel free to let an item go when they know that they've accomplished the desired goal.

Include approximate times of discussion. Beside each agenda item include an estimate of the amount of time that each item should take. At the beginning of the meetings ask if the times are appropriate. If not, amend them. Once they are accepted, stick to them!

Minutes

Should a meeting have minutes? The answer to this question depends on the type of meeting. Some committees do not need to keep minutes, so the agenda can serve as the minutes.

How much time should you allow for meetings?

An ongoing meeting should require less time than a special meeting because the people are accustomed to working together.

Evaluate

Always evaluate each meeting to discern ways that your leadership could have been more effective. Were there moments when the meeting got bogged down? What could have been done to keep this from happening? Were you prepared to answer questions? Did everyone show up? Were people prepared? If not, why not?

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What's the difference between committees, councils, and work groups?

Although the definitions of these different groups are flexible, they generally differ in that committees are appointed by the governing body of an organization and usually serve in an advisory capacity, while councils are usually comprised of people who are

expected to make decisions and accomplish tasks. Work groups are usually ad hoc groups that meet for a particular purpose and usually have a definite beginning and ending.

Music Committee

The music committee is usually appointed by the church nominating committee and is voted on by the congregation. The committee's make-up may or may not have input from the minister of music. The group usually meets monthly or quarterly and considers issues such as attendance, overall goals, and directions for the program. Adequate opportunity is provided for members to offer input and feedback from the congregation at large. The committee usually consists of not more than ten members. Directors of major choirs and the music minister are usually ex officio members. The minister of music may chair the meeting, or the committee chair may take that responsibility. The importance of this committee usually rests in its tie to the congregation at large. Members of this committee should be people with a strong interest in the music ministry who can promote the ministry throughout the church, can offer wise council, are sensitive to the reactions of the congregation and can bridge differences, and can offer constructive criticism.3

The Music Council

The music council is comprised of the minister of music, accompanists, age group leaders, and choir presidents — the primary leaders in the music ministry. Its primary purpose is to coordinate schedules and events, to serve as a recruiting advisory group, evaluate attendance, establish new goals and directions, and deal with other practical aspects of music ministry. This group should also prepare the budget and the yearly calendar of events.

Worship Committee

The minister of music is often the primary person who relates to the worship committee. The purpose of the worship committee in most churches is similar to that of the music committee in that the members deal with larger issues relating to worship, and how those issues relate to the congregation. The qualifications of this group should be similar to those of the music committee.

3 Austin C. Lovelace and William C. Rice, Music and Worship in the Church, (Nashville: Abingdon Press, 1983), 43.

Some churches have a worship committee that participates actively in the worship planning process. For a thorough discussion of such a group, see Franklin Segler and Randall Bradley, Understanding, Preparing For, and Practicing Christian Worship, Revised Edition, 1996, Chapter 7, Chapter 18.

Personnel Committee

The music minister rarely relates directly to the personnel committee except for recommending raises and compensation packages for music staff.

Other Committees

Most music ministers relate directly to one or more additional committees. Typically, they relate to Flowers and Decorations, Sound and Lighting, and others. Ministers of music may be ex officio members of other groups such as the Education Committee.

Delegation

One of the most important jobs of any minister is learning to delegate. Responsibilities must be delegated to other ministers, staff members, accompanists, associates, choir coordinators, and volunteers. Unfortunately, some ministers of music are not willing to work through other people to accomplish greater ministry. Consequently, these ministers may experience burn out; therefore, they may not have long-term ministries. Perhaps ministers of music may be resistant to delegation because much of their training is spent in isolation. Ministers of music may also have an artistic temperament — deep down, no one else can do a job that pleases them! For long-term success, nothing is more critical to effective ministry than the ability to delegate appropriately.

Delegation is the ability to give the job to someone else, define the parameters for accomplishing the job, and give him/her the authority to get the job done.1 For many, the most difficult part is giving the job to someone else. Perhaps we are afraid that others will not think we're doing our work if we give some of our work to someone else, or perhaps our ego doesn't want to accept the fact that

1 Jimmie Sheffield, "Delegating Leadership," Church Administration, 42 (October 1999) no. 1, 24.

someone else can do a job well. Whatever the reason for our hesitations, we must learn to delegate some tasks to others. Once the job is delegated, define the parameters for its completion. Determine completion date, budget, who else should be involved, priority level, how often you would like to receive reports, and other pertinent factors. Finally, give the person the authority to make decisions related to the job's ultimate completion. Without giving authority, the person to whom you've delegated the job will not be empowered and will not fully own the process. You must then accept the reality that the job will not be completed as you would have done it. Many times the job will be done better!

What Should You Delegate?

Generally, you should delegate jobs that (1) someone can do better than you, (2) someone can do instead of you, (3) someone can do with better timing, or (4) will help someone else grow and develop as a leader.2 When you know that others can do the job better than you, you should allow them to do it. When your schedule is overloaded and someone else has more time and is capable, let him/her do it. When you know that you cannot accomplish a job by its deadline, allow others who can get it done to do the job. When someone else can grow as a leader, you should allow him or her the opportunity. Progress in churches, businesses, and educational institutions is severely hampered by administrators who keep too much work for themselves. Their need to control outweighs their desire to see the organization make progress. Ultimately, these administrators keep other people from thriving because they are keeping them from doing their work (work gets caught in the system waiting for someone to move it along), and they foster an organization with many undeveloped leaders!

How Do You Delegate?

Define the Responsibility – Define what is to be done. Be sure that the person to whom you've delegated the task knows exactly what he/she is to do. You should write a definition of what is to be done and follow up with verbal instructions. Allow plenty of time for questions.

Establish the Parameters – Determine completion date, budget, who else should be involved, priority level, and how often you would like to receive reports,

Let It Go – After building certain checkpoints into the process, you must let the job go. If you constantly look over people's shoulders, they will not be able to do their best work, and you will not be able to do the work that you intended to accomplish by delegating!

Check Up – Although you've delegated the work to someone else, you have not delegated the responsibility. You are still responsible to see that the work is accomplished. It is better to build in normal check up times from the beginning instead of doing random checks.

Evaluate – Take time to evaluate once the task is complete. Evaluating assures the person that you value his/her contribution and input.

Express Gratitude – Always express gratitude for work that is done. Even when it's not done according to your specifications, be grateful for someone's attempt. Give praise for work that succeeds, and share responsibility for work that is less than desirable.

Avoid Upward Delegation

Upward delegation happens when the person to whom you have delegated work hands it back to you. Once a person realizes that you will take work back or do their work when they don't do it, you will have the problem through the remainder of the relationship. This might happen for several reasons:

1) Instructions were not adequate. The directions must be clear, possibly in writing. Give plenty of details and ask questions to make sure the person completely understands what is expected.

2) Ownership of the task was not clear. Be sure that the person understands that the project is his/hers. He/she is fully responsible for every aspect of the task. Evaluate periodically.

3) "I've got a problem." When the person comes to you with this phrase, before meeting with him/her, ask that he/she come prepared to discuss two or three options for solving the problem. Force the person to work on the problem before he/she reassigns it to you.

4) Avoid saying, "Let me think about it." This phrase puts the ball back in your court, and they've successfully handed the task back to you.

5) Procrastination. Sometimes people will wait until the last minute to do the task, which creates a crisis. If you can possibly

survive without rescuing them, do so. If the organization depends on the task, you may have to rescue someone. When this happens, confront the person and let him/her know that, in the future, you will not come to the rescue.

You will discover that some people are masterful at these tactics. Many people learn to use the system successfully and are excellent at taking control.

Parent Councils

Youth and children's choirs function best when they have strong parental support. One of the best ways to establish parental support is through a parent council whose main responsibility is to support the ministry of the choir. Parent council members can be elected by other parents, appointed by the minister of music, or can be self perpetuating. They can have officers or they can simply have a chair, and other members can serve as chairs of various committees that make the choir function.

Responsibilities

The parent council should be responsible for the following: Providing Input and Evaluation – They should provide input regarding choir tours, other activities, and policies.

Fundraising – They should be in charge of raising the needed money to support trips and outings by the choir. They should have a role in deciding how much money each student will pay and how much will be raised by the choir.

Chaperones – They should have input into who will chaperone trips and outings.

Food for Outings, Parties, and Other Social Activities – They will coordinate food for all social occasions and for all rehearsals or other gatherings where food is needed.

Uniforms and T-shirts – They will work with choir officers in deciding on appropriate attire for the group. They will be in charge of collecting money, buying uniforms, coordinating t-shirt design and purchase, and related items.

Publicity – They will be responsible for publicity within the church and in the community.

Community Awareness – They will serve in a public relations role in connecting with the larger community.

Rehearsal Assistance – They will provide rehearsal assistance as needed. This might include helping with discipline, taking roll, taking up money, and passing out music.

Motivation – They will help in motivating the choir to do their best and will help other parents realize their role in motivating their child to accomplish this goal.

Serve as a Link with Other Parents – The parent council will serve as a link with other parents to insure their support and involvement.

Meetings

Parent Councils should normally meet once per month during the school year except as tours and trips approach. They will be in charge of involving other parents and will likely be responsible for chairing sub-committees to support special projects. The music minister or the parent council chairperson can chair the parent council.

Managing and Leading Change

Change is both inevitable and necessary. We will change whether we choose to recognize it or not. Moreover, we can choose to approach change either proactively or reactively. We can choose to react as victims to inevitable change, or we can choose to take an active role in effecting change. Nothing will more significantly shape our ministry than our response to change and our response to the potential to lead in change. Our ability to imagine a brighter future for others, the church, and ourselves will ultimately shape our ministry. G. Douglas Lewis states, "Neither individuals nor congregations are motivated or energized by the present. We have no energy for the process until we discover our desire about the future."1

Change and Leadership

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According to Lewis, "The essence of leadership is the ability to influence others to achieve some common goal."2 Being a leader involves helping people to move from point A to point B. This is

1 G. Douglas Lewis, Meeting the Moment: Leadership and Well-Being in Ministry, (Nashville: Abingdon Press, 1997), 69.

2 Ibid., 56.

what change is all about. If you can't assist with change, you're not a leader! An important question for a leader is "What new situation do we want to bring about?"3

An additional irony in leadership is that organizations put individuals in a leadership position and immediately begin the process of undermining and tearing them down. This paradox is present even with very effective leaders. There is no rational explanation for this contradictory behavior.4 Acknowledging this phenomenon readily prepares us for its impending presence. History is happening now. Will we choose to attempt to direct history or be controlled by it?5 According to Engstrom and Dayton, "The role of the change agent is to identify needed directions for the organization or the society, to help those involved identify why such changes will benefit the organization, to strengthen the motivation of those involved to move in appropriate directions, and to enable people to bring about the change."6 Our role is to help others see what needs to be done.

A major component of leading change is realizing that change must begin with us. Our relationships and influence form a group of intersecting concentric circles, and when we change, the ripple effects of our change of attitude or status affects all those with whom we're connected. The same is true for our influence with the church.

According to Lewis, "Driving forces attempting to bring about change will always provoke restraining forces that will attempt to maintain the status quo; thus our role is to strengthen the driving forces while weakening the restraining forces."7

Organizations Are Complacent

Organizations tend to lean toward complacency. They develop systems that work and then resist changing them. In an organization such as a church, the people who helped develop current systems are often still there, may own the status quo, and will often staunchly defend it. As individuals and organizations, we desperately want to make things better; however, we usually resist change. Ironically,

3 Ted W. Engstrom and Edward R. Dayton, The Christian Executive, (Waco: Word Books, 1979), 44.

4 G. Douglas Lewis, Meeting the Moment: Leadership and Well-Being in Ministry, 57.

5 Ted W. Engstrom and Edward R. Dayton, The Christian Executive, 45.

6 Ibid., 45.

7 G. Douglas Lewis, Meeting the Moment: Leadership and Well-Being in Ministry, 70.

we may become content with the system even if we don't like the results.8

Churches can easily assume a maintenance mentality and eventually believe that it is their role to care for each other with as little change as possible. Sometimes, they would like for things to be different; however, the pain of change often outweighs the discomfort of complacency. Most people will choose the less painful alternative, and they will only change when they perceive the pain of their present state to be greater than the pain associated with the risk of change. Consequently, those who resist change will always outnumber those who enthusiastically engage it.

Herein lies one of the most difficult points of leadership. Since a church is considered a normative structure, church leaders are neither coercive (leaders using force and punishment to bring about compliance, i.e., prison or military) nor utilitarian (those who gain compliance by giving or withholding pay, as in business or industry). Leadership styles in the coercive structure are authoritarian, and in the utilitarian structure are authoritarian to democratic. In a normative structure people choose to invest themselves because of the missions and the goals of the organization. Leadership styles may range from democratic to authoritarian. Leadership in a normative structure is the most difficult because you must wait on others to act. The demands of people to make changes while they simultaneously resist change often seem unbearable.9

Discerning a Direction

"If you don't care where you're going, any road will take you there." This statement often describes the church's attempt to engage in change, for often we make the mistake of believing that movement in any direction is good, and we're not often patient in discerning where God truly desires us to go. Once we perceive an appropriate direction, our goal is to begin to remove obstacles that stand in the way. "The change that we want to bring about is to strengthen the positive and reduce the negative forces."10

One way to discern direction is to discover discontentment. Sometimes those who are discontented are able to imagine a better future. One strategy is to listen carefully to pockets of discontentment and to find ways to strengthen the discontented message.

However, this strategy is not without significant risks. These risks must be carefully weighed.

Discover the Leadership Structure

In order for change to happen, you must build support from all leaders. For instance, you cannot listen to the voice of people who see alternatives (see above) while ignoring the existing power structure of your church and expect for anything to happen other than losing your job!

The first step is to discover the strongly opinionated people in a congregation. These people will always express their opinions and will often determine the direction of the congregation. In organizations with long-term members, opinionated persons will always have more initial influence than you presently have! Failure to recognize this basic fact is a sure recipe for disaster.

Within every church is a formal and an informal leadership structure. The formal structure includes those who are currently appointed or elected to leadership positions. It is important to remember, however, that every organization has an informal leadership structure as well. This structure includes people who have had strong leadership positions in the past; people with family connections, money, and community clout; and people with strong personalities. I distinctly remember a time in my first church when a controversial topic was being presented in a business meeting. A number of people showed up whom I considered fringe members of the congregation (they held no elected positions and were minimally involved). When they expressed their feelings, people in the congregation listened to them, and they determined the outcome of the vote. I was astonished that people had listened to them when their example of commitment and service was so minimal. I had failed to realize the significance of the past leadership positions some of these people had held and the family and community connections they represented. While people are free to make choices according to the authority of their own consciences, sometimes they do not use their freedom. When pushed into a corner, many people will respond by acting upon old patterns and authority structures.

Practical Steps for Bringing About Change11

Develop Trust – Change will only occur when leaders have

11 This outline of steps is taken from Engstrom and Dayton, The Christian Executive, 47-9.

earned the trust of those they lead. When a leader is trusted, he/she can bring about processes that can promote the free exchange of ideas. People will not share openly or consider moving into new territory with a leader they do not trust!

Go Public – Early on in the process, you must go public with your vision of change. When you publicly announce your desire for change, you are taking a bold step toward your personal commitment; furthermore, you are beginning the process of building support for your ideas.

Take Your Time – Most of us tend to move too quickly in bringing about change. We are afraid that if we don't make big changes quickly, we'll lose sight of the vision or others will perceive we're not capable of leadership. Being slow and methodical is usually preferred.

Find an Entry Point – Search until you find a place to begin change. If you are seeking to broaden the congregational repertoire, a good step might be to bring in a special group to lead a special worship event. Afterward, at the encouragement of some of the congregation, begin to utilize an occasional song from the group's repertoire.

Involve Many People – No significant change will ever happen in a church without involving many people. Sometimes change seems to occur but then you discover that when the leader leaves, the ministry reverts to where it was. Although there may have been a façade of change, it did not involve enough people to sustain the change. According to G. Douglas Lewis, "People are more likely to make changes in themselves and their settings if they are personally involved in the change process."12 Additionally, people will react more positively to the truth about the church when they have discovered it for themselves. When they feel that change is being pressed on them, they nearly always resist.

Be Open to New Ideas – Have ideas of where you think the music ministry should go; however, be open to input from others. Many times you'll find that the ideas discovered through others are better than yours. According to G. Douglas Lewis, "We are as afraid of feedback as we are of change."13 We must create safe places for others and ourselves so that we can be honest and open in offering and receiving ideas.

Break the Process into Steps – This is helpful for two reasons: (1) It shows that the process is attainable, and (2) it keeps us focused when we feel that we're moving so slowly that nothing is happening. We are able to see that we are indeed making progress.

Build in Success – Find opportunities to celebrate. At every possible juncture, declare a success and celebrate it. Affirm every sign of progress.

Provide Resources – Sometimes change doesn't succeed because appropriate resources are not in place. When resources are not in place, negative people will use this to assure that change does not happen.

Be a Revolutionary, Reformer, or Innovator – Leaders are usually seen as revolutionaries, reformers, or innovators. The first pattern implies that the past must be discarded, and we must start over. The second pattern implies that the old structure had inherent flaws and needs to be reformed. The third implies that there are more creative ways yet to be discovered. It does not judge the past but affirms it in building toward the future. Obviously, the third pattern is preferred when working with a church. It is important that you take the appropriate steps to see that your attempts at bringing about change are not perceived as revolutionary or reforming. As an innovator, you will clearly communicate that the future will be different, better in fact!

Evaluate – Is this really where we want to be? The evaluation process usually results in an ongoing cycle of change, which involves either beginning the process again or continuing to take the process toward new goals. Since change is ongoing, it should be cyclical. To cease to embrace change is to cease growing, and ultimately, living.

Managing Worship Conflicts

Conflicts over worship will occur in every church. Although worship conflicts are more prevalent now than in any other time in history, conflict is not new. Throughout the history of the Christian church, there have been conflicts about the liturgy of the church, and many of them have involved music. Worship conflict within some churches has become so dramatic that some writers have used the term "worship war" to describe it.

Donald Hustad once remarked that he has been an active church musician for the better part of the twentieth century, and every single year during his ministry could have been described as "an era of crisis in church music."1 Change and controversy are not new.

The causes of worship conflicts are a subject for another book; however, because of the continued introduction of new styles of Christian music; greater dissemination of Christian music through recordings, television, and the Internet; and increased musical listening sophistication by congregants, the diversity is likely to continue, if not increase. Churches will likely become more diverse in their worship practices, and individual members will become more aware of their choices. Music ministers will have to become more adept at dealing with these conflicts appropriately.

Once faced with controversy, most churches adopt one of two models: either they have multiple services with different styles, or they have a service that seeks to utilize music from two or more styles, i.e., blended. However, even with different services or with blended worship, conflicts over worship are not over. When different services exist with clear mandates toward certain musical styles, there can still be conflicts over particular selections or other worship-related issues, and people who are accustomed to attending worship at a particular time may not like the style assigned to their service. When the style is blended, conflicts are often more intense than ever. People will always have preferences regarding their worship (especially music), and they will seldom refrain from expressing them!

What Can Be Done?

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All attempts at managing worship conflicts should be handled pastorally, meaning they should be handled with love. Even though congregants sometimes don't express themselves in respectful ways, they should be treated with respect. It is critical for the minister of music not to treat their suggestions as personal attacks but as ministry concerns. People are usually concerned about their own personal growth through the worship experience. Handling issues related to worship pastorally could solve many current worship conflicts before they escalate.

1 Carl Stam and John D. Witvliet, "Worship Transformed: A Time of change for Choral Musicians in Christian Churches," Choral Journal 38, no. 8 (March 1998), 61.

Avoid Elitism – Traditionalists may refer to contemporary materials as trite, watered down, and poorly crafted, while proponents of contemporary elements may refer to traditional material as stuffy, outdated, dead, and boring. While there may be some truth in all of this, it is mostly overstated. In reality, some music in every genre could be aptly described by the adjectives above; however, there is also music in every genre that is fresh, inspiring, innovative, deep, and worshipful. Don't assume you have all the answers. This is a sure sign that you don't! A know-it-all attitude always exposes our ignorance. A discerning person will surely see the insecurity in our façade!

All discussions of music and worship should be respectful. We gain respect by treating others with respect. This should certainly be the case when discussing worship.

Recognize the Different Experiences of People – Every one has different experiences, and our experiences inform our judgments and preferences. Get to know people and attempt to understand them.

Be Honest About Your Own Background – When new students come to study church music at our university, I assure them that I don't intend to make them into copies of me. I encourage them to affirm what they are bringing to the study of church music and to see their time of formal study as broadening their scope. Sometimes our music study tends to turn us into music critics who think we have the final word on "good music." Most of us have been exposed to various kinds of music, and deep down we may have a much broader musical background than we're willing to admit. Enjoying and performing different styles of music does not make you a lesser musician.

People who have been in music ministry for a long time must recognize that some of what we were taught is not true! Many of the standards for judging music that I was taught have not proven true in the real world of music ministry. They have not held true to the changing field of church music and to my current understanding of music ministry. No doubt students will say this in the future about some of what we may teach as truth today. Admitting this can be a first step for many seasoned music ministers and teachers. Know Your Field(s) – Become a student of all types of music. Learn about new developments. Learn about church music history, worship, and theology. Be conversant in all aspects of worship. According to Stam and Witvliet, "Choral musicians have to be

cultural analysts, theologians, liturgists, orchestrators, historians, arrangers, conductors, and program administrators."2 The importance of understanding worship from a cultural perspective and learning to talk about music from an ethnomusicological perspective cannot be over emphasized. Become a student of culture and of theology.

Make friends with people who are different from you. Learn from them. I have discovered that my students are some of the best sources for newer materials. In addition, I've begun to utilize, as resources, people in my congregation who listen to lots of music. Many people in your congregation will know more about some types of Christian music than you do. Ask these people to share new songs with you. Constantly explore new worship patterns and new materials.

Also, explore new sounds. Experiment with using different instruments in worship. Many new sounds (acoustic and electronic) can bring variety to worship. Vocal sounds are not limited to the choir or the choir loft. Experiment with various vocal ensembles, and utilize different spaces within the worship room. Become innovative in the resources that you have.

Do

What

You

Do

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Well – All music that you do in worship should be done well. Whatever the style, the music should not be dull, lifeless, or monotonous. Traditional should not equal dull, and contemporary should not equal trite! Be innovative. Find interesting ways within your liturgical limitations to bring freshness to worship. Some worship conflicts did not originate as stylistic debates; they arose over lack of innovation and freshness!

Define Terms – Many times, discussions of worship and music are filled with terms that are not mutually understood. Several times I've discussed worship with someone and, upon concluding the conversation, I thought we were in full agreement. Later, I discovered that our definitions of words such as fresh, deep, and innovative, were very different. When discussing worship with someone, use many examples, and also describe the performance and liturgical function of a piece.

Focus on Content More Than Style – When we focus on content more than style we can be more objective in our discussions about worship and more effective in our planning. When we plan worship using excellent content, we are much less likely to be criticized.

Plan with Another Person or with a Team – I have found that planning with someone else helps me to approach worship more broadly. Currently, I plan worship with my pastor. We share ideas that result in a much more balanced approach. Planning with a committee or council can also be helpful. If your church is experiencing worship conflict, you should plan with a team.

Focus on Ministry – Always focus on ministry through music. Let people see and experience your love for them. When our focus is on ministry, we will often be empowered to do music that we wouldn't otherwise do. During a recent worship service, our congregation sang some songs about which I had reservations; however, when I observed first-hand how meaningful this music was to some of the younger people in our congregation, I was deeply moved. When music ministers to others, it should resonate with our call to ministry.

Learn About Change – Refer to the section, earlier in this chapter, on "Managing and Leading Change," for help in understanding how people relate to change. Choose not to view change as threatening.

Embrace Choices – People have many choices regarding music and worship. Even small communities usually offer various styles of worship each week. People should be affirmed when they choose. If your church offers alternative worship services, and you are not the leader of all of them, affirm the people who choose a different approach. A friend of mine who is a minister of music in a large metropolitan church is not involved with his church's Saturday night contemporary service. While this arrangement is acceptable since he is not skilled in contemporary styles, he has only attended the contemporary service once! This is certainly no way to model acceptance and inclusivity. We must be accepting of others and embrace their choices if we desire the same from them.

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Don't Give Up! – In the rapid change in which we are involved, we must not become so overwhelmed that we give up. Too many music ministers pursue other careers because they feel that their skills are no longer relevant.

At times changes in worship and/or music help us to realize that we need to find a place where our ministry can be more effective. A wise teacher felt that you only need one ministry position at a time, so make sure it's the right one.

Personally, I have found that I can stretch much farther than I once thought possible. It is interesting how once we've stretched to

a certain point, we are then able to move to the next point. Dealing with change and conflict are key components of ministry. When we become more skilled in these areas, more opportunities for ministry will come our way.

Developing Congregational Singing

Of all the music minister's responsibilities, developing congregational song is the most important, for our calling is first to the entire congregation. Even though many of us love choral or instrumental music and may find great personal joy as performers, our primary mission in the church is to lead in worship through music. Developing congregational song is an increasingly challenging proposition because, while the body of congregational song is growing at an unprecedented pace, the repertoire that is common from Christian to Christian, congregation to congregation, and denomination to denomination is continually shrinking. Individuals have their favorite worship music, which sometimes includes the shared songs of their congregation; however, rarely do churches within the same region and denomination have a broad body of shared song. The output of congregational songs increases at such a rapid rate that attempting to keep up with it can be overwhelming. Hymnic materials are growing as are praise and worship materials, and new genres are always developing. A good step is not to become obsessed with the need to keep up with everything. If a new song has staying power, you'll hear about it. If you are in contact with a variety of people and make a point to visit different types of worship experiences, you'll hear new songs and hymns.

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Resisting the temptation to try to offer the newest materials on all ends of the spectrum can also be helpful. The pendulum continually sways back and forth between different types of congregational song. Attempting to catch the pendulum somewhere in midswing is a wise effort.1 While our attempt may be to stay somewhere in the middle, this does not imply dullness and lifelessness. Being in the middle can mean never taking risks and always playing it safe, or it can mean venturing to both sides from time to time while maintaining a healthy center. The latter is a worthy attempt.

1 Robert Douglas, "Music in Worship," sermon given at Southwestern Baptist Theological Seminary Chapel, Fort Worth, Texas, January 7, 1965, quoted in Mark D. Edwards, "Congregational Singing: An Expression to God," Church Musician Today, vol. 3, no. 1 (September 1999), 11.

Paul Westermeyer's perspective is particularly useful. In his article "The Future of Congregational Song," he discusses the potential for (1) turning congregational song into a museum where the tradition is guarded whatever the cost, or (2) becoming the culture which allows the culture to call all the shots. After thoroughly discussing each option, he offers an alternative where churches and their leaders "refuse to be taken captive by caricatures and power-plays and where they resolve to figure things out together on behalf of the world they are called to serve."2 He goes on to say, "They may disagree, but the disagreement is located under a broader umbrella of God's grace in community and its corollary of service in the world. These churches are freed to confront their differences and to work things out in tandem."3 These churches realize that this process will be long-term; they are not searching for immediacy. Westermeyer states, "They are interested in exploring their resources and the world's needs for the sake of the whole church and the world."4 These churches acknowledge culture and make bold attempts to address it; however, they do not let culture dictate their actions. Westermeyer concludes, "They treat their tradition with critical respect and use it, and they expand it. They are not afraid of the past, the present, or the future. They listen, they learn, they make mistakes, and they try again."5

An understanding of community is foundational to Westermeyer's suggested alternative, for congregational song implies community and must be approached accordingly. If the congregation genuinely personifies Christ's community and all are to sing in community, then each voice should be heard not only in the music but in the process as well. This is not to imply that all individual desires can be accommodated, that all voices are equal, or that everyone will care. However, it is to emphasize the importance of focusing on congregational song as a communal act.

Design a Plan

Without some knowledge of where we're going, any road will take us there. A plan for developing congregational song should have broad input from the community as seen above. Perhaps this can be attained through congregational meetings, a task force, an

2 Paul Westermeyer, "The Future of Congregational Song," The Hymn, vol. 46 (1995), 8.

3 Ibid., 8.

4 Ibid., 8.

5 Ibid., 8.

ongoing committee, or through other existing groups. However, participation in the process is important because the plan will only be embraced when those who participate on a weekly basis feel a sense of ownership.

A congregational song plan can have different goals. It may include the following: (1) to broaden the repertoire of the congregation by introducing new songs from a new hymnal, from contemporary sources, or from other new resources, and/or (2) to increase participation by particular groups, more harmony, or other possibilities. Whatever the goals, the plan should be seen as long-range. It is important to see the plan as "development" or "expansion," not "replacement." If a congregation learns one new song each month for 5 years, they will have increased their congregational repertoire by 60 songs — the total of what some congregations regularly use in their hymnals.

This plan includes limitless possibilities for specific actions. It might include hymn sings or festivals, music schools, training for leaders and accompanists, better acoustics, sound reinforcement updates, new hymnals, projection systems, teaching and training for the congregation, observation and interviewing of other congregations, use of additional instruments, alternative accompaniments, and more.

Choosing New Songs to Introduce

New songs should be chosen carefully, for you can only introduce a limited number of new songs to a congregation. It is important to note that not all congregational music should be chosen by the same textual or musical criteria. Just as we do not expect the text of a folk hymn to have the same theological depth as a Wesley hymn, we should not expect a praise and worship chorus or a Taize song to have the same poetic quality and theological reflection as a hymn by Brian Wren or Thomas Troeger.

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Text – The first consideration for a new song is always text. If the song's text is not both theologically accurate and true to the lives of your congregation, it should not be sung even if it has a good tune. However, closely following the text's importance is the importance of the tune. The tune must be singable, learnable with minimal repetition, and strongly supportive of the text.

Appropriateness – The song should be appropriate for the group that will sing it, fit within the season and worship theme, and have a place in the service or liturgy of the day. It should also fit with the

other elements of the day (there are some themes and musical styles that cannot easily co-exist in the same service) and have the potential to be appropriately presented and led. You should also give careful consideration to how the song will be used in the future. If the song has very limited thematic and liturgical use, another song with broader appeal may be more beneficial.

Leadership

Congregations have different traditions regarding the leading of congregational song. Congregational song may be led by an organist who uses the organ to lead the hymns, by choir (visible or unseen), ensemble (usually visible), or by a leader who is clearly visible in front of the group. More and more congregations are opting for some type of visible leader(s). They view the leader as a possible way to inspire and ensure confidence in congregational singing. While this practice is not new for some congregations, it is novel for others. Whatever the leadership style, it should be unobtrusive (any of the above types have strong potential for focusing the attention on themselves). Any leader of the congregation has to be a leader. Having the appropriate skills does not make you a leader, because leadership is always earned. When the title is not earned but is given to you, you may not be the leader even if you go through the motions each week! Leadership involves many characteristics; however, the one non-negotiable quality of a good leader is love. You will not lead church people anywhere without first loving them and the church. For a discussion of leadership, see the section on, "Developing as a Leader," at the end of Chapter 2.

Organist – There will be more to come regarding accompanying congregational song; however, the organist must be a respected, involved member of the congregation if congregational involvement is to be maximized. The organist must interact with the congregation and must build rapport. Only when the sounds coming from the instrument are heard through the filter of a real person will congregational song be at its best.

Choir – The role of the choir goes beyond supplying the anthem and/or singing parts of the liturgy. The choir's primary role is to offer support for congregational song. The placement of the choir affects its ability to enhance congregational song. Choir placement is discussed in the section on "Worship Facilities" in Chapter 8.

Ensemble – Many churches utilize an ensemble to lead in congregational music. Because of its size and the musical skills of its

members, an ensemble can often offer flexibility and provide opportunities for innovation.

Individual Up-Front Leader – An individual who leads congregational song, often known as the "worship leader," should be positive, personable, enthusiastic (with control), focused, and confident. He/she should discover the fine art of leading without bringing attention to him/herself. The person should have a pleasing voice, good facial expressions, and be able to establish rapport with the group through eye contact or by other means. If the person uses conducting gestures, consider the following:

1) Gestures should be accurate and easily read by accompanists and others.

2) Gestures should be sized according to the size of the person leading, the group, and the size of the room. Always understate conducting.

3) Cut-offs and preparations should be given special attention.

4) Don't feel the need to conduct at all times. If the tempo is secure, just sing. If an ensemble is also singing, join them for some songs.

5) Conduct with your right hand. Save the use of the left hand for special situations such as extreme change of tempo, ritards, or augmenting an ending. Subtly you will train the congregation to watch carefully when you use your left hand.

6) Conducting should always reflect the music.

Introducing New Songs

There are many effective ways to introduce new music to the congregation. One of the most common is by sharing something about the text, the circumstances of its having been written, the author, or a scripture passage that supports the text. This information may be presented verbally or may be written in the worship folder or church newsletter. While a new text can be challenging to the congregation, the tune will most often present the greater challenge. If either the tune or the text is familiar, the congregation will learn the song much more quickly. The following suggests several ways to introduce new songs:

Utilize Preview Opportunities – In anticipation of introducing a new song, use the song as the prelude, postlude, or other service music, or have the choir or a soloist sing it. This will allow the congregation to hear the song and will make it much easier for them to sing in the service.

Congregational Rehearsal

– Prior to the beginning of the service, take a few moments to rehearse any music that is new in the service. This will allow people to be confident during the actual worship.

Within the Service – When a song is introduced for the first time within the service, a soloist, ensemble, or the choir should sing the first stanza or section. The congregation should repeat this section and continue through the rest of the song. The instrumental introduction to the song should contain a complete hearing of the song; furthermore, the melody should be emphasized or singled out.

Follow-Up – Many times we introduce new songs never to return to them again. New songs should be sung again within the next month and should be repeated several times within the next several months. Most congregants will have to sing the song several times before they feel confident. In order for the song to truly impact worship, the congregation must assume ownership of the song.

Accompaniment

The skill of playing a service as an organist, pianist, or any other instrumentalist deserves much attention and careful planning. Many good resources are written on this subject, and those who play for worship regularly should be familiar with these. The following may serve as a good beginning:

Tempo – The ability to maintain a strong sense of the beat is essential for good congregational singing in any style. Once the tempo is established, it should be kept steady except when changed for musical or textual emphasis. Choosing the correct tempo is also very important. Correct tempos are never absolute. They will vary according to the room, size of the group, type of accompaniment, familiarity, time of day, and other factors.

Breathing – The accompanist, especially the organist, must breathe with the congregation. Organists should always sing (at least to themselves) and simply lift the fingers when a breath should be taken. Singing the hymn is also a helpful way to establish an appropriate tempo.

Registration – Organists should pay careful attention to registration choices. Registrations should change from stanza to stanza and within the service. Registrations should be chosen to accentuate the text and musical setting. When other instruments are used, all

accompanying forces should be "orchestrated" to achieve maximum results.6

Piano – The role of the piano will vary greatly depending on whether it is used alone or with other instruments. If the piano is used with organ, the instruments may trade out being the "lead instrument," although the piano has traditionally been an embellishing instrument when used in this combination. If the piano is used with guitar(s), it may serve as the rhythm section. The role of any instrument (including organ) will change according to how it is used in the ensemble.

Enhancing Congregational Song

Ideas for enhancing congregational song are numerous, and many good resources are available. Ministers of music should become familiar with as many of these as possible. The following suggestions should serve as an introduction:

Special Accompaniments – There are many good books and octavos that contain excellent accompaniments for congregational music. These may be written for piano, organ, synthesizer, brass quartet, orchestra, or any other combination of instruments. Collect as many of these as you can. They should be immediately accessible when the need for them arises.

Enhancements – These include modulations, interludes, free accompaniments, descants, and tags. Instrumental and vocal descants can often be interchanged, and choral anthems can serve as excellent sources for modulations, interludes, and free accompaniments.

Be Creative – Use a solo on the first stanza or an interior stanza, vary who sings on different stanzas, vary the accompaniment from stanza to stanza, sing a cappella, use different instruments (strings, winds, percussion, brass, Orff, autoharp, or handbells), and use all spaces within the room for variety (balcony, congregational space, or narthex).

Rehearse with all Leaders of Congregational Song

Whether the congregational music is led by the organ, piano, choir, ensemble, praise band, or some other choir or ensemble, all aspects of the worship should be carefully planned and rehearsed.

6 For a thorough yet brief treatment of organ service playing see, Alice Parker, "Thoughts on the Playing of Hymns," The American Organist, vol. 29, (August 1995), 38.

All introductions, alternate harmonizations, and interludes should be heard ahead of time. In order for worship leaders to participate confidently in worship ourselves, we must be free from as much stress as possible. When we are confident with all aspects of the worship, worship leaders have the possibility of genuine worship.

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Promotion

romoting the Music Ministry within the Church

In order for any music ministry to be effective, it must be promoted and people must know about it. They must be aware of what music ministry has to offer and how they can minister through its programs. No ministry in the church is more visible than the music ministry. When effective ministry is happening among members of the music ministry, and they are involved in significant ministry in addition to worship leadership, the news spreads. This chapter will begin by exploring general ways of publicizing the music ministry and will then explore options for different groups within music ministry.

Music Ministry Promotion Guidelines

The following guidelines should direct any promotional ideas:

1) In order to be effective in promotion, utilize each venue more than once. People need to see the message in the same venue multiple times for it to be effective; however, the message should vary slightly with each presentation.

2) Use as many venues as possible. Always publicize in several different ways to reach multiple audiences, for people receive their information from different sources.

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3) Promotional pieces should be the highest quality that you can produce or afford. People respond to quality. Utilize color, quality paper, attractive graphics, and an aesthetically pleasing design to make publications professional.

4) Don't neglect traditional sources such as mail or telephone.

5) Publicize events far in advance. Begin with small teasers and work toward full-fledged announcements. As the event nears, begin publicizing in multiple places by both broadening your scope and

narrowing the field (for example, use the church newsletter to reach everyone, and visit specific prospects).

6) Events that occur each year should be advertised differently each time in order to maintain their appeal.

7) When planning any event, consider promotion from the beginning.

General Promotion Ideas

Church Newsletter – The church newsletter and worship folder are the two most used and reliable means of promoting music ministry. Regular articles in the newsletter and frequent announcements in the worship folder are staples for promoting any event.

Direct Mail – Direct mail works with some groups, especially older adults. Personalized direct mail works well with youth and children. To communicate frequently to the same group, direct mail must be varied in its look and approach.

Website – Music ministries are encouraged to have a website. A website should contain promotions for upcoming events, information about rehearsals, descriptions of groups, sound clips of recent performances, information about directors, and membership requirements. Websites with current photos, testimonials, and other personal information are most effective. In order to be effective, websites must be updated frequently. All music ministry publicity, programs, and other related items should contain the web address.

Posters, Flyers, and Displays – Posters, flyers, and displays within the church should be strategically placed to reach certain audiences. When these stay up too long, they lose their appeal. They should be presented creatively; must be varied in color, graphics, and design; and should be sized appropriately to their posted location. Displays should be up only a couple of weeks prior to an event. One can add color, post a further announcement across them, or use some other method to change posters that are up more than two weeks.

E-mail – E-mail is an excellent way to promote music ministry; however, people receive so many e-mails that they seldom read them carefully. Make the message quick and to the point. Be sure the subject captures the essence of the message so that the message won't be deleted before it is read.

Public Announcements – Public announcements in worship should rarely be used except for events/programs that appeal to

everyone. Public announcements should be concise, direct, and should answer the questions who, what, when, why, and where?

Visits to Sunday School Departments, Other Church Groups, and Personal Appearances – Visits to age appropriate Sunday school departments and other groups are an excellent way to promote events that appeal to certain groups. People capable of delivering clearly stated, attractive messages, and who can answer the previously stated questions, should make these visits.

Adult Choirs

Adult choirs are usually ongoing in most congregations. The goal for promoting the adult choir is usually for either growing or rebuilding. The best growth strategy for an adult choir is quality presentations each Sunday in worship. This, coupled with effective ministry within the group, is the strongest possible recruiting factor. Don't overlook the importance of leading fast-paced rehearsals, beginning and ending rehearsals on time, and providing quality childcare as potential recruiting factors.

Except in general music ministry promotion, I have found broad-based promotion of the adult choir neither effective nor necessary. I have preferred to continually search for prospects and invite them personally or to have others invite them. I often send notes and e-mails to prospective members. Attendance campaigns for adult choir run the risk of recruiting members who do not have the skills to keep pace with the group; therefore the new members will not have a rewarding experience.

Church-wide talent surveys often generate names of prospects as does talking with new members. Other successful programs involve having people sing for short-term experiences — a musical, the summer, or a special program. Often these people will stay once the short-term experience has ended. Keeping up with absentees and ministering to special situations keeps people committed. Keeping current members committed both enhances the quality of the group and makes it more attractive for prospects.

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Children's Choirs

To reach children, you must reach two groups: the children and their parents/guardians. Although children can influence their parents, the parents will ultimately determine the child's long-term involvement (especially when they are younger). Even though children may not be aware of quality at first, they will eventually know

whether the program is worth their time. Children are quite perceptive and will be aware of unprepared teachers, lack of focus in lesson planning, and lack of control of the group. Unfortunately, many choir programs fail for these reasons. Quality is extremely important with every age. Parents and their children have many choices of activities in which to participate. They will not choose to begin or continue those activities that are not of the highest quality.

Children's choirs do not meet during the summer in most churches; therefore, the start of school offers a perfect time for a fresh beginning for children's choir. Repeatedly, I have had great success with a children's choir kickoff event. The event has always had a theme which has been carried out through teasers in the church newsletter, a large display near the worship space, posters, letters to parents, notes to children, visits to children's Sunday school departments by someone dressed according to the theme, and visits to adult Sunday school departments by other directors. Visit all adult Sunday school departments, not just age groups who typically have children at home. Everyone knows children and can spread the word. Publicity should begin simply and should build as the fall approaches.

At the kickoff event, the parents should receive a yearly calendar including major appearance dates, and the minister of music should meet with parents as the children's activities begin. The minister can use this opportunity to talk about the positive effect that children's choirs can have in their child's life.

As the year progresses, be innovative in finding ways to promote the children's choirs to the rest of the church. Stay in touch with parents on a monthly basis. Have the children sing in worship from time to time, except for preschoolers, who shouldn't be considered as a worship choir because their primary goal is music readiness, not worship leadership. In addition, they may be traumatized by public appearances. Younger children should sing three to five times per year, while older children are capable of participating in worship regularly. As you have retreats with older children or parties with younger children, participate with them in missions events (nursing homes, caroling, or ministry projects) and find ways to let others know what is happening. Use photos for a bulletin board, write a newsletter article, or create a display.

Contacting absentees through cards, e-mails, and phone calls is critical to the success of this program. In addition, send birthday cards to each child, and remember those who have summer birth-

days. All of these gestures, while helping children to feel important and valued, eventually result in promoting the children's music ministry. Parents are the best promoter of children's choir as they talk about its benefits to other parents. When parents are considering allowing their child to participate in an event, they typically talk with other parents whose children are involved. Parents usually take the recommendation of other parents.

Youth/Student Choirs

Youth choirs, like children's choirs, usually do not meet all summer; however, they sometimes meet for a portion of the summer because of choir tours. Successful youth choirs usually have kick-off events in the fall. The events need to be high profile for the students and should be partially designed by the officers. These events often include retreats, rushes, trips, and parties. These events can be repeated year after year as long as they are successful and have a different twist with each repetition. Youth respond positively to tradition — as long as it is their tradition!

Tours provide the best avenue for promoting the youth choir to other members of the church, the community, and to other youth. Since tours involve travel, they usually include everyone in fundraising, a home concert, sharing of pictures, and other related events. Youth choir tours should become events where the whole church is involved in different ways. One of the best functions of a youth choir tour is for the group to recognize the broad support that they receive.

Youth choirs should provide worship leadership as often as they are ready. Good youth choir directors schedule appearances frequently because youth will work harder when there is a definite goal. Youth choirs should sing from memory and offer the highest quality presentation possible. Their presentations will always be in direct proportion to the musical and motivational skills of their director. Youth choirs who have high expectations get phenomenal results.

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Effective youth choir leaders stay in touch with choir members each week. They look for unique ways to contact students. Young people appreciate this ministry and will spread the word. Purposeful youth choirs are rare in most communities. When one exists it usually attracts the attention of the whole community.

Senior Adult Choirs

Senior adult choirs are organized to appeal to mature adults and give them an opportunity to sing with a group of their peers. Many people who sing in these groups also sing in the regular adult choir of their church; however, many older adults, who are not able to maintain the pace of the regular adult choir, will sing in the Senior Choir.

In order to appeal to older adults, it is important to understand them. Many younger people fail to realize that older adults are as varied as any other group. Don't be guilty of lumping all older people into a stereotype! Many older adults are eager to travel and get involved in ministry and other activities. They love to be around people and want to be active. Others have health concerns or are recovering from losses, such as the death of a spouse, and are somewhat reclusive. Some are able to be involved but are not comfortable with being gone overnight. Others are frail and need special attention from the church; they are not able to offer ministry to others. In order to have a choir that appeals to older adults, the choir must appeal to a target group of older adults. If the choir appeals to the active group, it may lose the less active crowd; however, it is possible to appeal to each with different activities within the group and allow the more active older adults to minister to the others.

Older adults respond well to direct mail. Some studies have shown that 70% of people over 65 read the daily newspaper and all of their mail each day! Mail sent to older adults should be easily read, direct, and sure to answer their immediate questions. Older adults will appreciate a yearly calendar outlining their activities. When this is provided, they will often plan personal trips, visits, or other events around the choir schedule.

Once a senior adult choir is begun and active, it will be self-perpetuating and, with the director's help, the members themselves will promote the choir. They will look for other older adults who have time and interest. Many senior adult choirs are ecumenical groups involving adults from many faith backgrounds.

Senior adult choirs should be encouraged to participate in ministry projects throughout the year. These should include varied activities beyond periodic trips to nursing homes.

Instrumental Groups

Instrumental groups provide a different challenge because they require previous knowledge and skill and they require instruments.

It is often possible to discover instrumentalists through a churchwide talent survey; however, all instrumentalists should be auditioned before accepting them into a group. Everyone who played in high school or college may not be an acceptable player today. When poor players are allowed to join an instrumental group, you may eventually lose your good players! An instrumentalist's lack of skills becomes immediately apparent, and most instrumentalists are not as patient as singers with developing skills in the rehearsal. In the instrumentalists' world, players are expected to practice outside the rehearsal; rehearsals are for the purpose of creating ensemble, not for learning notes and rhythms! Nothing will destroy an ensemble more quickly than a few players who are considerably less skilled than the rest of the group.

Instrumentalists tend to be networkers and usually know who the other players are in the church and the community. Many of them are professional musicians and/or they play in a community group. They will be the best promoters of the group.

To recruit quality players, get to know people who play in the community band/orchestra, local symphony players, music educators, and high school players. High school music educators are eager for their students to play in other groups. They will often give you suggestions of good students to contact.

Instrumental groups should provide regular worship leadership. Their leadership in worship will signal to the rest of the congregation their unique contribution to the church and community.

Handbells

Like instrumentalists, handbell ringers need to have previous musical experience. They must read music well. Since handbells are a specialized group, they usually recruit best through networking. A broad appeal for handbell ringers, except for a beginning group, is rarely effective. Good handbell directors are always open to someone who reads rhythms well and has previous musical experience, particularly those who play another instrument. Handbell ringers should always be thoroughly auditioned.

In addition to musical skills, handbell ringers must have a high level of commitment. Handbell groups cannot rehearse effectively with a player missing. If a player must be absent, he/she must always enlist a substitute ringer from an approved list provided by the director. Good handbell ringers are team players. Because of the smaller size of the group, good handbell groups become intimate

and work best with others who recognize and affirm the unique qualities of such an experience.

Publicity Checklist (in the Church)

Mark Thallander offers the following checklist for use in promoting the music ministry within the church:

Orders of Worship

Programs

Brochures and Flyers

Bulletin Inserts

Pulpit Announcements

Posters

Direct Mail

Newsletters

Church Newspapers

Bulletin Boards

Denominational Newsletters and Mailings

Web Site1

Music Ministry and Other Programs

No ministry in the church stands alone. Each is interdependent and must have the others to function effectively. Music ministry is a part of the broad ministry of the church and must be viewed and coordinated accordingly. When other ministers are involved, the need for coordination is particularly critical. Conflicts among ministers often begin through misunderstandings concerning priorities, calendaring, and scheduling. Soon these issues escalate into power struggles over which ministry is most important. Conflicts such as these can be avoided with healthy discussions concerning philosophy of ministry and by observing processes and procedures regarding scheduling and calendaring. Ideally, all major events in the church should have total support by all ministers.

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Areas of coordination include scheduling facilities and transportation, utilizing human resources, number of events, the toll on participants and leaders, and promotion of events. Every ministry in the church will desire the most qualified and gifted leaders. Two

1 Mark Thalander, "Getting the Word Out," Creator Magazine, (July/August, 1998), 17.

ministries should not recruit the same person to lead two different ministries, for this can result in further conflict.

Ministers must coordinate events so that the same people are not expected to participate in events that are held simultaneously.

Youth Ministry

Youth choirs rarely achieve their full potential without healthy support of the youth minister. Typically, music and youth ministers desire intense allegiance from the people involved in their ministries. Sometimes, these allegiances cause conflict between youth choir and youth ministry when ministers fail to see that their efforts should combine for the good of the youth.

Youth ministers and music ministers must work together closely and always have the good of the youth at heart. All activities of the youth choir must be coordinated with youth ministry schedules. Weekly activities should be coordinated, and each group must stick closely with the time allotted to avoid taking time from the other group. Semester events should be coordinated so that there is not a youth lock-in the weekend before a youth choir retreat. Yearly activities should be coordinated so that the youth choir tour does not directly precede youth camp. If youth choir tours are a yearly event, these may preclude other major trips during the summer. Otherwise, youth will be made to choose and it will eventually become difficult for the ministers to support each other's events when they feel as though they have to promote their own events. Some churches alternate summer youth events such as a youth choir tour, mission trip, or other activities; and others combine events by having a youth choir mission trip.

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When participating in a combined trip, the particular responsibilities of each minister must be carefully delineated. Otherwise, some elements of the trip will be either forgotten or ignored. In most cases, one minister must be in charge, for rarely can two people be in charge and coexist. Often, one minister will be in charge for a portion of the event and the other for the remainder of the event. The two ministers should confer about every decision. For instance, one leader tells the students in his van that they may go to any restaurant in the area, the other tells students in her van they must go to a particular restaurant. On long trips small issues can escalate. Otherwise, manipulative youth and sponsors can strategically pit minister against minister without the ministers' realizing they are being manipulated.

Youth ministers must look for ways to support the youth choir by dropping in on rehearsals, going with them to festival, or participating in trips. Music ministers can support youth activities by attending Bible studies, chaperoning a youth event, or leading music for a retreat. Taking advantage of opportunities to show support will not only be affirmed by the youth minister but by the students as well.

Children's Ministry

Music ministry and children's ministry must be carefully coordinated if they are to be effective. The weekly, monthly, semester, and yearly schedule for all children's activities must be viewed as a unit with the overall purpose of the child's spiritual development. These shared goals must be clearly communicated to parents. Scheduling, promotions, and calendaring are ways to start.

The children's ministry and music ministry will be expected to share physical facilities, materials and supplies, instruments, and human resources. Leaders of the two ministries should also work to coordinate curriculum whenever possible. When the child's Christian education is well coordinated, the benefits are immense.

Missions

Many churches have classes for their children to learn about missions and to discover ways for missions involvement. These classes should be coordinated with music activities and other children's activities. Whenever possible, these groups should combine for promotion, missions action, curriculum, and human resources. Music is a valuable way of ministering to others, and it should be utilized whenever missions projects involve children.

Christian Education

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As seen above, music is a part of the Christian education of the child. It must be seen in this context rather than in the context of performance. All musical activities must be coordinated with other Christian education activities involving children, and all potential turf issues involving scheduling, calendaring, and resources must be carefully negotiated. Children's Christian education should be seen as many components comprising a whole, and music must be carefully integrated into this process. The ministries should be seen as interlocking and co-dependent.

Problems sometimes arise when children's choirs sing in worship and Sunday school teachers are asked to adjust their teaching schedules to accommodate last minute rehearsals. When children's choirs are responsible for any interruption in the normal flow of Christian education classes, the teachers must be notified in advance. Interruptions must not happen frequently.

Other Organizations

The activities of all organizations in the church must be carefully coordinated to avoid conflicts and loyalty choices. In addition to the above, other potential conflicts might arise in the following areas: (1) Nursery and extended care for children during worship. Some churches do not understand that choir members should not be asked to take their turn working with children in the nursery. Choir participation should be viewed as ministry, and other ministries should not attempt to keep people from ministry participation. (2) Committees that schedule meetings during choir rehearsal. Committees should not conduct meetings during choir rehearsal if any member of the committee is a choir member. When this practice is tolerated, choir rehearsal time is not protected, and the time eventually becomes prime for various meetings. This issue is best addressed within the choir. If committee members who are in choir refuse to attend meetings, the committees will cease to meet during choir rehearsal. (3) Weddings should be coordinated with the music ministry. Some churches are frequently used for weddings; therefore, they are often scheduled many months in advance. During special times of the year such as Christmas, the worship space can be consumed by weddings and the music ministry cannot use the space for rehearsals for special presentations. Wedding coordinators and music ministers should confer before calendaring weddings or music ministry events.

Communication Is the Key

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Communication is the key to working with other groups in the church. When conflicts arise, they are usually related to someone's failure to communicate his/her ideas to someone else.

romoting the Music Ministry in the Community

Music ministers often overlook the importance of promoting the music ministry to the community. They are so busy directing groups, planning worship, and promoting the music ministry within the church that they often fail to focus on this important component of music ministry. Communicating about music ministry to the broader community serves several functions: (1) it promotes the outreach ministry of the church, (2) it allows the music minister to be a minister to the larger community, (3) it promotes the cause of art, (4) it builds support for enhancing the music of the church, and (5) it keeps the minister of music working with musicians whose primary focus is not the church. Music ministers are encouraged to be a part of the community in which they minister. When music ministers participate in community choruses and theatrical productions, direct a community chorus, or work with groups at the local high school, this connects them with other musicians and artists in the community. Their community presence is more effective in promoting the music ministry than any other publicity channel.

Musicians should utilize opportunities to publicize the music ministry in their communities. Effective ways include the following:

Public Service Announcements – Utilize your local radio and television stations to advertise events. Develop relationships with these people so they are willing to work with you.

Word of Mouth – Provide promotional material to people within the church to use with their co-workers, friends, and neighbors.

Posters, Flyers, etc. – For every major event, provide posters and flyers to people in your church to distribute to the community.

Advertising – Whenever possible, advertise in your local paper. The religion page editors often look for interesting articles. If you keep them supplied with photographs and material, you will most likely receive coverage.

Preview Performances – Present a preview of an upcoming program for a civic group or other community groups.

E-mail – Have different e-mail groups to whom you send notices of particular events.

Web Site – Utilize a web site to promote both ongoing ministries and special projects. Include your web address on all publications.

Mail-outs and Phone Calls – Target particular zip codes with special programs and utilize phone campaigns when appropriate.1

Professional Musicians

Music ministers are professional musicians in their communities. Unfortunately, they often fail to get involved with other professional musicians. Involvement with other musicians is helpful to church musicians and to other musicians as well. Music ministers need this interaction to keep them creative and alert. Other professional musicians may need pastoral ministry that church musicians can provide. Church musicians are encouraged to be involved in some musical activity outside their churches. For the minister of music with young children, involvement might include accompanying the elementary school music program, or a person with high school children might work with the band or chorus at the high school. Others might sing in or direct a community group, serve on the board of the symphony, or play piano for a civic group.

Symphony Players – Many churches present programs that involve musicians outside the church. Often symphony players will be contracted to play. Symphony players are professional musicians, are usually members of a local union, and should be treated accordingly. Symphony players are usually hired through a contractor who is often given twice the salary of the highest paid player. If musicians are members of a union, their fees will be set according to whether they will be a principal player or not. If they have large instruments, they will also charge cartage fees. Professional players should be contracted far in advance, and all aspects of the performance and rehearsal should be specified.

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When players arrive for rehearsal, chairs should be arranged in orchestral order, music should be on the stands, and a room should be provided for instrument cases. Music should be marked for bowing, cuts, or other important editing (the contractor can help you with this, if needed). It is also helpful to put tags on the players' chairs. Adequate lighting is a must. If theatrical lighting will be used, you must provide stand lights.

Begin and end the rehearsal on time and encourage choir members not to be late. Union players will be required to break every hour for 10 minutes. If you think you'll forget the break, ask the contractor to remind you. Allow tuning with the church's instruments

1 The ideas above were taken from Terry Taylor, "Marketing Your Choirs," The Chorister, October 1997, 4.

and be sure to rehearse the entire work. Your time with orchestra will be limited, and you'll want to play through each piece even if you don't have enough time to rehearse it thoroughly. Often, professional players will correct their mistakes on the second read.

When the players arrive for the performance, have their checks on their stands. If their checks are to be mailed, this should have been communicated at the contracting phase. Be sure that they are aware of other aspects of the service, and provide them with marked bulletins if possible. If the service will run long, they should be alerted ahead of time and should be allowed to exit at an appropriate time.2

When you give careful attention to items such as those above, you will develop a positive rapport with symphony players, and they will look forward to opportunities to play in your church. They will be eager to assist you in other ways as well. In the future, they may need you as their minister.

Music Teachers – Music ministers should work to build relationships with local music teachers, for this relationship can be mutually beneficial. Music ministers can offer their assistance in accompanying programs, critiquing the band or chorus, working with soloists, leading a sectional, or loaning equipment. Music teachers can fill in for you when you're away, loan equipment, assist with programs, and direct a choir. In addition, music teachers are great resources for recruiting youth choir members and instrumentalists. Once they know that youth and children will receive quality training and ministry in your church's music ministry, they will often refer children and youth to you. Music teachers are usually pleased when their students are involved in music activities outside of school. Once you've earned their trust, they will support the church's music ministry.

Mission Opportunities – Every community has many opportunities for the music ministry to minister to others. Examples include nursing homes, homeless shelters, children's homes, hospitals, jails, food pantries, clothing closets, and senior groups. Each music ministry choir or ensemble should plan for times to offer ministry to others. These may include the above or may include service projects with Habitat for Humanity, assisting with fundraising for charity, and helping with many other projects. It is important that music ministry not neglect these important outreach opportunities.

2 Joel Mikell, "The Minister of Music and the Professional Musician," The Church Musician, vol. 41, no. 5, (February 1990), 24-25.

Appearances – Music ministry groups are often asked to provide music for community groups. Whenever possible, accept these invitations. Look for opportunities to make appearances in the community, such as singing in malls and airports or for civic groups and athletic events.

Music Academies

Some churches serve their communities by providing an arts academy or school where children come to the church to take private voice or instrumental lessons or group lessons. The church contracts with teachers to provide these services and is responsible for bookkeeping, space, policies, and coordination. Many communities have limited numbers of private teachers and little opportunity for children to receive musical training. If this is the case in your community, the church's music ministry should consider providing this service to the community. When organizing such a ministry, observe effective models in your area.

ommunicating with Media

The music minister is often the person on the church staff who is responsible for communicating with media. If you are not responsible for the entire church's communications, you will most likely determine whether or not music events are communicated to the media in your community. Music ministers often excel at preparing programs and events; however, they may fail in letting others know of an event. As every event is organized, a publicity plan should be incorporated.

Who Is the Audience?1

Whom would you like to come to the event? How is this group likely to hear about the event? What can you do to attract this group? The answer to these questions should determine the media that will be contacted, how the photos will appear, how the story will be written, the color and style of brochures, and other related information.

1 The author acknowledges assistance from Sharon Bourbeau and Randy Morrison, Oklahoma Baptist University Public Relations Office in sharing their knowledge for this topic.

Get To Know People Who Work in the Media.

Build a personal relationship with people who work at local newspapers, radio, and television stations. Realize that your event is not the most important news to them, but make sure they know it is important to you. Learn to communicate with them on a first name basis, and know their secretaries and others who work with them. Send them thank you notes and do occasional favors for them.

Deliver stories in person. If you have a story for the current week and another one for the next week, it is best to make two deliveries. Handing an editor a stack of stories and photographs is not a good way to get coverage.

Many editors complain that churches rarely send them information to include in the religion section. In most communities, certain churches receive frequent coverage in the newspaper while others are never mentioned. Churches receiving frequent coverage have usually developed relationships with editors and keep stories on their desks. If stories are available and well written, they will likely be printed if space allows; however, if an editor has to rewrite the story, take pictures, or call for clarifications, the story will likely not be printed.

Understand the Limitations of the Media.

Space in any newspaper is limited, and editors are often frustrated by the limitations that are imposed on them. For instance, a small town newspaper of twenty-four pages on average will devote about six pages to classified ads and ten pages to display ads, leaving eight pages for stories. Of those eight pages, three to four pages are set aside for sports, and additional pages will go to television grids, comics, and editorials. This leaves little space for news!

Other media have severe limitations as well. When pleading your case for a story, realize the limitations. Always be kind and respectful. To the media you are the face of the church. While public service announcements on the radio or television are a good alternative, they do not have the staying power of the newspaper since papers may lie around the house for several days. Remember to use calendar sections of newspapers as good ways to advertise choral, organ, handbell, or orchestral programs in your church. Radio and television stations also allow free public service announcements.

Buy an Advertisement if You Must.

Buying an advertisement may be the only way that you can be assured your story will be announced in the time and manner you desire on the radio or television. Once you buy an advertisement, you become a paying customer, and you are in a much better position for negotiation. Buying an occasional ad is a great way to insure that you'll be given free advertising at other times. Buying an advertisement can be an advantageous investment towards building relationships.

Write Clearly and Precisely.

The story must answer who, what, when, and where in the first paragraph. Write in an inverted pyramid style, i.e., write the most important information in the first paragraph, next most important in the second, and so on. Typically, editors edit-out from the end of a story so write with this in mind. Quotes are great; however, avoid unattributed opinion. Editors will almost always delete flowery adjectives. Write simply, and get to the point!

Provide High Quality Photos.

Most newspapers prefer 5X7 black and white glossies. Always attach a caption to a photo and label a mug shot on the back. Check with a newspaper to see if they prefer hard copies of photos or ones sent electronically. Electronic photos from web sites are usually not appropriate for printed media.

Purchase a Media Guide or Request Specifications.

Larger communities will have media guides for purchase that can be helpful in determining which media to consult. You should also request editorial policies for the local newspaper(s). A media guide will include public relations and communication organizations, business publications, news services and bureaus, regional and national magazines, daily newspapers, radio stations, television stations, college and university newspapers, as well as ethnic and religious publications.2

2 Mark Thallander, "Getting the Word Out," Creator Magazine, July/August 1998, 16.

Publicity Checklist (in the Community)

Mark Thallander offers the following publicity checklist:

Newspaper News Releases

Newspaper Articles

Newspaper Advertising

Magazine News Releases

Magazine Articles

Public Service Announcements – Radio

Public Service Announcements – Television

Radio Advertising

Television Advertising

Professional Music Organizations3

esigning Printed Materials

Printed materials communicate multiple messages. Beyond the printed information, they also communicate attention to detail, creativity, quality, and budget. In addition, the layout, color, and paper communicate different messages to different audiences. When designing printed materials, send deliberate messages. The following information* can help ministers of music to be more intentional in producing quality-printed pieces:

Before You Design

Budget – Before you begin the design stage, you must know how much you intend to spend. The decision to do the piece yourself using clip art and the copier or to have it done professionally will largely depend on the amount of money you can spend. Many people become involved in printing projects without realizing the eventual cost.

Time – How soon will you need this piece? If you have the work professionally designed and printed, it will take several weeks. Time may determine quality and budget.

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Type of Piece – Will the piece be a flyer, bulletin insert, poster, program, postcard, newspaper advertisement, or something else? You must know the piece's purpose before you design it.

3 Ibid., 17.

*The author expresses appreciation to Sharon Bourbeau and Randy Morrison, Oklahoma Baptist University Public Relations Office for assistance with the outline and content of this section. The information is drawn from presentations that they made to my church music classes, 1997–2000.

Determine the Audience – Who is your target audience? A piece designed for use inside the church will utilize different standards than one designed to communicate to the community. Determining the audience will also influence the artist's design.

The Design

Communicate with the Artist – Let the artist know the intended audience, the scope of the piece, the budget, color preferences, and ideas about layout. The more you can communicate to the artist, the more you'll be pleased when the design is completed. Search through magazines, books, posters, and CD covers to find ideas that may capture your intentions. Communicate these ideas to the artist.

In-house design – If you are designing the piece yourself, get the best resources possible — clip art, computer graphics, and appropriate software packages.

Basic Rules of Design

Keep it Simple – Just because multiple graphics and templates are available, you shouldn't necessarily use them. Use white space effectively.

Choose Fonts Carefully – Generally, you should only use two fonts per piece. You should use one for the headlines and another for the body. If you have large portions of text, you should use a font with a serif (e.g. Times Roman) rather than san serif font (e.g. Helvetica, Arial). A serif is "a fine line projecting from a main stroke of a letter, especially one of the fine cross-strokes at the top or the bottom."1 For example, the extensions of the following letter are serifs: T. Fonts with serifs are easier to read for long passages. You may use variations such as bold and italic, but try to keep them in the same family. You should avoid underlining. Use italics, bold, or small capital letters for emphasis. Script fonts should never be used in all capital letters because they are impossible to read.

Readability – When using backgrounds or pictures as backgrounds, be sure that the text is readable.

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Try It Out – Be sure that everything works before you print a piece. Fold the piece to be sure the layout is correct, pretend you're viewing it for the first time, and be sure it communicates effectively. Show the piece to others and get their reactions and opinions.

1 Joseph H. Friend and David B. Guralnik, eds., Webster's New World Dictionary of the American Language, College Edition, (New York:. The World Publishing Company, 1957), 1330.

The Printing Process

Printer vs. Copy Shop – A copy shop will use a high-quality copier to print your piece, whereas a printer will use a press. Copied pieces tend to "flake" and will not have the lasting appeal of a printed piece. For photos, printing is recommended. If you must use photos for copied materials, have a print shop produce a halftone. Halftones disperse a solid tone photograph into tiny dots, which reproduce better in print.

When using a copy shop, use a laser printer for your original and avoid using screens (shades of gray), pictures, thin lines, large areas of solid black, and small text. Also, avoid placing elements too close to the edge of the page since most copiers lose about 3/8" of an inch around the edge.

Budget – To make copies at the copy shop, you must have an original. Printers need negatives and burn plates. The cost for a printed piece is double or more for the same quantity copied at a copy shop.

Know the Printer – All printers are not equal. Different printers have specialties and different equipment. Some printers do not have presses to run jobs that are more than twenty-one inches long, have only one-color presses, or presses that will not handle coated stock or other types of material. You should talk with the printer in detail before dropping off the piece. Also, consider getting bids for a job.

Choose the Paper – Paper comes in many colors, weights, and textures, and the paper you choose will affect the end product and the budget. Papers vary in price and printability. You should decide whether the paper would be coated or uncoated stock, gloss (paper with a sheen), or matte (paper with a flat look). Coated paper has been chemically treated to produce a sheen or gloss. Paper comes in four grades, with grade one having the highest quality. The quality is not usually visible to the average person; however, higher quality paper will print better and will result in a better final product. Darker papers are always more expensive than lighter ones. Papers come in a number of weights.

Choose the Ink Color(s) – Choosing the correct ink color is an important part of a project. If you're using photos, you should probably use black ink. Other colors tend to distort photos — blues make photos cold, while reds make them hot. Most printers use the Pantone Matching System (PMS) and can provide color swatches. It is advisable to choose a color that you or your printer have seen on the paper that you've chosen. Colors may look different on the print-

ed project than on the swatch. It is similar to painting a room in your house. The color may look more attractive on the paint sample than it does in the entire room!

Choose the Quantity – Having leftovers from your project is less expensive than having to reprint. On the other hand, you don't want extra boxes of brochures after the event is over.

Flats or Negatives – You should present camera-ready materials to the printer. With everything in its proper place, you may present him/her with flats or printouts from your computer printer. When presenting a flat, you will need to block out places for photos so the printer will know where they are to be inserted. The printer will produce halftones of the photos and will place them before printing. If your piece has a screen (an area of color lighter than 100% of solid) you must indicate that area using amberlith, or by printing it on a separate sheet of paper — a color separation. Don't just print out a screen from your ink-jet printer. Talk to your printer about the best process for your particular job.

If your piece contains two or more colors, you may need to provide a separate printout for each color unless your printer tells you otherwise. The printer will make negatives of your piece and burn plates. Plates may be either direct or paper, which are much like photo mechanical transfers (PMT's), or metal plates which are more expensive. Paper plates are usually used for short runs, while metal plates are used for larger runs with potential reprints. You may also take negatives to the printer, which might save you time and money. The best quality art you can provide to your printer is in the form of film or a negative. Film is produced from a computer by a "service bureau" or "pre-press shop. " Your printer can sometimes produce film for you or the printer can refer you to someone else. If you are producing a four-color piece or a document with screens and intricate detail, you will generally have to provide film. Offset printing from film produces the best quality finished product.

undraising

For some music ministries, fund raising plays an important role in providing operational capital. For others, fund raising is used for projects such as choir tours or camps. Other churches do not allow fundraising, and they consider it their responsibility to provide for

the ministries of the church from the annual budget or through special gifts. Before beginning any fundraising project, know your church's policies — written and unwritten!

Fundraising always involves selling something, usually a product or service. Before deciding on a fundraising project, find out what other groups in your community are doing. Check with scouting groups, local school groups, and civic organizations. You do not want to offer a similar product or project that will saturate the market since all groups in the community appeal to some of the same people.

There are four types of fundraising:

Sales – This involves selling products. These may include stationary, magazines, food products, cleaning supplies, or one of many other items. These are the most popular because they are easy to manage, i.e., an outside company supplies the products, and people receive something tangible for their money.

Service – These include workdays, parents' night out, and car washes, to name a few. These fundraisers have higher profit margins because expenses are low.

Pledges – These include walk-a-thons, rock-a-thons, car wash-athons, and almost anything else that parents and/or music ministry members can imagine. They require workers to secure pledges of a certain amount of money per hour before the project. After the project is over, money is collected based on the number of hours worked.

Special Fund Raisers – These include talent shows, dinner theaters, and other creative ventures.

Keys to Effective Fundraising

1) Planning – effective fundraising requires thorough planning.

2) Publicity – people must know about the event in order to support it.

3) Participation – the event will be more effective when everyone participates.1

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Conclusion

The ideas for fundraising are unlimited and can be as creative as the people with whom you work. The best fundraising ideas involve

1 Christopher Bailey, "Fundraising for Choir Tour, " The Church Musician, vol. 47, no. 4, (July/August/September 1996), 24-26.

many people and are handled through a group that is in charge of fundraising for a specific project. If multiple projects are planned, they should have variety and interest. The best fundraisers involve the greatest profit with the least amount of work while providing the greatest amount of return for those who invest.

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Organization and Time Management stablishing Goals

EFor any organization to be effective, everyone involved must know where he or she is going and how he or she will get there. In other words there must be goals and action plans or steps. Without clearly defined goals, time and energy are spent deciding what to do. Obviously, time must be spent in determining where to go and how to get there; however, this should not be an every day event. The old adage, "Plan your work and work your plan," is applicable.

What Are Goals?

Goals are different than ideals, dreams, or purposes. For instance, the statement, "We will have an excellent choir at our church." is not a goal. It might be considered a purpose, ideal, or dream. Ideally, goals must be measurable and definable. Dayton and Engstrom define a goal as "A future event towards which we can measure progress."1 Therefore, goals help us to visualize our future and give us an accurate account of our progress.

What Do Goals Accomplish?

Goals can be a powerful tool within any group. The following list helps to clarify why goals are important.2

1) Goals give a sense of direction and purpose. They help us to know where we are going and why.

2) Goals provide us with an agenda for our daily work. We, and those who work with us, know both what to do and why we are doing it.

2 This list is adapted from Edward R. Dayton and Ted W. Engstrom, Strategy for Leadership, 56-58.

1 Edward R. Dayton and Ted W. Engstrom, Strategy for Leadership, (Old Tappan, New Jersey: Fleming H. Revell Company, 1979), 54.

3) Goals promote enthusiasm and positive energy. Nothing unites a group more than working toward something bigger than the individuals involved. We become enthusiastic about our work when we are able to see how each day fits into the big picture.

4) Goals help us to use our time effectively. They let us know how to expend our energies.

5) Goals help us to evaluate our progress. They are motivational since they inform our progress and encourage us to continue. They help those with whom we work realize that every small task is about something larger.

(6) Goals force us to plan ahead and help us move into the future. They help us not to look backward. As music ministers we are often so involved with the present that we have difficulty looking into the future.

7) Goals help us to communicate with each other. The group decides on the goals, and work is shared. When we have goals we have a shared vision that brings our communication into focus.

8) Goals give people a clear understanding of what is expected. We are aware of what we must do to move to our established point. Each member of the music ministry team knows what he/she should accomplish.

9) Goals help to reduce needless conflict because our directions are clear and we know where we are going.

10) Goals take the emphasis off activity. In music ministry we are often overwhelmed with activity and can quickly lose our focus. Goals help us to look beyond the endless activity of music ministry to important priorities.

What Determines an Effective Goal?

Dreams are frequently not translated into goals. Some of the most creative people spend all of their time dreaming about important ideals. Their plans are impressive, and could work, if only they were translated into realistic goals with appropriate action plans. For goals to be effective, they must move beyond dreaming and become tangible and attainable. When a group looks at their goals they must realize that, though the work may be difficult, the goals are achievable. Setting appropriate goals is based on the group's or individual's ability to take a complex task and break it down into steps that can be accomplished. When working with a group, it is important to realize that some people are great with ideas and others will be great with practical application. If you don't have idea

people, you will have little vision and will not reach your potential; however, if you don't have people who can turn vision into an action plan, you will also not reach your potential. Be sure that both types of people are on your team.

Assumptions

Goal setting is based on the following assumptions:

1) People are more willing to commit to goals that they helped to set.

2) People perform better if they can monitor their progress.

3) People desire to make a meaningful contribution.

4) Goal setting utilizes delegation and shared responsibility.

5) Goal setting emphasizes results, not process.

How Are Goals Evaluated?

Goals can be evaluated in different ways and on an ongoing basis. For instance, each month in music council meeting, people report on the progress of goals that they have set for their groups (attendance, spiritual goals, musical goals, and other goals). Goals may be evaluated following a major event to see if it has met its intended goals, or they may be evaluated by someone else who observes our actions or behaviors.

How Are Goals Used for Evaluating Ministers of Music?

Many ministers of music, as well as other leaders, are required to set goals for the music ministry. Goal setting should be done with the help of others who are involved in music ministry. The goals are then developed into action plans, which determine the ministry's focus and budget for the year. At the end of the year, the minister of music is evaluated on how well the goals were reached. The positive aspect of this process is its objectivity. It gives the music minister, and those who evaluate him/her (pastor, personnel committee, or other board or group), an objective means by which ministers are evaluated. On the negative side it often ignores significant ministry that didn't appear within the goals. It can also encourage some ministers to set goals low so that they are too easily attainable.

Examples of Goals and Action Plans

Goal: The adult choir will sing outside the church three times before (date).

Action plan:

Compile a list of local nursing homes. Secure policies for singing in local malls.

Read the newspaper to learn about upcoming civic events such as arts festivals, athletic events, and other social activities.

Follow up on leads.

Based on your research, set three dates for singing outside of the church.

Long Range Planning

Long range planning usually involves planning more than one year in advance — normally three to five years. If music ministers intend to move past a maintenance model where the same programs are repeated year after year with a similar format, then long range planning is critical. Many important dreams cannot be accomplished in one year. Without the ability to envision a future different from the present, you will most likely insure a continuation of the present. With appropriate long range planning, actions taken today will make future dreams reality. Without long range planning, today's actions only affect today and have no real impact on tomorrow. Long range planning gives us the ability to make things happen rather than being forced to respond to what happens to us, i.e., being proactive rather than reactive.

All long range planning should begin with four basic questions:

(1) Where are we? (2) Where do we want to be? (3) How will we get there? and (4) How long will it take? Long range planning involves analyzing the present, dreaming about a future, and developing goals and actions plans to see dreams become reality.

The Process

Involve Creative People – Long range planning should involve the most creative people in the music ministry, since creative people inspire other creative people. Some less creative people can be inspired in the right setting; however, some people will naturally squelch creativity. People who limit creativity should not be involved in this process, for they will limit the creativity of others and will be frustrated by the process.

Get Away – Long range planning is nearly impossible without large blocks of time and an inspiring setting away from the regular

work environment. It is difficult to dream when we're too close to our usual responsibilities. Long range planning is ideally done in a retreat setting with large blocks of time and no strict agenda.

Assess the Present – Begin the process by realistically assessing the present (realistically means assessing both the positives and negatives).

Imagine the Future – Move into imagining what could be. Writing every idea on butcher paper on the walls is often an effective way to create an environment where no ideas are squelched.

Refine the Dreams – At a later time, lead the group to realistically evaluate which dreams could become reality. Steer people away from assessing "how." Obviously, some "how" questions will have to be answered to determine which dreams are feasible; but these questions should be answered generally, not with specific action plans. If you allow the process to move into action planning, the group will quickly become overwhelmed and the process will come to a sudden halt!

Establish Priorities – After some dreams are decided on as "priority dreams," begin to ask when these might be possible. Refer to the paper on the wall and begin putting them into two-, three-, four-, and five-year goals. The early goals should be more specific, more detailed, and easier to accomplish. Another way to do this is to decide which dreams are most important. Assign each dream a year in which it is to be realized, then work backwards by years to see what has to happen in year four to reach year five, or year two to reach year three, and so on.

Decide on Actions – Action plans should probably be worked out at a later time and may involve different people in addition to this group. Some members of this group will probably be frustrated in this phase of the process. The final step is to decide how to achieve the goals and what resources will be involved. Resources shouldn't be discussed until the end. By discussing resources first, the whole process could be interrupted. When people are passionate about dreams, finances usually don't stop them.

Update Yearly – Plans should be updated each year with year five becoming four, year three becoming year two, and so on. Some goals will change year-to-year because the present year's goals may not have been met or may have been exceeded.

Developing a Mission Statement

Most churches and many individuals have a mission statement, and music ministries should have one as well. A mission statement is a statement that guides all decisions and actions. It should involve careful analysis of the following two questions: (1) What is our purpose? and (2) What are we to accomplish? The statement should reflect the different roles that are carried out by the group and the passions that motivate action. Usually one of the best results of a mission statement is the thought required in producing one. The people involved in the process learn a great deal about both themselves and the ministry in the process of crafting the statement.

Once a mission statement is crafted, it will (1) inform all future action, (2) set boundaries for actions, (3) provide focus for all involved in music ministry, and (4) assist in assessing progress and achievement. A mission statement should be posted prominently in the choir room and other ministry spaces and may be used on printed materials and other music ministry related items.

Preparing and Presenting a Budget

For many ministers of music, preparing and presenting a budget is one of the most dreaded activities of the year; however, if this process can be seen as a time to assess the coming year, it can be a good time for refocusing ministry. A budget is not a rigid document that precludes any other expenditures during the year; however, it should serve as the basic guide for funding all anticipated music ministry needs in the upcoming budget cycle. A budget can be defined as a guide, plan, or projection that reflects the goals and forecasts the needs of music ministry for the next budget cycle.

Many ministers of music begin with the previous year's budget and simply increase all the numbers by whatever percentage they perceive will be approved by the finance committee. While there are many fixed costs in a music ministry budget, the beginning point for any budget should be goals and action plans. The following suggestions are helpful in designing a budget:

Involve Others – The budget should have the input of all those who will be working with the budget: children's choir workers, youth choir leadership, handbell leadership, instrumentalists, and any other music ministry leaders. The music council should be the

primary group that assists with budget preparation. The startingpoint questions should be, "What money do you need to accomplish your goals for the next year? What music, materials, equipment, travel assistance, ministry support, or other aid will enhance your group's ministry?" In addition, the music committee should offer its input because it will offer the perspective of the larger church body. Its input can reflect how a person outside the music ministry may view the budget.

Be Specific – A budget that carefully specifies everything that will be needed for music ministry will usually be approved. When listing music for choirs, provide the number of copies, price per copy, and other pertinent information. There should be no unanswered questions as to how money will be spent. Once, when I presented a very detailed music budget to the finance committee in our church, and the overall church budget was to be cut 5% for the year, the music budget was not altered. One of the members of the committee remarked to me, "We looked over the music budget time after time and we just couldn't make a cut. We knew everything was absolutely necessary."

Be sure to include items that should be in the budget even though you know there's not enough money to adequately accomplish the task. For instance, you may realize that the amount of money included in fellowship and refreshments will not cover what will actually be needed. Although there will not be enough money to fund these items adequately, you should leave them in the budget so that you and others are reminded that each is an important part of music ministry and needs additional funding whenever possible. Project Realistically – Be realistic in your projections. If you need $1000, ask for $1000, not $2000. Perceptive people will quickly catch on and will automatically make cuts assuming each year that your budget contains "fat." If your church's receipts have been below last year's budget, increases in next year's budget are unlikely. Work within the same parameters as everyone else. Don't make the finance committee do the difficult task of cutting when you clearly know you must work within specific guidelines. The overall budget of the church requires teamwork, and you must do your part.

Reflect Long-Range Planning – The music budget should reflect monies that will be needed for the next year; however, it should also reflect long-range planning. Budgets tend to remain static and rarely have large increases. Therefore, planning for major

expenditures becomes a challenge for small budgets. This often comes in terms of equipment and/or major maintenance. In a small church budget, if you want to buy Orff instruments, a bass xylophone alone will create a greater increase than you can expect to receive. In this situation, present a five-year plan for buying Orff instruments. Outline what will be spent each year including a detailed explanation and rationale. On the first year's budget, specify, "This is year one of a five-year plan to upgrade children's instruments." In year two, you will return to your five-year plan and remind the committee of year two's plan. You will want to include the five-year plan as an addendum to each year's budget since finance committees change from year to year. The same plan could be followed in a larger church to replace pianos or other equipment. Perhaps the leathers on the pipe organ will soon need to be replaced at a cost of $40,000. In a smaller church, an expense of this amount could be devastating to the budget. When you see such a situation coming, ask that a fund be started into which the church will place $5,000 (or more) per year. Obviously, the leathers will need to last eight years; however, if they wear out before eight years whatever money has accrued will help offset the expenditure.

Provide Justification – Always justify the budget. Without appearing defensive, add an explanation at the end, or add lines of explanation throughout the budget. Don't assume that people will know why you need new music. Most people have no idea how much music costs. They don't understand why you need music when you have a music library that is full. They don't understand why the children need new instruments when the old ones sound fine to them. They don't understand why you wouldn't choose to repeat the same children's choir curriculum each year. They may be unaware that instrumentalists don't play for free.

When you justify items on your budget, consider this an opportunity to teach others about music ministry. Music and music equipment are not items that most people purchase regularly, and many people are simply not aware of the costs involved.

The Actual Budget

Budgets can be presented in different formats. While some churches require the budget to be presented in a particular format, others will allow you to present it as you choose. Some churches work by account numbers, so you will need to present materials for each account number on separate sheets of paper, i. e., printed

music, equipment, office supplies, and so on. Whatever the case, take the liberty of including explanations either within the budget or as an addendum. A typical budget format is on page 189.

Presenting the Budget

In some churches you will personally present the budget to the committee, and in others you will submit it and wait for the results. Churches work differently. In one church I presented the budget, fielded questions, and left. In another, I turned in the budget on the specified date and knew nothing more until the final recommended budget was presented to the congregation. In another, the church council prepared the budget; therefore, everyone who worked with a major budget line was included in every level of discussion. Ideally, you want to present the budget yourself. When you do, be prepared to answer any questions that might arise. Be a confident, assured advocate for music ministry. That is your role, and you will be expected to fulfill it admirably.

Dealing with Disappointment

Invariably, when a budget is not approved as presented, there is disappointment. This is part of the process. Don't take the denial personally. When you've involved others in the process, you'll not be so likely to take budget cuts personally.

Major Expenditures

In smaller congregations, you can never expect to include a major item such as the purchase of a piano or sound system in a budget. These items are often purchased either through a fund raising plan approved by the church or by opening a designated account through which people may give funds in addition to the regular budget. Budgets usually reflect the ongoing expenses involved in a ministry and are usually more maintenance oriented. Larger items will have to be approached in more creative ways.

A Budget Checklist

Music Literature and Supplies

Operating Needs – Festivals, retreats, transportation, guest musicians, filing boxes, recording tapes, social activities, kitchen expenses, professional fees, staff expense, robe cleaning, subscriptions, postage.

Music Literature – Service choirs, major works, middle school choir, high school choir, senior adult choir, handbells, reading sessions, sample music, choral clubs, ensembles (instrumental and vocal), piano and organ music, music for festivals.

Production Expense – Lighting/Sound, outside musicians, score rental, other rentals, costumes, construction supplies.

New Equipment and Instruments – Pianos, other instruments, sound equipment, hymnals, music stands.

Youth Choir Tour – Transportation, materials, promotion, supplies, sponsors, scholarships, planning trip.

Preschool/Children's Choirs – Literature, promotion, supplies, instruments, refreshments, production materials, audio equipment.

Programs/Printing – Order of worship, special services publicity, photos, promotion of new choir year.

Training – Graded choir leadership, minister of music, accompanist, other directors.

Guest Musicians – Artist, soloists, instrumentalists.

Maintenance – Robe cleaning, piano tuning, organ repair and tuning, filing boxes, additional library shelves, office supplies, stationery.

Summary

See the following pages for a sample budget. Since the sample is an actual budget for a church of 250-300 regular attendees, it is specific to this church's music ministry. It is intentionally left in this format rather than in a more generic form in order to highlight the need for a budget to address a specific church and its needs in a particular year. Budgets should always be tailored to the needs of a given church.

MUSIC MINISTRY BUDGET

Rationale for This Year's Increase

The formation of a youth choir

Expanded use of ensemble

Expanded children's choirs

Decrease in previous year's budget

Borrowed almost all music for previous year

Expanded use of instrumentalists in worship

Need for children's instruments

rogram Evaluation

Evaluation should be a natural part of every event, project, or group effort. However, we are seldom intentional about evaluation. Although we all know how beneficial evaluation can be and we realize how we've grown through similar processes in the past, we are usually fearful when critique is offered. Even the most constructive critique offered by the most trusted person can be challenging. What we may fail to realize is that music ministry is continually being evaluated by participants, other ministers, staff, congregation, and the community. Evaluation is desirable for at least three reasons:

1) Evaluation monitors progress. Evaluation helps us to know where we are, how far we have come, and how far we have to go. Sometimes, we make more progress than we realize. Many of us seldom look back to see where we've been. Evaluation helps us do this.

2) Evaluation motivates us to continue. Usually, evaluation is positive and affirms that we are doing well. Whether evaluation is primarily positive or not, it can serve as incentive either to continue on our present course or to redirect our energies.

3) Evaluation provides perspective. We are often so involved in the minutiae of music ministry that realistic assessment of progress is difficult. A more objective viewpoint can be helpful.

Types of Evaluation

Evaluation comes in many forms and can occur in the following ways:

Informal Evaluation – Evaluation happens as a regular part of life. We are always evaluating each other and life around us. In the church, informal evaluation often happens as we talk with other ministers, the pastor, church members, and choir members. When we are carefully tuned to these conversations, we can learn much. Usually, informal evaluation is best, because it tends to be honest, is frequently immediate, tends to focus on positive aspects, and is nonthreatening. Examples of informal evaluation include conversations in staff meetings about Sunday's worship or an after-choir discussion with the accompanist about the night's choir rehearsal. When we listen perceptively, we can learn from others and initiate changes that make formal evaluations less painful or shocking. Freedom to discuss worship and music ministry informally is a good sign that people are building ownership in music ministry.

Formal Evaluation – Formal evaluation can occur when you make an appointment with someone to discuss worship or a choir. Either you or someone else can initiate the discussion. Many churches have formal evaluation built into their yearly cycle. This can be with the pastor, music council, music committee, personnel committee, or other staff members. In a formal process such as this, you will probably be asked to prepare to answer questions pertaining to goals and objectives or other determined criteria. Through experience, I have found seeking evaluation to be beneficial. If you sense that something is not going well, it is always better for you to be proactive in asking to discuss a matter rather than for someone else to seek you out. Furthermore, when we ask for evaluation, we are in control and are less defensive. Interestingly, everyone admires a person who seeks improvement. When you ask for input, you'll find that people will be much kinder and gentler toward you than they might be at other times.

Ongoing Evaluation – Evaluation should be a part of the ongoing process of music ministry. Every meeting with the music council should involve evaluation. Typical reports regarding attendance, ministry, performance goals, and other elements all involve evaluation. Include an evaluation time during regular meetings in which you ask, "How are we doing?" "What are your perceptions of the last month?" Questions such as these keep communication lines open and add health to any organization. Make a point of frequently discussing worship and other music ministry issues with the pastor and other colleagues. When evaluation is ongoing, we are seldom blind-sided later.

Annual, Semi-Annual Evaluation – These evaluations are usually formal and take place with a particular person or group. They are often tied to established criteria as mentioned above, and they may affect overall job performance recommendations and salary increases.

Evaluations with Music Ministry Groups

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The minister of music should evaluate other groups that he/she doesn't direct. This process is often very difficult because most people are volunteers. When things are going well, evaluation is easy. When they aren't, evaluation is difficult. Again, ongoing evaluation by the music council is helpful in this regard. When problems are addressed regularly, no one is surprised, and regular opportunities for improvement are available. When you become the evaluator,

always remember how it feels to be evaluated. The person you're evaluating will feel no less vulnerable than you feel when you are evaluated.

Evaluation by a Consultant

Some churches have a consultant evaluate their ministries. While this process may be very helpful, unfortunately, it is sometimes done with an agenda. I tend to be skeptical when a single person is enlisted to evaluate the entire church or when a firm of professional church evaluators is secured. I prefer enlisting a group of trusted, experienced, and respected ministers from other churches to serve in this capacity. This plan offers a broader perspective and provides specialized input. Ministers of music should occasionally seek outside consultants who will spend time with the music ministry and offer suggestions. An objective look from the outside can provide helpful input.

Evaluating the Minister of Music

Ministers of music are usually evaluated in the following areas: Ministry – How effectively are you ministering to the needs of those in your sphere of influence? How are you balancing the demands of music vs. the demands of ministry?

Administration – How well are you managing those with whom you work? How thorough are your goals? Are you reaching them? Are you staying within the budget? Do you submit materials on time? Is the work of others enhanced or hampered by your administrative skills? Are you prepared for meetings?

Collegiality – How well do you get along with other ministers, the pastor, and the staff? Do you carry your part of the church's responsibilities?

Conclusion

Ministers of music are often accused of being lone rangers and having a tendency to work in isolation from the rest of the ministers and staff. When this happens, they usually are not communicating well with people involved in music ministry either. Give careful attention to the feedback that you receive. If you're not receiving feedback, you should seek it. Evaluation is ongoing and will happen whether you place yourself in a position to hear it or not!

Time Management

All of us have the same time in a day, week, month, or year; however, some people accomplish much with their time while others accomplish little. Simply stated, time management is learning to achieve maximum results from the time we are allotted. Ministers of music have a responsibility not only to themselves for how their time is used but also to the church they serve. In addition, we have a spiritual responsibility for the stewardship of our lives.

People who accomplish a lot in their lives have learned to utilize their time effectively, although different people have different time management methods. Each person must find time management processes that work for him/her. Managing our time effectively is an ongoing process, not something that we master once and never have to refine. Time management changes in different periods in our lives, with different jobs and responsibilities, and with different colleagues. Time management is different for a single adult than for a married person with children. Before we had children, I took longer lunch breaks, spent more time talking with colleagues, and attended more community events because I could take work home if it were not completed at the end of the day or week. As a married person with children, I have less time and energy to work at home. My days have become more structured and productive. When I've changed jobs, I've generally had more responsibility. This increased responsibility has necessitated my continuing to work on time management and leadership skills. While no one system works for everyone, there are principles and suggestions most people agree are helpful and should be mastered.

See the Big Picture

Goals ultimately determine our long-term and short-term objectives. When you have planned yearly goals, work backward and schedule them into monthly, weekly, and daily tasks. By doing this, you will assure that the important things are done. Sometimes we work hard each day, take work home at night, work on weekends, and still are not effective in our ministries because we haven't done the right things. Begin each day with this question: What is the best task for me to do today?

Prioritize Your Tasks

Use the following grid to help prioritize your tasks. ImportantNot Important

Not UrgentUrgent

Our goal is to spend our time in the "important" and "not urgent" quadrants rather than the "urgent" and "not important" quadrants. Many of us spend our time dealing with urgent and not important matters. There will always be urgent matters; however, urgencies should be genuine emergencies rather than issues that could have been dealt with when they were not urgent. Good time management depends on your ability to do what you don't have to do when you have the time to do it, i.e., important and not urgent! We should learn to say "no" to unimportant items, deal with minimal urgencies, and spend the bulk of our time dealing with truly important matters.

When a task comes our way — this may be written, e-mail, phone, or some other way — we should choose one of the following:

1) Do It – Many tasks are easily accomplished and should be done immediately. Others require immediate attention and must be acted on promptly.

2) Plan to Do It – Schedule a time to do it. Using your calendar, plan a time when you'll accomplish this task.

3) Delegate It – If someone else can do the task appropriately, delegate it. (See the section in chapter 5 on "Delegation."

4) File It – Some items do not need action but must be kept for future reference. Most executives and mangers spend an estimated six weeks of the year looking for things.

5) Pitch It – Throw it away tangibly or mentally. When dealing with mail or e-mail, pitch everything possible.

The "To Do" List

Everyone should have "to do" lists. A "to do" list helps us to monitor our progress, make good time usage decisions, and avoid letting things slip through the cracks. On my desk, I keep a legal pad with "To Do" written boldly across the top. As I go through mail and other materials received, I write down everything that I've not responded to immediately. Each day I go through my legal pad list and pull off the tasks that must be accomplished for the day. These items form my daily list. Some of the items on my big list stay there

for many weeks, even months. Sometimes I remove them because, while they are good things, they are not important. If I would have had discretionary time, I might have done them; however, they are no longer important to me. Some of the items represent long-term projects that are scheduled. Seeing them on my list reminds me to think about them. When I work on these tasks, they are usually easily accomplished because of the time I've already spent thinking about them.

Many people prioritize their "to do" list by assigning each item a letter. "A" is for tasks that must be done today, "B" is for tasks that could be done today, and "C" is for tasks that can be done if there is time. When all tasks have been assigned letters, number them according to priority (do all the "A's" in priority order, then the "B's," and continue to the end of the list). What is not accomplished at the end of the day gets moved to the next day's list.

Managing the Calendar

Having more than one calendar is dangerous. Most people who have more than one calendar spend valuable time reconciling their calendars. Having one calendar helps you to see the big picture at any given time. Accepting an additional responsibility is more than just having a space on your calendar, since it may involve preparation, coordination, travel, or other effort.

Many people keep their calendar on the computer and use various formats to arrange for meetings and other tasks. While this system is effective, it may give other people too much access to your time. Additionally, a traditional calendar is helpful for coordinating schedules with your spouse or children.

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When accepting an assignment about which you have a choice, avoid giving an immediate answer. It is usually best to say, "I'll check my calendar and call you back." Once you have time to check your calendar, work backward from the date and estimate preparation time and other factors. This will give you a much more realistic picture of the total commitment. Sometimes I accept responsibilities that are far into the future. At the time they seem totally reasonable because my calendar is clear. However, as the time approaches and other responsibilities are also imminent, I become overwhelmed. Working backward can help to avoid this situation.

When working with your master calendar, make appointments with your family for special days, block out times for special projects and planning, allow time for physical fitness, and other needs.

When you are approached about a commitment, simply respond, "We'll have to find another time for that; I already have a commitment."

When to Say "No" and When to Say "Yes"

When we say "yes" to something, we are usually saying "no" to something else — perhaps to our family or ourselves. While saying "no" is an important component of gaining control of your life and managing your time, saying "no" is not always a good choice. When we say "no" or "yes," we should carefully analyze why we are making such a decision. Is it motivated out of fear? Do we really believe someone else could do it better than we could? Is it something we aren't really interested in? Do we accept only to stroke our ego?

I often fear that our society places such a high premium on saying "no" that we may be raising a culture where becoming uninvolved is considered a noble alternative. I am certainly not advocating over commitment; however, saying "no" is not always appropriate and the decision should be carefully analyzed.

Solving the Clutter Problem

Solving the problem of clutter is particularly difficult for church musicians since we receive many promotional materials, always have stacks of music to read, and stacks of recordings to preview. Furthermore, our offices tend to become the gathering places for instruments, props, and everything else imaginable. Every person must decide what amount of clutter he/she can tolerate. While this is not the same for everyone, I believe there are acceptable ranges of clutter. I have accepted that I will probably never have a completely clean desk and will always be surrounded by stacks of paper; therefore, my objective is to keep the stacks small and on my desk. For me, when my floor becomes cluttered, it is time to clean up!

Some people clear their desk at the end of every day while others go through everything at the end of the week. The real problem with clutter is paper. When we observe the previous suggestion to (1) do it, (2) plan to do it, (3) delegate it, (4) file it, or (5) toss it, much of the clutter problem is solved. If you have an assistant, ask this person to open your mail, toss everything possible, write notes on important mail regarding content, and suggest action.

Group Similar Tasks

Many people become inefficient because they do not group similar tasks. For instance, answer all e-mail at specified times during the day. Otherwise, you may find yourself responding to messages as they arrive. On some days you could spend your whole day watching them arrive and responding. Work similarly with phone calls — return them all at once. Always leave a message and put the responsibility for returning the call on the other person. Other tasks might include score study, copying, checking the mail, and answering correspondence. When you are delegating to others, start a stack or folder for the people to whom you're delegating. Don't call them each time you delegate a task. When working with your calendar, set adjacent appointments. If you have an afternoon with scattered thirty-minute appointments, you'll probably not accomplish anything else during the afternoon. However, if you have two hours of appointments, you will have another block of time for other tasks. Also, putting appointments back to back keeps a thirty-minute appointment from lasting one hour.

Interruptions

One of the surest ways to avoid interruptions is to shut your door. Another is to face your desk away from the door. When your desk faces directly toward the door, each person that passes will likely drop in to talk for a moment. Open door policies seem effective; however, they are not efficient.

When a person with whom you don't need to spend a lot of time talking interrupts you, do not invite him/her to sit down. Also, stand up and move from behind your desk toward the door.

Telephone

If you answer your own phone, you should keep a telephone log. This will help you keep a record of the caller, the date, time, subject, and phone number. I use a legal pad and write down phone messages or calls. When I return a call, I make a check by the message. If the call requires no action, I draw a line through it. This also becomes a handy reference when you need to return a person's call from a week ago and you need his/her number. Many people write notes on numerous slips of paper. This is ineffective because notes are easily lost. A legal pad by the phone and a legal pad for the "to do" list avoids clutter.

rganizing for Choirs and Performance Groups

Choirs and performing groups must have structure in order to function effectively. Structures vary from group to group and within different ages. It is beyond the scope of this book to talk about rehearsal planning, techniques, appropriate goals, and other related matters for particular groups; however, this chapter will discuss various organizational structures.

Preschool Choirs

Space – Preschool choirs (they really are music activity groups rather than choirs) should have flexible space. They will need space for large group and small group activities, for learning centers, and for movement. Usually, space that is used for other preschool activities is adequate. Preschoolers do not have to have a room with a piano, for they should rarely use one. They will need chairs and tables for activities, although they will usually sit on the floor for large group.

Materials – They will need age-appropriate curriculum, art materials, and other materials for personal expression.

Equipment – Preschoolers will need instruments and a CD player.

Personnel – This choir will need one worker for every five to six children; however, even if the group is small it will ALWAYS need at least two workers. A pianist is not needed.

Structure – These young children can be organized into a number of different structures by age. The structure depends primarily on the number of children and the number of available workers. Some churches include musical activities for three-year olds and some do not. A separate group is usually provided for threes, while fours and fives are combined into a group. However, if there are only a few threes and many fives, the threes could be combined with the fours, and the fives could be by themselves. Some churches choose to combine fives with first graders since most fives and many first graders are not reading well.

Children's Choirs

Space – Children's choirs also need flexible space. They will need space for moving, tables for activities, and chairs for large group time.

Materials – They will need age-appropriate curriculum and supplies to support the needs of the curriculum

Equipment – Children will need instruments in addition to a piano, and they will also need a CD player. They can also benefit from the use of a computer.

Personnel – Children's choirs will need a director, a pianist, and workers for every six to seven children. Parent support groups will be helpful at this age. They may assist with the choir session, provide refreshments, assist with travel, and other duties.

Structure – Smaller churches may need to combine all children in grades one through six; however, when there are sixteen to twenty children, they should be divided into two groups. Most churches will group children into two groups — grades one-three, and grades four-six. Other churches may group children into grades one and two, three and four, and five and six; may have choirs for individual grades; or may group them into multiple choirs for individual grades in the younger grades, and a larger choir for older grades. Others may have separate boy's and girl's choirs at this age.

Youth/Student Choirs

Space – These choirs will function well in a traditional choir room.

Materials – They will need music and folders. Equipment – Youth will need a piano, sound equipment, and other instruments as required.

Personnel – A director, pianist, and parent support are required. Parents can assist with duties similar to those above. (See the section on "Parent Councils" in chapter 5).

Structure – They are usually structured as one large choir (grades 7-12), but may also be divided into middle school (grades 68) or junior high (grades 7-8 or 9), and into high school (grades 9 or 10-12). Following the system set up by the schools may be beneficial. Youth choirs should have officers, but there should be as few as possible to get the work done. The officers usually consist of a president, vice president, and a secretary/treasurer. Other officers may include historian, web master, social chair, section leaders (responsible for communication), and perhaps others. Officers are usually elected (preferably by secret ballot).

Adult Choirs

Space – Adults will rehearse in the choir room or worship space.

Materials – They need music and folders.

Equipment – Use piano and other instruments as required.

Personnel – Adults need a director and an accompanist.

Structure – Most adult choirs are open to all people eighteen years and older. Some churches may have college choirs and senior adult choirs; however, these adults are welcomed in the regular adult choir as well. Adult choirs should also have officers. The list above is helpful in determining officers, with the addition of a robe chair. Officers are best chosen by a nominating committee that recommends the officer slate to the group. The previous year's officers can serve effectively as the nominating committee. Officers for a choir should be changed as the needs of the group evolve, and their duties and responsibilities should be determined by the particular needs of the choir. See the following pages under DESCRIPTION OF DUTIES FOR CHOIR OFFICERS for sample duties.

Instrumental Groups

Space – Instrumental groups most often rehearse in the worship space because of acoustics.

Materials – They need music and folders.

Equipment – They will also need a tuner, stands, and instruments.

Personnel – A director is important, and probably an assistant who manages the music, set-up, teardown, and other duties.

Structure – Instrumental groups are usually director driven and rarely have officer structures.

Handbells

Space – If at all possible, you should have space that is specifically designated for handbells. Handbell ringers become quickly discouraged when they have to set up and take down all equipment for each rehearsal. If possible, have the handbell rehearsal space on the same level as the worship space. Carrying handbells is not an easy job; therefore, having adequate rehearsal space that is easily accessible to the worship space will eliminate a huge barrier to frequent appearances.

Materials – They require music, folders, tables, pads, table covers, and gloves.

Equipment – They need handbells, mallets, handchimes, and stands. A piano is helpful.

Personnel – A director is essential.

Structure – Handbell groups usually do not have officer structures, although they may.

DESCRIPTION OF DUTIES FOR CHOIR OFFICERS

President

•Serves as spiritual leader of the choir

•Conducts officers' meetings

•Coordinates and delegates the responsibilities and functions of choir officers

•Represents the choir members to the church staff and congregation

•Keeps officers and Music Minister informed of the choir's needs

•Responsible for helping the Music Minister fulfill his/her vision for the music ministry

Vice President

•Assumes President's responsibilities if he/she is absent

•Responsible for promoting choir membership

•Introduces and welcomes visitors and new members

•Keeps Secretary informed of current membership and attendance status

•Informs Music Minister of spiritual, emotional, and physical conditions of choir members

•Assists the President in prayer for the music ministry

Treasurer

•Assumes President's responsibilities if President and Vice President are absent

•Responsible for financial management of the funds and budget of the music ministry

•Responsible for paying bills on behalf of music ministry

•Must keep financial records current to disclose financial status with integrity

•Must keep President and Music Minister informed of financial standings

Secretary

•Assumes President's responsibilities if above officers are absent

•Records minutes of meetings

•Keeps records of attendance, works closely with Section Leaders

•Keeps Vice President informed of attendance, visitors, memberships

•Keeps Music Minister informed of weekly attendance

Historian

•Maintains records of the music ministry

•Collects public notices (newspaper clippings, etc.) of choir or choir members

•Documents events in music ministry, acts as photographer

•Maintains choir bulletin board

•Maintains choir scrapbook

Section Leaders

•Oversees the condition of their section

•Responsible for taking attendance weekly in their section, submits records to Secretary

•Responsible for contacting visitors and absentees

•Responsible for orienting new members of their section

•Assists with the disbursement of music, folders, and other materials within their section

•Acts as a liaison between choir members and officers

Editor/Reporter

•Responsible for maintaining newsletter

•Collects current information from choir

•Announces needs or other news to the choir

Librarian(s)

•Responsible for organizing, cataloguing, and keeping current records of all church music

•Responsible for music distribution and collection

•Assists Music Minister with preparation for future choral productions

•Keeps Music Minister informed of music needs

Robe Chair

•Responsible for maintenance (cleaning and repair) of robes

•Consults with Treasurer for budgeting and expenditures

•Responsible for assigning robes

•Responsible for vesting every choir member

•Keeps Music Minister informed of robe needs

Social Chair

•Responsible for arranging and organizing social activities for choir and music ministry

•Coordinates events with Music Minister and President

•Consults with Treasurer for budgeting and expenditures

•Keeps record of materials used in social events

•Encourages a sense of community within the music ministry and other church organizations

Ministry Chair

•Responsible for expressing joy, love, concern, or condolences on behalf of the Music Minister, officers, and choir to other choir members

•Responsible for sending flowers or cards for illness, deaths, births, birthdays, new marriages, and other special needs of events.

•Should keep all officers and Music Minister informed of conditions of choir members

Organizing and Maintaining the Music Library

Organizing and maintaining a music library is an ongoing task that will require considerable work; however, when you consider the financial investment of the music stored in a music library, the importance is readily apparent. Even a small music library of several hundred titles is worth thousands of dollars. Music can be stored in many different ways, and no one way is correct. If you have a system that works, I suggest that you continue using it. Changing systems is time consuming and expensive. An effective music library is one in which music can be easily located when needed, and the music is free from water, mildew, dust, and other elements that deteriorate paper. A music library doesn't have to be attractive and all labels don't have to be typed; however, the area must be organized and functional.

Methods of Storage

There are three usual methods of storing music in a music library — boxes, envelopes, and folders. Boxes are placed on

shelves, and envelopes and folders can be placed on shelves or in a filing cabinet. I have worked in churches where different combinations of the above have been successful. Most people prefer to store choral octavos in boxes on shelves, and other music in filing drawers. However, choral octavos can easily be stored in filing folders in a filing cabinet. When deciding how to store music, consider available space and cost of storage.

Organizing the Library

Every library should contain some system of cataloging to allow for ease of finding music. This information can easily be stored on computer, in a file, notebook, or card catalogue. Most people who store the information on the computer design their own program that contains the information they need. When using a card catalogue or notebook, pages/cards should reflect the information that you will need when accessing the file.

Information to Be Used in Cataloguing

Different people utilize different information when cataloguing music in the music library. Each piece should have the following information catalogued: title, voicing, library number, and composer. Additional helpful information includes number of copies, subject or seasonal usage, when used, scripture reference, cost per copy, publisher, lyricist, difficulty level, vocal ranges, instrumentation, and miscellaneous information.

Numbering Systems

Numbering systems vary. The following system is effective: M1, musicals; C-1, collections; E-1, ensemble; H-1, handbell; and I-1, instrumental. Choral octavos simply have a number with no letter. I recommend not dividing choral music according to youth, children, adult, or other groups. This system eventually breaks down because multiple age groups may use the same literature.

What About Odd-Sized Music and Scores?

Collections and musicals are difficult to store in boxes since the boxes are expensive and several of them are usually required to store a musical or collection. I recommend that they be stored on shelves, standing up, with a label on the shelf indicating the musical or collection.

Handbell music and instrumental music can be stored in oversized boxes; however, expense and space may be prohibitive. I suggest that handbell music be stored in a legal-size filing cabinet in hanging files numbered as suggested above. It should be catalogued in a separate notebook, card file, or computer program.

Instrumental music can be stored in the same manner as handbell music (probably in envelopes instead of hanging files) with the originals being placed in a file and the copies in an envelope in a separate file. Conductor's scores should be bound by a spiral binding machine with a card stock cover and placed on a separate shelf so that they are more accessible for previewing. Each score should be labeled with the title, composer, instrumentation, and number that corresponds to the parts.

Where Do I Begin If There Is No System?

If there is no system in place, choose one, then have a Saturday workday, and enlist the help of others. Assemble all the materials in advance and set up an assembly line to sort, label, catalogue, and file until the project is complete.

How Do I Catch Up Years of Neglect?

Again, enlist volunteers and have a workday. The project is too large for a single person. Once the task is caught up, the librarian can manage it.

How Should the Library Be Maintained?

New music should be stamped, catalogued, and processed before it is handed out. Boxes, folders, or envelopes should be kept in stock. In a small to medium-sized church, a volunteer librarian can maintain the music library. In a larger church, a music secretary may take responsibility or a part time worker may have to be hired. If your church has a large instrumental program, someone will have to manage this music each week. This person will need to prepare the folders, copy parts, and file everything. In a large instrumental program, several weeks of neglect can be overwhelming.

Waterproofing and fireproofing may be considered if building new space; however, a rider on the church's insurance coverage with an attached list of the libraries' contents may be a cheaper alternative.

How Can a Library Be Purged?

From time to time music libraries should be purged to make room for newer materials. The best way to purge a library is to consider pieces that haven't been used in a long time or ones that are of a style that is no longer acceptable. However, proceed carefully because these pieces are sometimes used for reunion choirs, homecomings, and other nostalgic events. When I've purged a library, I've pulled single copies of octavos and conferred with other ministers of music before making final decisions. It is easy (especially as a young minister of music) to throw away classics without knowing it. When you purge a library, offer the music to other churches.

Calendaring

In a ministry setting, calendaring goes far beyond simply putting the date or event on your calendar. Other groups within the church also have events scheduled, and every event affects everything else that is scheduled. When calendaring, consider the following:

Calendar Immediately

When you are aware of an event for music ministry, calendar it immediately. Sometimes we intend to calendar an event yet fail to follow through once we begin working on another task. Often one person on the staff handles the calendar, and putting an event on the calendar may be as simple as sending an e-mail or filling out a form. Always confirm that the event has been calendared. Usually, anything regarding the calendar should be discussed in staff meeting, for although the particular date or dates may be free, the timing of the event may be too close to a similar event, utilize the same people, conflict with transportation, or conflict with school schedules. The staff will be much better at making these decisions. Most events have an effect on other events. Once everyone involved agrees to put the date on the calendar, you have the support of your colleagues if conflicts arise later.

Contact Everyone Who Is Affected and Coordinate Details

Immediately after an event is calendared, contact others who

may be affected by this date. A checklist might include other ministers, staff, nursery workers, custodians, drivers, sound technicians, food service personnel, choir members, and accompanists. It is very easy to calendar the youth choir to go to festival and later discover that while you failed to reserve the bus, someone else has reserved it. It is easy to show up for an extra choir rehearsal and discover that there are no nursery workers, or that the sanctuary is being used for a wedding, or that no heat is on. It is easy to prepare to take the youth choir on tour and discover two days before you leave that you don't have money for the trip, the checks have already been signed for the week, and the bank is closed tomorrow. These are details that should be taken care of early.

Empower Others to Help You

Empower the people you work with to help you with details. Ask someone in choir always to ask you, "Have you arranged for childcare?" Ask the financial secretary to notate on his/her calendar that you'll need a check on a certain date. Encourage people you work with to ask lots of questions and not assume that you've thought of everything. Prior to any major event, always have a specific "To Do" list and receive input from several other people.

Special Issues for Bi-Vocational Ministers

Since most churches are smaller and cannot afford to pay fulltime salaries, they are served by part-time or bi-vocational ministers of music. Some of them are compensated and some are volunteers. Being bi-vocational means that you have to accomplish many of the same tasks each week as a full-time music minister; however, you have less time to do your work. Bi-vocational music ministry is challenging in the following ways:

Financial and Resource Issues – Many bi-vocational ministers are not paid their worth; however, because they have other full-time jobs, they are able to serve their churches. Because they are usually in smaller churches, they often work with small budgets and minimal resources.

Time Constraints – Time for planning, rehearsals, administration, and meetings consumes much of the time that bi-vocational

music ministers are not working at their full-time job. Effective bivocational music ministers must become experts at good time management.

Communication Challenges – Because bi-vocational music ministers have other jobs, they are not able to have staff meetings at the usual times, they may not be free to meet people for lunch, and they may have difficulty planning worship with others and attending necessary meetings. They must find communication methods that overcome these barriers.

Lack of Stature – Bi-vocational ministers of music sometimes feel that they are second-class citizens in the world of music ministry. They may feel inferior since they are often unable to participate in music ministry support groups, denominational meetings, and specialized training sessions.

Keeping Abreast of New Developments – Since they are sometimes not able to attend conferences or other informational meetings, bi-vocational ministers have difficulty keeping abreast of new developments in church music.

Suggestions

The following suggestions will prove helpful for bi-vocational ministers of music:

Find a Suitable Companion Career – Some careers work well as the full-time counterpart with bi-vocational ministry while others do not. While my career as a college teacher has worked well with bi-vocational ministry, a career as a physician would not be a good match. In order to have the freedom to deal with meetings, conferences, funerals, and other aspects of music ministry, look for fulltime positions that provide maximum flexibility. Good options might include teaching, real estate, sales, owning/running your own business, as well as others. Actually, bi-vocational ministers work in nearly every career imaginable; however, some careers are more conducive than others.

Attend a Workshop or Conference Each Year – For a bi-vocational minister, this may involve using your vacation time to attend a workshop or conference. Try to choose conferences that are designed for families and that can include side-trips along the way. Whatever the sacrifice, the resources that you gain and the skills that you develop will probably be worth it.

Plan in Large Segments Determined by Your Other Work Schedule – As a bi-vocational minister you will not have time to plan

each week. In order to be most effective you will need to use blocks of time to plan far into the future. As a student and later a teacher, I learned to plan according to the academic calendar. I plan in the following segments:

August – plan October through January

January – plan February through June

June – plan July through September

By planning before the rush of school activities, I'm able to survive the busy times of my academia. When you plan quarterly, or biyearly, always plan music for the month in which your next planning session will take place so that you'll have adequate lead-time.

Set Weekly and Monthly Meetings and Keep Them – Find times to meet with others and stick to this schedule. With an additional full-time job, you may not be able to adjust your schedule quickly. If you fail to meet on a regular basis with those with whom you work, eventually you'll work harder to communicate and you'll end up doing their work for them.

Involve Others and Give Ministry Away – Every effective bivocational minister is masterful at delegating (See the section on "Delegation" in Chapter 5). You must resist perfectionistic tendencies and be willing to accept "good enough."

Realize Your Time Limitations – You will always be frustrated because you know how to do more than you are able to do; however, you must realize your time limitations and work within them. You will not be able to go to the church on Thursday morning and clean up after choir or put last minute touches on the order of worship. You may miss surgeries and other ministry opportunities for those involved in music ministry. You will likely not be able to meet youth choir students for lunch at their school. Your limitations are significant; however, they cannot be changed.

Protect Yourself – Since you will be working an extra job, you must be intentional in protecting yourself. In all of my part-time positions, I've eventually realized my limitations, and I've gone to the pastor and said, "I'm doing all that I can do, and I need you to know not to expect any more. I'm maxed out!" Each time the pastor has respected my position and has worked to help me protect myself.

Learn to Live with Good Enough – Every task can be completed in a better way given unlimited time and resources, but we must all realize the limitations placed on us. Continually ask yourself if the effort required to move a task from "good enough" to "superior" is

worth the effort required, or if it is possible given your circumstances.

Plan for the Tough Times – The tough times for ministers of music will come during Christmas and Easter, and at other times depending on your other job. If you own a business or work retail, Christmas may seem unbearable for you. If you're an accountant, Easter may seem impossible. When you realize that tough times are ahead, plan accordingly, and don't be surprised.

Utilize All Available Communication – Learn to maximize both computer and cell phone usage as well as other available forms of communication. Set up group lists and other time saving devices.

Stay Organized – You do not have time to let your organizational systems become lax. You must stay organized or you'll quickly become overwhelmed.

Decide What You Can and Can't Do and Stick with It – The pressures for you to do more will be great. Some pastors can be unceasing about giving suggestions and sharing what other churches are doing. You will have to stick to your agreements when your plate is full.

Use Your Extra Income to Give Yourself Perks – Because you are working two jobs, you may not have time to mow your own grass, clean your house, repair the plumbing, sew and design your clothes, change the oil in your car, work a garden, polish your own shoes, and iron your own clothes. These are jobs that you can hire others to do for you. Give yourself a break by paying for some services that you might not otherwise pay for.

Form Networks of Other Bi-Vocational Ministers – By forming networks with other bi-vocational ministers you can work together to accomplish more. For instance you can take turns going to reading sessions or conferences, you can share music and other resources, and you can combine your choirs for seasonal presentations.

Don't Play the Comparison Game – There will always be other music ministries that accomplish more than your church's. Someone will always do a more elaborate pageant or a flashier production. Someone will always have a bigger choir and more resources. When congregants go to presentations in other churches and come back raving about what they've seen and heard, don't take it personally.

Conclusion

Bi-vocational ministry is both rewarding and challenging. For

many people bi-vocational ministry provides them a venue to live out their call to ministry. For many churches, were it not for bi-vocational ministers, their worship of God would be much less meaningful. Not every church can afford a full-time music minister; but every church deserves high quality leadership!

Using the Computer in Music Ministry

The title of this section is almost humorous, for music ministry could hardly function in today's world without the use of the computer. It is vital to every aspect and enhances almost all functions of music ministry. The following suggests common uses.

E-mail – E-mail is used for inter-office communication, communicating with choir members and prospects, sending the order of worship to participants, and other types of communication. Develop group lists for every group, and categorize your contacts into easily accessible groups.

Library – Music is catalogued on the computer, and special programs are either available or may be created to customize your church's music library. You can easily access the library from your desk.

Attendance Tracking – Special programs are available to track attendance for all choirs.

8

Facilities and Purchases

eneral Guidelines for Fiscal Responsibility

Unfortunately, some music ministers are not known for handling the church's money wisely. According to pastor friends of mine, music ministers are notorious for bypassing procedures, losing receipts, and overspending the budget. I'm not sure if this is really accurate or if such behavior is just stereotypical of artists. Whatever the case, being a good steward of the church's money is a responsibility that the music minister should not take lightly. The following suggestions will prove helpful in gaining the respect of your church and colleagues regarding fiscal responsibility.

1) Stay within the Budget. A budget is a guide of what you intend (are allowed) to spend during a given budget cycle. Although it is a guide, this does not mean you are allowed to spend more than the budget if you have greater needs. Any expenditures beyond those allowed for in the budget should have separate approval or should be taken from different accounts in consultation with the church's financial committee or administrator.

Spending slightly less than appropriated is advised. However, if you leave a considerable amount of money in the budget, there can be questions concerning whether the music ministry needs all of its money. Leaving a little extra money in the budget will compensate for one last bill that comes in just before the budget cycle ends.

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2) Spend Throughout the Year. In order to assist with the flow of money coming in, attempt to spend throughout the year. Avoid spending all of your money at the beginning or end of the year. If you spend too much at the beginning of the year, you may have little left for emergencies that come up later in the year. One December, I realized that I had not spent all the money allotted for the music budget. Realizing that the ministry had many needs, I

spent the remainder of the budget (a considerable amount) in the last two weeks of December. In January I was asked to attend the budget committee meeting to explain the expenditures. Earlier in the month, the committee had projected any additional expenses that might come at the end of the year. My expenditures surprised them, for their year-end statement was different than they had expected, and I learned an important lesson.

3) Follow Church Procedures. You should follow all accounting procedures that your church has adopted. Each church is different; therefore, you must get to know the system and work within the guidelines.

Bids – Many churches will require you to receive bids or price comparisons on major items (items costing more than a certain amount). If this is the case, follow the procedure, and keep the bids in a file for later reference if needed.

Purchase Orders (PO) – A purchase order is a document from your church's financial officer guaranteeing that your account has the funds to pay for the item(s). For example, if you order an autoharp for $150, you must get a purchase order number from your church, which you would give when placing the order. You would then send or fax the PO to the company if they require it. If ordering by mail, send the purchase order with the order. The PO has two purposes: (1) it assures the company that you have the money in your account and that your organization is willing to pay, and (2) it keeps you from committing to more purchases than you have the funds to cover (every time a purchase order is issued, the account is checked for available funds).

Receipts – Be sure to submit receipts for purchases that require them (almost everything). If you don't submit receipts, don't expect the church to reimburse you. The church will usually pay a vendor when a bill is received; but some churches require you to match a packing slip with a bill in order for the payment to be issued.

I have known ministers who were never reimbursed for travel because they did not provide receipts. Be organized, or assign the duty to someone else. Never pad expense accounts. Be able to show the actual receipt, if needed, in addition to the credit card receipt.

4) Be a Team Player in Tough Financial Times. When your church has budget cuts, freezes, or suggestions to cut-back, be a team player. Don't continue to spend during tough times, and don't expect to be able to spend your entire budget once the curtailing measures are lifted unless instructed to do so.

5) Balance Service, Quality, and Price. Sometimes you can buy an item at a good price, but it is of poor quality and may not provide good service. When making purchases, balance these three priorities.

6) Keep the Financial Person Informed. If there is a problem with a receipt or you've purchased something that you don't need, keep the financial person informed. He/she will probably be willing to work with you if informed of the process early on.

7) Keep a List of Orders and Expenditures. It is easy to forget something has been ordered or that money is committed for a particular purpose. Keep a log of all orders, money promised, and items that will be billed later. Checking the amount of money left in the budget does not mean that you can spend the money. Often, bills take a month or more to arrive. Also, the log allows you to check for items not received, since you can be charged for items that you have not received.

8) Credit Cards. Church credit cards have the same risks as personal cards. Keep accurate records of credit card transactions.

9) Check Packing Slips Against Orders. Sometimes packers make mistakes and do not include everything in an order, send the correct anthem with the wrong voicing, or the correct title with the wrong arranger. These are common mistakes. Always check for quantity as well.

10) Check the Music Library before Placing an Order. I have occasionally failed to check the music library before ordering a piece only to discover that we already have the work. This is not good stewardship of the church's money!

11) Turn in Requisitions Immediately. When paying someone, turn in the payment requisition as soon as you know the expense will occur. This will keep the person from waiting for his/her check for a long period of time. Once I called an organist to fill-in at our church, and he informed me that he'd never been paid for the last time he filled in because I had failed to submit a requisition. The most difficult person to remember to pay is the person who fills in for you when you're away.

12) Maintenance Is also a Part of Fiscal Responsibility. Don't ignore proper maintenance of current instruments, equipment, and the library or other musically related items. This is a part of good fiscal responsibility and stewardship.

cquiring Music

When I was a college student, a professor once said to me, "The most time-consuming and difficult responsibility of the choral conductor is acquiring music." Frankly, I did not believe him at the time. I thought I knew many choral pieces, and I couldn't wait to try them out on a choir. In my first job, I quickly learned that finding music that is right for the choir, church, and budget really is a difficult and time-consuming responsibility. This chapter will help you in this process.

What Music Is Needed?

Choral music is needed for the adult choir, youth choir, children's choirs, and various ensembles. Instrumental music is needed for handbells, orchestra, brass ensembles, wind ensembles, soloists, and others. Keyboard music is needed for the organist, pianist, and other keyboard instruments. Vocal music is needed for soloists. Music is needed in all types of voicing (Unison, SA, SSA, SATB, SAB, TB, TTB, and TTBB). Not only do you need the right voicing, but also the music must fit the particular voices in the group, the accompanist, and the needs of your church's worship.

Where Do You Find Music?

There are many sources for finding music. In order to keep abreast of new materials that are appropriate for your groups, you should utilize many sources.

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Friends and Colleagues – Networking with friends and colleagues is one of the best ways to find music. Many ministers of music stay in touch with friends from college or graduate school, and they periodically exchange music lists. Talking with ministers of music from your local area and receiving packets of worship folders and other programs from friends is also helpful. When I need a song of a particular type, I often e-mail a friend or group of friends to get their suggestions.

Music Libraries – You should never ignore the possibilities of your own church's music library. Many ministers of music do not take time to get to know the library in their own church. Sadly, many ministers of music only use the portion of the library that they have purchased. In addition, perusing the library of another church is a great way to get to know new literature. When you visit other churches, keep your eyes open for new titles.

Your Browser Files – All ministers of music should have their own browser files. My files contain most of the pieces I've done through the years, classics I've not conducted, and hundreds of pieces that I think I may need at some point in the future. I recognize many of them to be good works; however, I've never had the right choir or right occasion to use them. I frequently refer to these files when I need music.

Catalogues – Most music publishers have catalogues available that can also be accessed on line. Some publishers have annotated catalogues that are particularly helpful; however, every piece that is labeled as a winner by a publisher may not be a winner to you. Catalogues can be good sources for securing browser copies.

Publisher Packets – Some publishers will send you packets of their new releases and standard pieces. Sometimes these are reduced or incomplete scores. They usually come with a listening CD.

Recordings – Some publishers will send recordings only.

Reading Clubs – Many publishers have a subscription service that allows you to receive all of their new releases each year. These memberships tend to be expensive; therefore, you should subscribe to a publisher who provides music that typically suits your church's needs. As a word of warning, many ministers of music (particularly part-time ones) depend too heavily on a single publisher when there are many suitable pieces available.

Web Sites – Most publishers and many large distributors have well-maintained web sites that include listening examples.

Reading Sessions – Reading sessions are available through local music stores, denominational groups, and other sources. Larger reading sessions can last from several days to one week. Some reading sessions provide concerts, inspirational speakers, recreation, and more music than you will want. These sessions tend to be very expensive. Before spending all of your conference money for such a session, be sure that you've exhausted the sources listed above. Before attending any reading session, be sure the publishers that are represented will provide music that is usable in your church. Also, reading sessions with music selected from several publishers are strongly preferred over the ones with materials that have been selected from one publisher. Publishers often send pieces to these sessions that are not good sellers, and you may quickly discover why!

Magazine/Journal Reviews – Many professional journals have monthly reviews of choral works.

Visit a Music Store – Music stores can be an excellent source for finding new music. Music stores that specialize in print music have thousands of browser copies that you may peruse and they can be great sources for securing browser copies. They usually have listening equipment available and a piano nearby. When I go to conventions, I spend a lot of time perusing browser copies. Generally, when you hear a choral piece that you like, you should purchase a copy. If you don't have a copy, you may not remember the title or know how to find it when you need it!

How Do I Distinguish What Is Right for My Group from the Rest of the Music That Is Available?

The following suggestions will prove helpful in this tedious process:

1) Have a List of Priorities (Written or Unwritten). These might include a solid text, good marriage of text and music, range, voicing, tessitura, difficulty of accompaniment, other instruments, rhythmic difficulty, and other items you consider important.

2) Be Specific. Don't settle for a piece that isn't just right for your group. There is plenty of music available, and you can afford to be choosy. If you need three pieces for a junior high ensemble with ranges for the boys of five notes, look until you find them or arrange something yourself!

3) Don't Settle for Less. Stick to your standards. If you're not finding what you need, you probably haven't looked in the right place. Talk with others and learn about their experiences. Often a more experienced church musician will know just the piece.

4) Know Your Group. There is no substitute for knowing the ability of your group. After you have been in a church for a year, you should know how long it would take your group to learn a piece. Be aware of accompaniment requirements, and never choose a piece for which you have no soloist! Your yearly choices should include pieces that are exactly in the middle of your group's abilities, music that will challenge them beyond their abilities, and easier ones that allow more time to work vocal quality and musicality.

5) Know Your Church's Worship Needs. There are many wonderful choral pieces that won't fit your church's worship. Be aware of this and choose accordingly; however, don't be too quick to rule

out a great piece. With the proper worship placement, many pieces can work effectively.

6) Know Your Budget. Carefully consider your budget when choosing music. Creatively mix works that are already in your library with newly purchased music.

7) Learn to Recognize Composers and Publishers. Look carefully at music from publishers and composers that you know and trust. While this practice may keep you from discovering new writers, it is one of the surest ways to choose good music.

Ordering Music

You can order from several different sources. Consider the following:

Publishers – When ordering from a publisher, it is important to keep several things in mind. In most cases you will not receive a discount because publishers do not compete with their music dealers. The service will vary greatly — some will send out music the same day while others may take a while. Be aware that you will receive an invoice from each company when ordering titles from more than one publisher.

Retail Music Distributors – Retail music distributors include music stores and others who distribute music for various publishers. Establishing a relationship with the distributor, working with knowledgeable people, and receiving personal attention are among some of the benefits of working with retail distributors. Most retail music distributors do not offer large discounts but they may offer similar drop-ship services to those offered by discount dealers if requested.

Discount Music Distributor – A discount music distributor is a company that places orders to publishers on your behalf. They do not keep music in stock as does a retail music distributor. These companies take your order and immediately send it to the publisher, who sends the music directly to you. This process eliminates the middle person. Publishers offer retailers and discounters significant savings off the retail price of a piece of music. Depending on the quantity of the order, discount music distributors pass these savings along to the customer (usually with discounts of ten to thirty percent). These companies can send your order next day, two-day, three-day, or regular mail. However, when you receive music more quickly, you usually have to pay extra for shipping. When ordering from a discount music distributor, be aware of drop ship charges.

These are the charges that the publishers charge the distributor for sending the merchandise directly to you. Regularly check your invoices to be sure you're not being charged and, if possible, find a company that doesn't pass those charges along to you. When you order through a discount music distributor, your bill will come from the distributor rather than the publisher, even though the publisher sent the music to you.

What Information Do I Need when Placing an Order?

When placing an order, you will need the title, number of copies, publisher, product code, and voicing. If you are missing some of this information, the person servicing your order can often find it for you, or you may want to check an online source.

What Is the Process for Printing Music That Is Permanently Out of Print (POP)?

Music that doesn't continue to sell enough copies is taken out of print. In order to have access to this music for your choir, you can either borrow it from someone else or receive permission to copy it. In order to receive permission to copy the music, call the publisher. The publisher will probably need a written (mailed or faxed) request to copy the music. (You will need the same information as when placing an order.) They will process your request and send you a document giving you permission to copy the piece once you have paid them a fee. You will need a clean copy in order to duplicate the piece. Pay the fee, write any information they request on the bottom of the first page, and keep your documentation in case you need it in the future. These copies are usually for your church's use only; however, they can be filed for future use.

Borrowing Music

Borrowing music is an excellent idea, especially if your funds are limited or you do not perceive that you'll use a piece again. When you borrow or loan music, consider the following:

1) Count the number of copies, and sign a form stating the number of copies you borrowed.

2) If copies are lost, always order replacement copies before returning the piece. DO NOT give the loaning church money to replace the copies. Rarely can music be replaced for its face value. In order to replace the music, someone will have to order it and pay

shipping charges. The price printed on the music may be only a fraction of the current cost.

3) Erase all marks before returning the music.

4) Return the music on time. Invariably, when you lend music, it is not returned on time; and when you need it, it's not there!

5) If you intend to repeat the piece in the future, buy a set for your choir.

Instrumental and Equipment Purchases

Throughout your music ministry, you will purchase a great deal of equipment; however, rarely will you lead a church to purchase a new organ or grand piano. While all purchases are important and should be approached with care, the purchase of an instrument for your church's worship space is an investment that will sometimes outlive you. This chapter will provide helpful information to assist you in purchasing all the equipment that you will need for effective music ministry.

Purchasing an Organ

Whether you purchase a pipe or electronic organ, your church's organ may be the single most expensive piece of equipment that your church owns. Purchasing an organ will require an extensive period of study, fundraising, and celebration.

The Need – An organ can provide the type of support for congregational singing that a piano or other keyboard instrument is not capable of producing. In many churches, the organ is the primary instrument that supports congregational singing. Although it is also used to accompany soloists and choirs and to provide preludes, offertories, and other solo organ music, the organ's primary purpose is leadership for congregational singing. Organs also play significant roles in other services of the church such as weddings and funerals.

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The Process – Most churches will elect a committee to recommend the purchase of the organ. The committee will usually consist of the minister of music, organist, several other musicians, and a few members representing the congregation at large. A person who has experience with electronics and computers will be an asset to the group. If you don't have such a person on the committee, it may be difficult to explain technical issues to members of the congrega-

tion when such questions are asked. This is true whether you purchase an electronic or pipe organ.

The committee should approach the purchase of the organ with the good of the church's worship in mind. Many committees make the mistake of only considering finances. Although pipe organs are certainly not best for all congregations, some people, who would not give to other causes, will give money towards the purchase of an organ.

The committee should begin to gather materials on many different types of organs. They may want to enlist the help of an independent consultant — perhaps an organist from a local university. Once initial plans are made, the committee should begin visiting organ installations. This will require travel since, unlike pianos, you can't go to a showroom and try them out. An organ is designed for a particular space, and it must be heard in the space for which it was created. Part of the education process of an organ committee will be to learn about pipes, ranks, divisions, and about many other facets of organ building, and to become literate in discussing different aspects of organ construction and sound. Many sources are available for such study. A qualified consultant will guide the committee and congregation through this process.

The committee should take plenty of time to hear different instruments, consider the needs of the church and financial resources, and should develop a fund raising plan before making a recommendation to the church. The committee should make a definite recommendation rather than give the church several options. When presented with solid research, it is rare that a church will not follow the recommendation of their committee.

What Types of Organs Are Available?

Pipe Organs – These are the "parent" instruments of all organs, and they are preferred because they are built into the room. However, pipe organs are more expensive, require extra space, and must be built into the worship space. A pipe organ is constructed by an organ builder/company off site, is taken apart and moved to your location, then reconstructed and voiced to accommodate the room. Pipe organs also require more regular tunings and generally are more expensive to maintain. A pipe organ is a long-term investment and, if well maintained, should last fifty or more years.

Electronic Organs – These organs continue to improve as technology improves, and they are able to imitate the pipe organ with

some accuracy. A church should only consider an electronic organ that is made for church use. Many organs are made for home use and are not suitable for the needs of worship. A large electronic organ can also require significant space. The electronic instrument is placed in the room and then voiced according to the desires of the technician, the organist, or minister of music. Due to changes in technology, electronic instruments tend to become outdated more quickly than pipe organs.

Pipe Augmented Electronic Organs – These are combinations of electronic and pipe organs. A large body of the instrument is electronic, but it includes several ranks of pipes to augment the electronic organ. Often, an organ of this type allows the church to have benefits from both worlds.

Other Organ Advice – Organs can be purchased in many types and price ranges. High-quality electronic organs can be purchased for prices that even small congregations can afford, and small pipe organs can accommodate small spaces and smaller budgets as well. Many times, committees assume that pipe organs are not an option before the instruments are even given consideration. Likewise, many small congregations settle for an inferior home organ when they could have purchased a small church organ, with full pedal board, in the same price range. There is no substitute for exploring all options.

Whatever kind of organ is chosen, it should have a full pedal board, at least two manuals, and standard draw knobs or tabs (these are minimal standards set by the American Guild of Organists). An organ that doesn't meet these standards will not adequately accommodate organ music for important celebrations in your church.

As you search for a new organ, you will be bombarded with misinformation and exaggerated claims. You must become perceptive in sifting through information. Do not believe anything that sounds too good to be true.

The purchase of an organ eventually comes down to a combination of quality, sound, and price. Only your committee can weigh these factors for your church.

Purchasing a Piano

While the purchase of a piano is significant for any church, it does not usually represent the same financial expenditure as an organ. The process will be much simpler because the options are

fewer in terms of types of instruments, and you will usually be able to hear the instruments at the dealership.

A piano in a worship space will serve many functions. The piano can support congregational singing, may be used to accompany the choir and soloists, and is suitable for use in other services of the church. The piano in the worship space should also be adequate for visiting artists, piano recitals, and other events.

The Process – As with an organ, a piano for a worship space should also be purchased through the work of a committee. The committee should include the pianist, minister of music, other musicians, and members at large. A committee of five is adequate.

The committee should begin by deciding whether they will purchase a grand piano or a studio piano (see below). Next, they should investigate what piano makers are currently producing high-quality instruments. You cannot assume that a company that built quality instruments ten years ago will continue to do so today. To assist you in this process, you should consult someone who deals with pianos every day. An ideal person is a piano technician from a university or the chair of a piano department. University pianos are played recurrently and are a good determiner of what instruments hold up well under heavy use.

After you decide the types and brands of pianos you will consider for purchase, set up appointments to visit dealers; do not randomly appear on a Saturday morning. You will want to visit with an experienced salesperson who works with churches. Buying a piano is much like buying a car; you will have an advantage if you approach the dealer with what you intend to purchase, i.e., a six foot grand, flat black, and capable of both church and concert use.

What Kinds of Pianos Are Available?

Grand – Grand pianos are recommended for worship spaces, chapels, choir rooms, and perhaps fellowship halls. They are usually not suitable for spaces such as classrooms. Larger grand pianos (six feet and larger) will produce more sound than an upright, and the sound will be more evenly distributed. A larger grand also has more tonal possibilities.

Studio Upright – A studio piano is a large upright built for use in a studio, i.e., for university practice rooms and professional studios. It is a durable piano meant to sustain daily use. A studio piano has a larger soundboard than a small grand. For a smaller worship space, a studio piano is a solid choice and may be preferable to a

baby grand. Many worship rooms are limited to a studio piano because of the size of the space allotted for the piano.

Spinets, Consoles, and Other Similar Sizes – These pianos are designed for occasional home use and are not suitable for churches. They have neither the quality of sound nor the durability that is needed for church use.

Additional Considerations

Rebuilding – Rebuilding an existing piano is an option for some congregations; however, the work must be done by an experienced person. Before beginning this process, you should carefully investigate the person's work and check references. Again, a good source for reference is a university piano technician. A university piano technician maintains pianos daily; therefore, he/she can be a quality resource person.

Maintenance – Choir room and worship room pianos should be tuned at least two times per year, and they will probably need to be "touched up" before major events. Generally speaking, a piano should be tuned with major season changes such as summer or winter. If the temperature of the room is not kept constant, the instrument will need more frequent tuning. Pianos in Sunday school rooms should be tuned at least once per year. Pianos in children's choir rooms must be kept in tune. Children should never be asked to sing with out-of-tune pianos. Pianos in areas that require them to be moved frequently (fellowship hall) should have large casters installed. Factory casters are not meant to sustain the frequent moving that a piano in a high usage area will receive.

Churches should have policies for taking care of pianos. Food and drink, flowers, and candles should never be placed on a piano. Pianos should be kept closed and covered when not in use.

Quality – The bottom line for a piano is quality. You will have to pay for quality. When you begin a process to purchase a piano, recognize this fact from the start.

Purchase of Synthesizers and Electronic Keyboards

Both the number of brands and models available and the wide range of possible functions of these instruments complicate the purchase of synthesizers and electronic keyboards. The basic building block for most music ministries will continue to be the sounds of the organ or the piano; however, these sounds can be greatly enhanced by the addition of electronic keyboards.

Expert advice should be sought before purchasing an electronic keyboard. The field is too broad and there are too many options for the novice to make wise choices. When considering the purchase of electronic instruments, consider the following:

1) For what purpose(s) will the instrument be used?

2) Will the instrument be used primarily for adding sounds to piano and organ?

3) Will it serve as the backbone of an instrumental ensemble?

4) Will the instrument be used to fill in missing parts in an orchestra?

5) Will this instrument be used with an acoustic piano?

6) Should it have acoustic piano qualities?

7) What sounds are already available on the organ?

8) Should the instrument be portable for use in outdoor settings and tours?

9) Will it augment other electronic instruments, or is it the first one to be purchased?

10) Who will play the instrument, and how skilled are they?

11) How willing are they to learn?

Answers to these questions will get you started in the process of securing a synthesizer or electronic keyboard.

Purchase of Handbells1

While handbells represent a major expenditure, they usually are not bought through a special committee, and frequently may be a memorial gift. There are only a few major handbell producers, so the choices are much more limited. Although you will want to consider price and service, you should have the handbell representative from each company bring a set of bells to try out in your worship space. Carefully compare them, especially in the worship space. Most churches should initially purchase a three-octave set since a two-octave set will severely limit the potential repertoire for the group. In future years, additional octaves can be added.

Equipment

Tables – Most handbell experts recommend using standard thirty-inch wide banquet tables in varying lengths, depending on the formation that your group uses. There are several lightweight tables

1 The author expresses gratitude to Mary Kay Parrish, Shawnee, Oklahoma, for her extensive suggestions in improving this section.

currently available, and handbell manufacturers have tables specifically designed for handbell groups. A combination of eight foot, six foot, and four foot tables usually works well and provides maximum flexibility.

Pads – Four-inch thick pads are recommended to provide adequate cushion for varied handbell techniques; however, foam comes in various densities and harder foam will not yield a good staccato with the larger bells. Many experts recommend using super soft foam. For ease of storage, you should have pads cut into two-foot lengths so that they are interchangeable on four foot, six foot, or eight foot tables. When traveling, pads can be carried in fabric cases designed by an upholsterer.

Table Covers – Table covers should be made from narrow wale corduroy and should fit on the top, front, and ends of the table with hems just above the floor.

Music Folders – Most choirs use vinyl music folders designed for handbells.

Music Risers – Stands that raise the music folders will allow the music to be closer to the ringer and will provide for better eye contact, although they do restrict the sound.

Music Stands – Some handbell ringers (especially those who are taller) will prefer a music stand in order to have more table space and to raise the level of the music.

Cleaning Supplies – Cleaning supplies include simichrome polish and wiping cloths — soft cotton fabric is ideal. Handbells should be thoroughly cleaned several times per year.

Wiping Cloths – After each use, handbells should be wiped to avoid build up of residue. Use jewelers cloths especially designed for this purpose. These are available from music dealers and handbell supply companies.

Gloves – Work gloves are ideal for rehearsal since they are thick and provide more cushion than regular gloves. Performance gloves are usually white or black — preferably with plastic dots on the palms to help prevent slipping and to aid in turning pages (these are the same types of gloves worn by bands and other groups). Since gloves can be purchased cheaper in bulk from a handbell supply company, it is better for the director to purchase the gloves rather than having each player provide his/her own.

Mallets – You will need a variety of mallets for achieving desired effects — two mallets per ringer of varied hardness and material content.

Purchase of Other Instruments

If your church decides to have an orchestra, it will need to provide some instruments to augment this program. Many players will own their own instruments; however, the church will need to purchase or rent some instruments to accommodate players who do not have instruments of their own. The following list is helpful in determining what to purchase.

Instruments That Are Usually Owned by the Player – Flute, Bb clarinet, oboe, alto saxophone, Bb trumpet, trombone, violin, viola, guitar (sometimes French horn, euphonium/baritone, tuba, cello, and bass).

Instruments That Are Often Not Owned by the Player – Tuba, euphonium/baritone, French horn, cello, bass, alto clarinet, bass clarinet, contra bass clarinet, soprano saxophone, tenor saxophone, baritone saxophone, bassoon, percussion.

Some players will not own instruments in the first category, but they will be easy to find/rent. These instruments can often be bought at pawnshops and garage sales, or can be donated by people in the church. Instruments in the second category will often have to be rented or purchased; however, they can sometimes be borrowed from a school. When starting a new program, rent/purchase instruments only when you have an experienced player available to play the instrument, and give priority of funds to instruments that are necessary for the ensemble. Percussion instruments and tubas are difficult to borrow because they are so large and expensive. Priority should be given to these instruments. Additionally, instrumental departments in schools are frequently asked to loan percussion instruments. This eventually causes their instruments to wear out.

Additional Needs

In addition to instruments, you will need music stands, chairs, music, and rehearsal space. You are encouraged to purchase quality music stands instead of wire stands. Quality musicians do not like to play from wire stands because they are flimsy and do not support the music well!

Whether accepting donated instruments or buying used ones, always evaluate the estimated costs of repair. Also, be sure that the person who donates the instrument understands that the instrument will be owned by the church and may be repaired and used or traded in for another instrument.

Children's Instruments and Equipment

If children's choirs are to be effective, they must have quality instruments. Instruments for children include the following: autoharps, Orff instruments (xylophones, metallaphones, glockenspiels), unpitched percussion (drums, bells, triangles, maracas, claves, guiros, castanets, finger cymbals, tambourines, and others), and resonator bells.

Other equipment needs include CD players, portable audio equipment, and recordings and videos.

Miscellaneous Equipment

Choir Robes – Choir robes should be purchased from a reputable dealer, for you may need to add additional robes in the future. They should be chosen from easy care fabric in neutral colors so that they can be used effectively in different settings. Avoid trendy colors and styles. A set of new stoles can revive older robes and can provide flexibility for different seasons.

Folders – Every group will need folders. Most choirs use three ring binders, and instrumental groups use folders with side pockets. Plain black folders are often easier to add/replace and are more economical.

Music Stands – Churches need an abundance of music stands — there never seem to be enough. Even if you do not have an instrumental program, you will need stands for guest instrumentalists, rehearsal rooms, and other people or places. It is also good to purchase stand lights that can be used for special programs. Usually, when you need stand lights and attempt to borrow them (Christmas), every church in town will be trying to borrow them as well.

Risers – Risers are particularly useful for concerts and for travel. They provide added flexibility.

Chairs – You will need chairs for both the choir loft and the rehearsal room. Chairs should be lightweight and should encourage good posture.

Platforms – Varying sizes of platforms can provide flexibility in programming, especially for dramatic productions.

Music Cabinet – There should be a music cabinet for storing folders. A separate cabinet for each group is desirable.

onated Instruments

Occasionally, someone will want to donate a used or new instrument to the church. This is totally acceptable as long as the person is willing to abide by the church policies. The following suggestions will help avoid problems often associated with donated instruments.1

Used Instruments

Churches should only accept instruments when they are actually needed. If a choir, Sunday school department, or some other group cannot effectively use them, they should not be accepted. Instruments that are not needed have to be stored and take up space, and are often difficult to sell or give away later because they were donated. A church I once served had three home entertainment organs. The church has never used any of them; however, the pastor accepted the organs even though they were not needed. Once they are donated, everyone is afraid to dispose of them!

Donated instruments should only be accepted when the donor fully understands that the church will own the instrument with no strings attached. If the church decides to sell or donate the instrument to another cause, it may do so. When/if the church decides to upgrade, it may.

Donated instruments should be in good condition. They should be usable as is or repairable with little expense. The church should acknowledge the donation in writing for income tax purposes.

New Instruments

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People who want to donate new instruments should abide by everything in the above section; however, they should not have exclusive rights to choose the instrument. The same processes for purchasing an instrument that are outlined in the previous section on "Instrumental and Equipment Purchases" should apply to this situation. Many times someone will want to donate a new instrument to the church; however, they are not willing to spend enough money to acquire the instrument the church really needs, or they are simply not aware of the church's needs. If the church accepts the instrument, they are stuck with it! For instance, I know of a church

1 Information for this section was informed by Jimmy McCaleb, Church Music RFD: Practical Helps for Smaller Churches, 5th printing, (Jackson, MS: Mississippi Baptist Convention, 1995), 108.

that built a new worship space. A family in the church wanted to donate a grand piano; however, they were not willing to give enough money for a high-quality instrument. Since the couple wanted the church to have a grand piano, the church bought an inexpensive model. The piano does not hold tune well and is frustrating to all who play it; however, with the gold plaque on the side, it will be many years before the instrument can be traded in for a quality instrument. In retrospect, the church should have insisted on a better quality instrument and paid the difference.

Music Ministry Facilities

Few music ministers will ever have the option of designing new music ministry facilities. Most will renovate or utilize existing space. Many existing spaces can be reconfigured and renovated and become more serviceable. New paint, acoustical treatment, new chairs, and even moving existing walls, can often turn a negative space into a space that serves the music ministry well. While this chapter will primarily discuss the construction of new space, the suggestions are adaptable to renovating existing space.

The choir room is both educational space (teaching occurs here) and performance space (it should somewhat simulate the worship space). When the acoustics of the choir room are more live than the worship space, the choir will invariably be unable to fill the worship room with sound and will always be dissatisfied with their presentation in worship.

When Building New Space1

The Choir Rehearsal Room

Risers – When designing choir rehearsal space, the decision to use or not use risers is an important one. A choir room with risers makes it easier for the choir to see the director and allows the director to hear the choir more effectively. However, fixed risers limit the room's usefulness for other purposes. When a room doesn't have permanent risers, two options are possible: (1) elevate the director so that he/she can see and be seen by everyone, or (2) use temporary platforms that can be moved if needed. The latter may be preferable

1 Much of the information in this section is informed by Bill Green, "Music Suites," in The Music Ministry Resource Manual for Creative Church Musicians, ed. Jere V. Adams, (Nashville: Convention Press, 1990) section 8-1, 1-6.

to building permanent risers because it allows for expansion, reconfiguration, and additional flexibility. If risers are used, the first riser should be eight inches high, and each successive level should be raised at least four inches. The risers should be a minimum of thirty-six inches deep with thirty-eight to forty inches preferred. Risers should have a forty-five percent curvature.

Size – To facilitate combined rehearsals, the choir room should be able to accommodate the largest two choirs in the music ministry. You should allow approximately fifteen to twenty square feet per person; however, the cubic space of a room is actually more important for acoustic qualities.

Ceiling – The ceiling should be a minimum of 14-16 feet high with 18-20 feet preferred. Ceilings should be no higher than 22-24 feet. If the room is taller than this height, reflections will arrive late and can hinder the development of the ensemble's sound.2 The ceiling should not be flat. If the architectural plans do not allow for a diffuse ceiling structure, it can be altered after construction with commercially available products. Ideally, it will have multiple angles to allow for the sound to be reflected in different directions.3

Floor – Concrete is an ideal floor for a choir room because it doesn't absorb low frequencies. If the floor is covered with carpet, it should be a short nap, tight weave, synthetic, glued-down carpet.

Shape – Avoid parallel walls if possible. According to Adams, any shape other than square or rectangular is preferred.4 Walls that are parallel can produce a flutter echo (sounds repeatedly bounce back and forth) that becomes confusing to the choir and conductor.

Conductor's Wall – Since there is no wall behind the conductor in the worship space, the wall behind the conductor in the choir room can provide false security for the choir. The wall behind the conductor will allow the sound to travel back to the choir, which will not be the case in the worship space; therefore, the wall behind the conductor must be covered with absorptive material so that the choir does not become overly confident. One possible solution is to put the choir robes behind the conductor. Music storage is another way to diffuse and absorb sound.

Heating, Cooling, and Ventilation – The room should be well ventilated and comfortable. To avoid sound from the heating and

2 R. Bob Adams, "Rehearsal Room Acoustics: Performance Space vs. Teaching Space," The Church Musician, vol. 46, no. 2, (January/February/March, 1995), 21.

3 Ibid., 21.

4 Ibid., 21.

cooling systems, the units should not be located within the room. The room should have a separate heating and cooling unit so that other parts of the building do not have to be heated or cooled when the music suite is in use. Adequate fresh air intake is a must.

Sound Equipment – The choir rehearsal space should have good play back possibilities for audio and video presentations, a screen, and adequate sound reinforcement for microphones. In addition, it should have recording options. Soundproofing is also necessary if the room will be used for recording.

Lighting – The room should be well lit for reading and should create a positive environment. Somewhere between fifty and seventy-five foot-candles are recommended. Fluorescent lights are not recommended because they hum.

Social Activities – Choir rooms are always a hub of social activity, so a kitchenette is helpful for facilitating social activities that involve food.

Entrances and Hallways – Entrances and hallways adjacent to the choir room should be wide so they can accommodate both instruments and the many people who need to move quickly to and from the choir room.

Location – For easy access, the choir rehearsal space should be located on the same level as the worship space.

Other – The room should have a marker board that is large and visible, preferably with a music staff.

Offices

If possible, offices should be located near the music ministry rehearsal space. Although there are advantages in locating together the offices of the entire church staff, there are also advantages in locating offices near the areas where each staff member will do much of his/her work. Offices should be neither too large nor too small but adequate for the work that will happen within them. An office area should contain a reception area that does not have sight lines into individual offices. A separate work area for a copy machine and other office supplies is also recommended.

Robing Rooms

A separate robing space for men and women, each with its own restroom, is recommended. The robing room should also contain a space for folders and storage of personal belongings. The robing room should be carpeted, have large doors to accommodate quick

passage, a mirror, and a water fountain. It should be located adjacent to the rehearsal space.

Handbell Rehearsal Space

Handbell rehearsal space should have a less live acoustical environment than choral space and should accommodate the same table configuration used in the worship space. There should be adequate storage space for equipment, and the room should have large doors. If possible, this space should be used exclusively for handbells since taking down and putting up equipment is difficult and time consuming.

Practice Rooms

The music ministry space needs practice rooms. They should be large enough to accommodate a piano and a small group of singers. They also should be soundproofed to allow privacy and to keep practice from disturbing other activities.

Music Library

The music library space should be large enough for the current library and should be able to accommodate growth of one hundred percent or more. Shelves should be in lines with adequate space to walk and work between them. Since shelves may be tall, pay particular attention to lighting so that there are not dark spots in some aisles. The library should have a workspace for cataloging music.

Children's Music Resource Room

The children's music resource room should be located close to where the children's choirs rehearse. It should be an actual room (not a closet) and should be large enough to accommodate several people at once. Since all children's choir workers usually need access to the resource room at the same time, it should have wide doors to accommodate passing with equipment. There should be adequate space for storage of instruments, CD players, posters, craft materials, music, and associated materials. Abundant shelves and oversized storage is recommended. It should have countertops for workspace and a filing cabinet(s).

Storage

A music ministry space should have adequate storage areas for instruments, outdoor sound equipment, props for dramatic

productions, robes for different choirs, as well as extra storage space for growth. Often, storage areas are neglected in designing music ministry space, and every closet in the church is packed with music ministry materials. Storage areas should have large doors, access to the outside, and locks.

Worship Facilities

During a normal career, most music ministers will not have the opportunity to design new worship facilities. Although much of this section will deal with new facilities, this information can easily be applied to renovations as well.

Realizing that different worship traditions have facility needs that are individual to their liturgy, this section will not deal with space issues that are specific to those traditions (i.e., such as baptismal spaces or communion spaces), but will instead focus on those aspects of worship facilities that relate directly to music.

Determine the Purpose

When building a worship space or renovating an existing space, one must first ask questions regarding the purpose of the room. If the worship will be led by a pipe organ, the acoustical properties and space needs are different from a church whose worship is led by guitars, electronic keyboards, and percussion. If the room will have a theatre environment with dead acoustics, this will require very different needs from one where congregational singing will be prominent. Does the church view word and liturgy as equals, or is one more prominent than the other? What will be the role of congregational song? What role will the choir play? What role will music play in the overall liturgy? Should the space allow for flexible seating and set-up? What other uses will the space have? These questions must be answered before the architect begins the design phase.

Exert Your Influence

From the inception of the process, the minister of music must take an active role. Once the architect's plans are complete, it is expensive to change plans and many committees will not allow changes. In a building process, you must be proactive and prepared

to give reasons for your preferences. Don't assume that others will recognize your knowledge and consider you an expert. Be prepared to provide documented research to support your ideas.

Acoustical Decisions Should Be Made Early

The shape of the room will partly determine the acoustical environment. Most authorities suggest a rectangular-shaped room. Even if you opt for a fan-shaped space, a rectangular room can be designed on the horizontal axis.

The room should be designed to be acoustically live. A room that is too dead cannot easily be made more live; however, a very live room can easily be deadened if needed. A room that is very reverberant will encourage hearty congregational singing, but may present a challenge to the understanding of the spoken word. With a room designed specifically for the spoken word, the singing will never be full-bodied, for a good sound system can enhance the spoken word, but no sound system can remedy poor congregational singing. If congregational worship is our priority (and it should be), then the room should be designed for maximum congregational participation.

In addition to the rectangular shape of the room, it should have high ceilings and hard surfaces. Side walls should not be straight or without variation; they should have occasional angles, columns, and other configurations to help diffuse the sound. The floors should not be covered with carpet (except for the aisles), which may be covered with short pile, closely woven, glued-down carpet. The platform space, the choir loft, and the area under the pews should all have hard surfaces. These surfaces may be stone, tile, marble, wood, or parquet — surfaces that are aesthetically pleasing and reverberant. Some acoustical authorities suggest padding the seats of pews, though others recommend no pads. According to certain authorities, padded pews can provide for a more uniform acoustical environment even if the room is partially empty. If the room is full and people are sitting, the pew coverings are covered anyway. Many churches compromise by padding only the seat.

When sounds bounce off the back wall, they often interfere with intelligibility and can provide difficulties in sound reinforcement. Often the back wall of the worship space will need to have some acoustical treatment in order to avoid sounds that bounce back too quickly. This acoustical treatment may be a hard material, which is

curved or angled, that causes the sound to be reflected in different directions. If this is not successful, then it may need to be combined with a more sound absorptive material.

Location of the Choir Space

The location of the choir space is variable, and no one seems to have a definitive opinion even within a particular worship tradition. Historically, some congregations have placed the choir in a divided chancel. Others have placed the choir and organ in the rear, put the choir front and center behind the pulpit, or have experimented with having the choir sit among the congregation and come forward for specific choral presentations. However, most believe that the congregation's participation is increased when they can see those leading them; therefore, according to current opinion, some configuration in the front of the room is preferred.

Choir Space

The first choir riser should be at least eight inches from the floor. Each succeeding riser should be at least four inches higher. In order to more easily accommodate people of varying heights, more distance between choir steps is desired. However, according to building codes, the chair back must be twenty-four inches above the riser behind it or a rail must be installed. Often tall back chairs are the result. Choir seating should be in chairs (not pews), and the chairs should have a side pocket for music. Choir chairs should be lightweight and stackable for easy storage.

Instrumental Space

Location and space for the organ should be decided before the architect begins his/her work. If a pipe organ is to be installed, space must be appropriated. It is wise to plan space for a pipe organ even if an electronic instrument will be purchased. This allows for the church to add a pipe organ at a later time. The organ should be placed close to the choir, and if the service is led by an organist/choirmaster, the organ console should be as central as possible. In most free churches, the organ console is on the right side of the congregation and the piano is on the left, which allows the lid to open toward the congregation. Ideally, the organ should be designed so that the console can be moved to the center of the platform for concerts and to other areas when it is not needed.

Decisions regarding a piano should be made early as well. If a piano will be used, a large grand is preferred and space must be provided. Many churches have the tradition of surrounding the organ console and the piano with railings. While this does nothing to harm the organ acoustically, it does keep the sound of the piano from reaching the congregation since about forty percent of the sound comes from the bottom. Other than tradition, there are no logical reasons for surrounding the piano with railings.

Space for handbells and other instrumental groups should also be included. When worship rooms are not planned to include these groups, their use in worship can disrupt normal traffic flow, obstruct communion and processionals, and can block fire exits.

In summary, a considerable amount of space should be allowed for instruments. Much space should be left flexible for drama, dance, and other worship forms. All platform items should be moveable. Choir railings should never be permanent.

Ventilation Systems

The worship space should be free from heating and air conditioning noise. Air conditioning units should not be placed adjacent to the worship space, and these spaces should be sound proofed from the worship space. Sympathetic sounds that travel through ductwork should be avoided. According to the Handbook of the American Society of Heating, Refrigerating, and Air-Conditioning Engineers, this sympathetic noise is defined by a standard reference called Noise Criteria (NC). According to Ewart A. Wetherill, "Defining this single-number rating as a contract requirement (e.g., the background noise level with systems operating normally shall not exceed NC 25-30) not only establishes the design goal, it also provides a performance specification against which the completed installation can be checked for compliance."1 There will be some cost involved with this; however, it will be well worth the extra expenditure. Air velocity should be low enough to avoid hissing sounds, and all vents must be firmly mounted to avoid rattles.

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Environmental Noises

The presence of outside noises is often not considered when designing a worship space. Proximity to streets, industry, air travel, or other noise producers can affect the worship space. For instance,

1 Ewart A. Wetherill, "Acoustics for Worship," The American Organist, vol. 30, no. 8, (August 1996), 61.

because of the noise level of an aircraft flying over, a worship space built near a flight path probably should not have windows.

Renovations of Existing Space

Often, the cost of renovating existing spaces can be exorbitant when an older building has to be upgraded to current building codes. Finding the original architectural drawings is a beginning point for any renovation, for it will provide much-needed information. Before redesigning or moving choir space, consider building a temporary choir space out of scrap plywood and fellowship hall tables to be sure that the sound will be pleasing. Do everything possible to avoid irreversible and expensive mistakes.

A possible solution to some acoustical problems in an existing space is to purchase a better quality sound system; however, sound systems can never make up for poor acoustical choices in the original construction.

Sound Systems

The importance of a quality sound system cannot be overemphasized because, in a day when people are so aurally sophisticated, your congregation, whatever its size, will have high expectations. Sound systems are a relatively new addition to the church, having been added mostly in the last 50 years. Prior to this time, speakers and singers were expected to project loudly enough so that people could hear. If you had difficulty hearing, you sat close to the front! Today, most churches have a sound system whether they need it or not — even worship rooms that will only seat 100 or so often have sound systems.

A sound system should provide not only sound reinforcement but sound enhancement as well. Not only should the sound become louder, it should become better as it passes through a sound system. However, this is often not the case, for the sound usually gets louder but loses much of its natural acoustical properties. This problem can be attributed to the poor quality of the sound system (especially the microphones), the improper use of the system, and the lack of knowledge and training on the part of the sound operator(s). Many churches have different sound operators on different weeks. In this situation, you become keenly aware of the operator's role in achieving maximum results from the sound equipment.

There is no way to overcome poor acoustics with a good sound system. A good sound system can help, but it will not be able to make up for the lack of effective natural acoustics in the worship space. There is no substitute for good planning before a worship room is constructed or before it is renovated.

When purchasing or updating a sound system, you should always consult a professional. In the world of sound reinforcement, what constitutes a professional? This is a difficult question, for there are no uniform qualifications that provide a standard for the industry. To add to the problem, many sound reinforcement professionals do not have training in church sound systems and are not particularly sensitive to the role of the congregation. In worship, the congregation must hear themselves and feel that their singing is reinforced. Only the acoustics of the room can provide a good environment for congregational singing. Sound professionals may only be interested in or knowledgeable about what the sound system can do. Unfortunately, in order to make the job of sound reinforcement easier, they may even recommend deadening the room to the point that congregational singing will be severely crippled. The best way to find a good sound reinforcement professional is to worship in spaces where this person has designed the system. Ask the sound engineer for recommended worship rooms where he/she has installed sound systems. Visit the recommended sites and other installations as well. You should also talk with the ministers in the churches to find out about service, follow-up, and additional items.

Sound System Basics

Quality – All elements of the sound system should be of high quality. Sound systems may have a quality soundboard and speakers, but poor quality microphones. Others may combine quality microphones and soundboard with poor speakers. None of these will result in a sound that is pleasing. Sound system components must be compatible.

A good sound system should accomplish the following: (1) provide complete and equal coverage throughout the entire worship space, not varying plus or minus 3 decibels at any location; (2) enhance the degree of intelligibility of the sound through clarity of consonants; (3) provide for smooth, wide frequency response, particularly for music; (4) allow for adequate gain before feedback; and

(5) operate free from noises, pops, squeals, sizzles, hisses, and other interference.1

Placement – Most people will rarely see the sound system, for it is usually out of sight or in places that obscure it from view. Most sound experts recommend that the main body of speakers be in the top and front of the worship room where many of the sounds of worship will originate. The soundboard's ideal location is in the center of the worship space, which allows the sound operator to hear as the other worshippers do. To minimize distractions for the worshipers, the soundboard is usually located in the center rear of the main floor of the worship space. If the room has a balcony, the soundboard should not be located under the balcony, but should be placed in the balcony to the congregation's right or left. Sound equipment should always be stored in a room or closet that is lockable and easily accessible to the front of the worship space.

Speakers – Speakers come in many brands and types and should be chosen for the particular room. They should be able to produce quality sound at all frequencies, and they should be compatible with the amplifier. If the amplifier is too small to drive them, they will not function well. If the amplifier is too large, it may blow the speakers. Amplifier and Mixer Console – The mixer is the control panel for the system. It should have an adequate number of inputs for the number of microphones and other equipment, such as CD players, that you intend to use at any given time. It should also have adequate outputs to accommodate all speakers (worship room, foyer, or cry room) and the ability to achieve tone equalization for low, mid, and high range frequencies. A reverb system is also necessary. Sometimes consoles are too complicated for the volunteers that will operate them. There should be a balance of equipment that will both accomplish the sound needs and can be easily operated by a novice.2

Microphones – Microphones come in many types and have specific purposes. Problems often arise because the wrong microphones are used for a particular individual or group. Poor microphone choices can be the reason certain members of a group are heard more prominently, a singer does not have the right "presence," consonants make noises, or microphones have feedback.

1) Condenser – Condenser microphones are easy to miniaturize,

1 Warren P. Miller, "Sound Reinforcement: So That All May Hear," The Church Musician, vol. 41, no. 2, (November 1989), 13.

2 Ibid., 14.

typically have wide-range and uniform frequency response, require power sources, are rugged and reliable, and are used for vocal or instrumental reinforcement and recording. These microphones have longer pickup and are usually used as hanging microphones over the choir or congregation, or they sit on an altar table. They can pick up well from between five and seven feet. Condenser microphones must have a phantom power unit — most mixers will have one. Be sure that the power unit is on so that your condenser microphones will not be damaged.

2) Dynamic – Dynamic microphones cannot be miniaturized, typically have limited and uneven frequency ranges, do not require power sources, are usually rugged and reliable, and are used for vocal reinforcement. Dynamic microphones are usually used for singing and are excellent hand-held microphones. They are limited in pick-up pattern to only a few feet.

3) Other – Microphones may come in many shapes and sizes and designed for different purposes. These may include gooseneck (bendable microphones often used for pulpits and other speaking stands); lavaliere (small microphones that attach to clothing, usually have a battery pack attachment, and can be wireless); hanging (usually small condenser microphones that hang over the choir or congregation); handheld (wireless or regular microphones designed to be held by the user); omni/uni boundary (flat microphone, used on a table or flat surface to amplify sounds around it).

Basic Microphone Pickup Patterns3

(Microphone pick up patterns vary according to manufacturer, type, etc.)

Omnidirectional – Picks up sound in all directions, 360 degrees.

Half-omnidirectional – Picks up sound, 180 degrees.

Cardioid – Null at rear of microphone, 131-degree pickup.

Supercardioid – Narrower pickup pattern than cardioid, 115 degrees, slight rear pickup.

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Hypercardioid – Narrower pickup than supercardioid, 105 degrees, more rear pickup than supercardioid.

3 For information in greater detail, see David Miles Huber and Robert E. Runstein, Modern Recording Techniques, 5th ed., (Boston: Focal Press, 2001). Also refer to website, www.focalpress.com.

Figure Eight – Picks up front and rear and nulls from sides.

Microphone Placement

The following guidelines are helpful in placing microphones appropriately:

1)Should be placed behind the main speakers — the farther the better;

2)Should generally be turned away from the monitors;

3)Should be accessible to the participants;

4)Soloists using a dynamic microphone should hold it very close to allow the sound operator to appropriately adjust the volume, but when using a condenser microphone (pulpit), the distance is not so critical;

5)Ensembles should be miked from a distance to allow for mixing of sounds;

6)Choirs should be miked with condenser microphones appropriately spaced depending on number and height;

7)When the congregation is miked, it is best done with condenser microphones appropriately spaced and tall enough to pick up a large group sound.

Communicating with Sound Operators

Sound operators should be notified about special sound needs in advance of the worship service. If microphones are necessary for soloists, ensembles, or for other specific groups or people, this should always be rehearsed with the sound operator. The sound operator should have the order of the service, with appropriate notations, and he/she should always arrive early to have sound equipment set up prior to the rehearsal. The sound operator should verify all details and should have the ability to adapt when unexpected situations arise. Many ministers of music provide sound operators with a grid sheet that details all sound needs for the service.

Qualities of a Good Sound Operator

A good sound operator is more than someone who can turn on the system and set up the equipment. A good sound operator can compensate for any differences in sound in the rest of the room from where he/she is sitting, is aware of sound color from person to person and within different people (announcement voice and prayer voice), anticipates aspects of the service, watches for non-verbal cues, turns microphones off when they will be moved, adjusts volumes of instruments for different parts of the service, and may do

many other things. A masterful sound operator has a musical ear and understands the subtleties that are implied in different types and styles of music.

Training for Sound Operators

Sound operators should have adequate opportunity for training. When a new system is installed, training should be part of the cost of the system. Otherwise, occasional training opportunities should provide refresher courses for veterans and initial training for rookies. Having a rookie mentored by a veteran is an excellent system of training.

Lighting

Light has a powerful effect on our moods, feelings, and emotions. Psychologists have long recognized the effect of light in enhancing moods and aiding in the recovery of depression and grief. Strong light encourages positive feelings, activity, and an increase in energy, whereas dimmer lighting encourages quietness, contemplation, and lethargy; therefore, light's potential effect on worship is obvious. It can be used effectively for emphasis, to provide focus or lack of focus, and to lead the eye from place to place within the worship space.

There are four different types of lighting in a Sanctuary: natural, ambient, accent, and dramatic. Each of these is discussed below.

Natural Lighting

Natural lighting comes from windows and doors. Although natural lighting can easily hinder situations where light must be strongly controlled, it is usually encouraged and desired in worship spaces. The effect of open windows, stained glass, or colored glass can truly enhance worship. Furthermore, natural light can connect us with the outdoors and nature.

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Ambient Lighting

Ambient lighting is the lighting used by the congregation to read the worship folder, hymnal, and other printed materials. It is provided by down lights, recessed lights, and/or cove or indirect lighting. Fluorescent lights are not recommended for this purpose

because they are difficult to dim, often are noisy, sometimes difficult to maintain, and they do not provide true color rendition. House lighting should always be dimmable both as a whole and by sections.

Accent Lighting

Accent lighting is used to draw attention to an area of the worship room such as the pulpit, lectern, communion table, baptistry, choir, space for instrumentalists, architectural features, and symbols. This lighting should also be dimmable and individually controllable.

Dramatic Lighting

If dramatic works are produced, the most logical location in most churches is the worship space. Since most drama requires special lighting, the worship space should be planned to accommodate dramatic lighting. Even though extra lighting may have to be rented or borrowed for some events, existing lighting will supplement additional lighting and will be adequate for most occasions.

Important Issues

1)The light source should be properly placed in relation to the person or object being lighted; otherwise, the lights will create shadows and distortions. Floodlights and spotlights should be recessed in the ceiling and located at a thirty to forty-five degree angle from the light to the surface being lighted.

2)Ports of ceiling lights should be designed to allow their beams to be crossed to avoid shadows and other undesirable effects. Normally, a person is lighted from the front and sides; however, lighting becomes more difficult in a round space, and more sides must be lighted. An added challenge is not shining lights in the faces of the congregation.

3)All lighting in the worship space should have full dimming capacity, including entrance areas.

4)Lighting controls should all be located at the soundboard control panel, allowing for lights to be controlled from a single source.

5)Lighting should be easily accessible to allow for proper adjustment and maintenance. Lighting that requires extensive ladders and scaffolding is difficult to access and often will not be well maintained or utilized effectively.

6)The size of the lights should be adequate for the light to travel the distance required.

7)Good dramatic lighting allows for future expansion.

8)Lights should be computerized to allow for setting various combinations for worship and dramatic productions.

9)As with sound, light travels in straight lines. It cannot pass through or around a dense object.

Purchasing a Hymnal

Until recently, most churches purchased their denomination's hymnal. Since most hymnals have traditionally had a fifteen to thirty year life span, the main question was, "Do we purchase the new hymnal or keep the old one?" However, with the increased number of hymnals published by non-denominational publishing companies, today's choices are much greater. In fact, some denominations have decided to publish new hymnals because many of their churches were purchasing hymnals from other sources. The following suggestions will help a minister of music who is guiding the church to choose a new hymnal.

Work with a Committee

You should never attempt to choose a hymnal on your own. A committee that represents a broad section of the congregation should choose the hymnal. This committee should be large (perhaps eight to twelve people), since this choice will influence the church's worship for many years.

Pre-suppositions

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What are the theological presuppositions of the hymnal? Treatment of baptism and communion will deserve special attention. Overall, is the hymnal designed for churches with worship and theological positions that are similar to yours? If not, the hymnal probably will not work well for your congregation. Denominational hymnals are designed to support, and not be contrary to, their denominational beliefs while other hymnals are meant to accommodate many perspectives.

Textual and Musical Content

Are the texts in the hymnal truthful according to your church's theological positions? Is there a balance between the songs your congregation knows and ones that you perceive they would like to learn? Are enough of your congregation's favorite texts included? Are most of the tunes ones that your church already knows? Are familiar texts set to tunes that your congregation knows? Are newer texts and music compatible? Are the vocal ranges of the hymns acceptable? Does this hymnal reflect the diversity of current congregational material?

Companion Products

Does the hymnal have the companion products that your church needs, such as accompanist editions, orchestrations, and other support materials? Is there a hymnal companion that provides information about the hymnal?

Congregational Match

If you purchase this hymnal, will it be a good match? Is it one that will both respect and reflect the church's past and also challenge it in the future? How much of this hymnal do you believe the congregation will use?

Practical Considerations

How attractive is the page layout? What is the overall organization of the hymnal? Does it have good indices? Are the worship aids useable for your congregation? Is the hymnal securely bound? Is the price reasonable? How does the price compare with other hymnals currently on the market?

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Dealing with Transition eciding to Leave

DThe decision to leave a church is one of the most difficult decisions that ministers face. Rarely are there clear answers, and conflicts between emotion and reason run high. Considering the seriousness of this decision for both the minister and the church, a decision to move must always be approached carefully with much prayer. Only in very rare cases should resignations come quickly.

Reasons to Consider Leaving

Considering a transition usually comes about through a variety of reasons or situations. It is not unusual for more than one of these situations to be part of the process. Before making a decision to move, be sure that you've honestly evaluated your reasons and motives for considering a transition.

1)You are dissatisfied in your present situation.

2)You have an opportunity to move to a new church.

3)You feel that your ministry in your present church is complete and God is leading you to pursue another ministry option.

4)You are in conflict with the pastor, staff, or members of the congregation. Be aware that conflicts, given time, prayer, and effort can often be resolved, and your ministry may continue for a long time.

5)You may feel a lack of support from the church or pastor. While this lack of support may be financial, it is just as likely that you do not feel valued and recognized for your contributions.

6)You may feel burned-out and are certain that the only way to overcome this sense of helplessness is to start over. While a new ministry opportunity may solve the problem briefly, rarely does relocating solve deep-seated problems. (See the section on "Avoiding Burnout" in Chapter 2).

(7)A final reason for considering a transition may be a change in direction or philosophy in the congregation or in the music ministry. You may feel that you are no longer qualified or able to be effective in this church. Whereas this is a valid and noble reason for searching elsewhere, you should carefully analyze your opportunity to re-tool and grow through this change of direction.

Questions to Consider Before Distributing Your Resumé or Applying for a Transfer

1)Have I accomplished what I felt called to this church to do? If I leave, are there ministries that will not be accomplished? How will my leaving affect ______________? (Fill in the blank with names and situations.)

2)Is my ministry in this church positively affecting people's lives? Once when I eagerly wanted to leave a church over conflicts with the pastor, I asked myself this question and, overwhelmingly, I felt that my ministry in this location was making a positive difference in the lives of many people. I decided to work harder to get along with the pastor and to focus on my real reason for being there — ministry to God's people!

3)Do I feel God has released me from my call to this church? Do I have peace about the prospect of leaving? Do I feel God is guiding my thoughts and feelings?

4)What implications would a move have for my family? How would this move affect my children and spouse (current age of my children, loss of their/our friends, or my spouse's employment)? How will the move affect the way your children view church and how their long-term ideas of church are formed? How do you explain to a child that you are not able to get along well with people or that money is a high priority for you? While these are hard questions, they are worth considering.

5)Are other options available if I resign or distribute my resume? Am I marketable? Can I relocate? Do I need to re-tool or consider further education? What is my age and how will I be perceived as other churches consider me? Will I receive positive recommendations from other ministers and laypersons in my present church?

6)Am I leaving a negative situation without working to overcome it? Have I done my best to reconcile differences? Have I sought the wise counsel of others? Have I consciously sought help

to work through personal issues that may contribute to my present situation?

7)What implications would a move have for my future career in church music? Have I been in this church long enough not to create questions concerning my work history? Will this most likely be the last move for me? From my personal perspective, I've declined to move from three different churches when a move seemed to be a good career choice for me. I've always been glad that I stayed for reasons of calling and people instead of career. Exert great caution when career goals are a primary motivation!

8)Is there a pattern in my moving? Do I tend always to move after two years or three years? What does this say about my ministry? Have I moved before because of conflicts with people? Have I moved before because my spouse and family were unhappy? If you see patterns emerging, you must take a concentrated look at them and seek counsel to work on underlying issues before making another transition.

9)If you feel that you're not valued and appreciated, are your ego needs too great for any organization to meet? Ego needs have no place in ministry, and if you are continually feeling unappreciated, then your needs may be too great and your focus in ministry may be inappropriately directed. You should consider counseling to help you develop a proper relationship to self.

10)Can I re-kindle a vision for my current position? Given time, can I learn to dream the dream again in this place? If you can find a spark of hope in this option, give yourself time, distance, and opportunity to create new aspirations. Sometimes re-visioning in your present location is much better than moving. It also saves heartache to your family, is easier on finances, and does not disrupt the ministry in your present position.

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11)How will others perceive my move? Will people in my church understand and support my leaving? If you cannot logically explain why you should leave your current position, then you should reconsider. If most of your reasons involve resources, salary, prestige, and influence, then be careful!

12)Will the grass actually be greener on the other side? It is easy to look at another situation and imagine how good things will be there. I have discovered that every place has its problems, and the problems are similar. When you stay in one place for a long time, you know these problems better. While the problems seem to increase with time, your ability to cope with them and handle them

constructively should also be increasing. Always remember that what you see in a courting relationship with a new church is not reality. It is no more reality than dating is reality to marriage.

Conclusion

The seriousness of transition should never be overlooked or diminished. In my experience, I have considered three major transitions that did not materialize. Each of these came at logical transition points such as completion of a degree and culmination of a project. Deep within myself I could never justify leaving this church and its people to go and serve another similar church in a new location. While the prospects of changing location and working with new people seemed exciting, I could never decide how I'd explain to my current congregation why the other church was better. Consequently, I stayed. In each situation, I did eventually move, usually within the next year or two; however, the extra time I stayed became the most productive and most memorable times in my ministry. In each situation I saw ministries that I'd begun move to new heights, conflicts that seemed irreconcilable reconciled, and I had personal tragedy for which I needed the support system and grace of my present church. Through my experiences, I'm convinced that we often move a little too early — just before God's best for us is realized.

Designing and Distributing a Resumé

A resumé is a tool in the process of seeking new employment. Designed for the singular purpose of getting an interview, it is the source a prospective employer (search committee) uses to determine whether or not they are interested in finding out more about you. Realizing this goal is important in designing a resumé for a music ministry position.

When designing your resumé, you should pay careful attention to standard job search knowledge; however, realize that churches are unusual organizations and will require different information from people they are interested in hiring/calling. Ministry resumés are not usually limited to two pages, do contain personal information, and often contain a statement of calling, which relates personal Christian commitment. Resumés differ from church to church and should be designed with a particular position in mind. Most denom-

inational offices offer assistance with designing resumés, as do local workshops, websites, and many library resource materials.

Resumés are usually designed in reverse chronological order beginning with your present position. Most churches are interested in your work history, and gaps often are reason for question. Do your best to fill in your resumé gaps; however, everything on your resumé must be absolutely true. If you are new to the field of music ministry, have been out for a while, or have serious gaps in your resumé, you may want to utilize a resumé format that emphasizes your qualifications and skills rather than a chronological format.

When a search committee meets, their primary objective is to narrow the pool of candidates. Although church committee members may spend a bit more time looking at resumés, the average time spent is one minute. What you intend to say must be said precisely. Consider the following suggestions:

Designing a Resumé

1)Non-musicians who are looking at the "big picture" of the church's ministry will view your resumé. It should not be filled with a great deal of technical jargon.

2)A resumé should never contain anything negative. Your negative qualities will eventually be discovered; you must not expose them in a resumé. If there are negative aspects in your job history or educational background, search for ways to state them in positive terms.

3)You don't want everything on a resumé. You want to save things to talk about in the interview.

4)Seek help in designing your resumé. Consult a local placement service at a university or someone who specializes in assisting people in finding jobs. Be sure that your resumé is carefully proofed. Ask someone who has layout experience to look at your resumé.

5)Emphasize important items by placement and by size. Items you want to emphasize should come early, be closer to the left margin, and be in a larger font. If your educational background is lacking but you have a strong work history, de-emphasize your education by putting it later and in a smaller font.

6)Don't be clever and cute in a resumé. A resumé is to convey information, not show creativity. Use traditional fonts, simple paper, and avoid artwork.

7)Use action words. Phrases such as "was promoted," "led in growth," and "saw to completion" will speak to qualities that committees seek.

8)Design a resumé for a particular congregation. Find out what they are seeking, and capitalize on your ability to provide it. The skills needed to continue an outstanding program are different from those needed to begin a program. While you may be capable of either, the committee must evaluate your suitability for their church and its needs.

9)Although public companies cannot ask information regarding marital status, age, or other such personal information, churches will want to know this. It is usually best to put all information on the resumé to avoid any difficulties later.

10)References should be provided on the resumé, not "available on request." The latter can give the impression that you have something to hide. Many churches will contact your references prior to arranging for an interview. Often they will not want you to know they are interested at this juncture. They will rarely ask for your references if you don't provide them.

11)Pay careful attention to references. References should represent a wide range of people who can comment positively on your ministry. Committees are often wary of a "who's who" resumé list. Your resumé should contain both clergy and laypersons and should include someone from your educational experience unless you are past mid career. Often very busy, high profile people are not your best reference choice because they may not have time to respond to numerous phone calls, letters, and reference forms. Persons serving as references should have a stake in your future and be committed to assisting you!

12)As an act of courtesy, always receive permission to include someone as a reference. A refusal to serve as a reference does not mean the person doesn't believe in your abilities; but may mean the person is currently serving as a reference for too many other people! Be sure that you include accurate information regarding references. Addresses, phone numbers, and e-mails are necessary.

13)Avoid photos on resumés. Resumés are often copied to distribute to committees. Through multiple copies your photo may eventually become a series of black smudges. Photos also can emphasize your youth or your age and can bring out prejudices of committee members.

14)Be sure that all contact information is correct.

15)Avoid using stationery from your existing job when applying for a new job. This gives the impression that you would misuse church materials for your personal advancement.

Use of some of the Action Verbs, Nouns, and Modifiers in the following section should prove valuable in designing a resumé.1

accelerated accomplished achieved adapted administered analyzed approved completed conceived conducted coordinated created delegated designed developed directed effected

Action Verbs

eliminated established evaluated expanded expedited facilitated found generated improved increased influenced initiated instructed interpreted lectured led

Concrete Nouns

maintained managed mastered motivated operated organized originated participated performed pinpointed planned proficient in proposed proved provided reduced

reinforced reorganized revamped reviewed revised scheduled set up simplified solved streamlined structured supervised taught trained translated utilized

and Positive Modifiers

ability competentproficienttechnical activelyconsistentqualifiedversatile capacityeffectivenessresourcefulvigorous competencepertinentsustainability

Distributing the Resumé

The process of distributing resumés for ministers of music has changed dramatically in recent years. Until the late 1980's or early 1990's, it was assumed presumptuous for ministers in a Free Church position to submit their own resumé, and most churches did not actively advertise their openings. Nearly all job placements came through educational institutions and private networks among denominational employees and personal friends. This process has changed, and now many churches advertise for their positions. It is not unusual to see many advertisements for music ministry positions in state and regional denominational papers or magazines. In addition to these sources, professional journals often carry advertisements for music ministry positions.

1 Bobby Canty, lecture to Church Music students, Oklahoma Baptist University, Spring 2000.

Remember to refer to these denominational publications when seeking a new position, but realize that all openings are not necessarily found in the classified section. When searching for a new position, also pay careful attention to the transitions of ministers; every time someone moves from a church, an opening is created.

Educational institutions are excellent sources for openings. Many educational institutions have active placement services that are eager to assist. Also, educational institutions often display advertisements that come to them. A job placement board can be helpful; but the most helpful source for job placement of music ministers is networking. Networking occurs when you let people know that you're interested in moving and are seeking their assistance. This is usually most effective with people who know you well and have knowledge of your skills and abilities.

Many denominations require that all resumés for a position be submitted to a local or regional office. That office will do a prequalification scan of the resumés and will forward only those that they feel best suit the position. Congregations in denominations that follow this procedure are free to search outside the denomination, but this process is not necessarily encouraged.

The Cover Letter

Although a friend or acquaintance may send your resumé on your behalf, ministers may also submit their own materials. A cover letter with a resumé provides a brief introduction. The letter should focus specifically on your qualifications for the position. While being unapologetic about your abilities, maintain a humble tone. Church committee members can be turned off if you cross the fine line from confident to cocky!

Follow-up

Follow-up is difficult in church situations, since many people are involved in the process. It is much different from a secular position in which a personnel office handles job placement and receipt of your materials is usually documented. As despairing as it may sound, you will often know nothing concerning your materials unless you're called for an interview. However, staying in touch with your references is sometimes helpful because they can tell you if they've received inquiries concerning you.

elating to a Search Committee

Before reading further, you should carefully read the last section in this Chapter, "For Personnel Committees Only." The information in this chapter will assist you in understanding the perspective of the committee and will give useful information regarding what to expect from the committee.

The Setting

As you begin a process with a search committee, you must realize that many aspects of the search process will be out of your control. While you are eager to pursue the process, search committees usually move very slowly. The process will require patience, and the following suggestions should prove helpful:

1) Be thorough and quick in responding to requests. When asked to provide more information, or about your availability for an interview, you must provide information quickly and thoroughly. Often potential interview times are not convenient for you; however, do whatever is possible to rearrange your schedule in order to accommodate the times. Realize that the church is consolidating the schedules of a five to seven member committee. Interview times are rarely convenient and are hardly ever chosen by the candidate. Work to accommodate.

2) Keep careful notes of all conversations. Each time you talk with someone related to the process, take careful notes, including direct quotes. After the conversation, clean up your notes so that they're legible. Date the notes and keep them in a file. At the potential decision time, they will be pertinent reminders of the process. Keep copies of any information that you submit. Keep a record of the dates documents or other important information or materials were mailed.

3) State your opinions and feelings carefully and honestly. Be forthright; but bear in mind that the committee members are observing your tactfulness and maturity.

4) Start to do your assessment from the beginning. Your assessment of the church, staff, pastor, committee members, and others should begin with the initial contact. Often search processes stall for long periods of time, then proceed quite quickly. You will want to be prepared for this acceleration by having done your homework from the beginning.

The Process

The process is carefully outlined in the section, "For Personnel Committees Only!" If the committee doesn't tell you the process, you should ask in a tactful and respectful manner. If there is no process, be careful. This could be indicative of the church's lack of focus.

The Interview

The Interview has a two-fold purpose. It is the opportunity for you and for the church to get to know each other and to evaluate your compatibility. You are interviewing the church, and the church is interviewing you.

Preparation for the Interview

Adequate preparation for the interview is important if you are to get the most out of this process. Consider the following:

1)Write out questions in advance, and continue to add questions as you gain more information.

2)Carefully formulate and write out your expectations of the church. Preparing this list in advance will assist you in being a careful listener during the interview and in being more objective in evaluating the interview later.

3)Carefully review the job description.

4)Find out who will be on the committee, and learn about them.

5)Learn as much as possible about the church. See the following section, "Assessing the Potential Church."

6)Plan all aspects of your travel. Take care of your wardrobe far in advance. Nothing can disrupt your confidence more than for the cleaners to be closed the evening before your plane leaves at 6:00 a.m. If you must purchase new clothes, do so in advance so that alterations can be done. Pick up travel tickets in advance, decide on every detail, and make a thorough list. Consult with a friend once your list is made. If you have child-care or other family issues, be sure that everything is considered in advance. You do not want your focus to be interrupted as the interview time gets closer.

7)Practice interviewing. If you've not interviewed lately, or feel that recent interviews have been ineffective, find an experienced interviewer who can ask practice questions.

(8) Get plenty of rest so that you will be alert. Be sure that your travel schedule allows adequate recovery time once you arrive.

The Interview

1)Wear comfortable, stylish, yet conservative clothing. Your clothes must be neither flashy nor dull. Your jewelry and make-up should be moderate with little fragrance. Your nails should be clean and your shoes shined. Clothes should be expertly pressed.

2)Arrive early. You may want to drive around until the time for the actual interview rather than wait in the car or inside the building.

3)Shake hands with each member if appropriate. Remember that if women do not offer to shake hands, then men should not shake hands with them. Your handshake should be confident. If in doubt about your handshake, practice before you leave home.

4)Listen carefully and maintain good eye contact when listening and speaking. Look carefully and frequently at each interviewer, not only the ones who make you feel confident and are good listeners themselves.

5)Respond slowly and carefully but not in a dull manner. You want to balance showing your passion for music ministry with being thoughtful and reflective. Your answers should be complete and concise; do not ramble, and give examples to support statements. Be sure to smile, and seek to build rapport with interviewers.

6)Carefully understand each question. Ask for clarification if needed. Avoid asking, "Did I answer your question?" It is acceptable for you to write down some aspect of a question if this will help you to formulate your response.

7)When it is your turn to ask questions, be ready to respond from the list you've prepared. Use your own judgment concerning when you should stop asking questions. Generally, you should ask enough questions to show interest and gain needed information; however, don't dominate. Avoid asking questions whose answers you should have gained from interview preparation. Sometimes questions can reveal that you've not adequately prepared for the interview.

8)Avoid the following: Lying or stretching the truth; showing discouragement; asking about salary, vacation, or benefits; talking negatively about anyone; having sweaty palms (keep your hands open); and chewing gum.

Possible Interview Questions

1) Tell us about yourself.

2) Describe your call to ministry.

3) What are your strengths and weaknesses?

4) What frustrates you or makes you angry?

5) How long would you plan to stay here?

6) How do you work under pressure?

7) How do you work with others? What is your leadership style?

8) Describe a conflict situation and how you dealt with it?

9) What is your vision for the music ministry in our church?

10) What is the purpose of music in worship?

11) What are your music preferences? How have they been influenced and developed?

12) How do you work with different age groups? Provide examples.

13) What successful recruiting tactics have you used in the past?

14) How do you describe yourself theologically?

15) What are your feelings about classically based church music? Contemporary Christian music? Praise songs?

16) What is your role with choir members outside rehearsal and worship? How do you maintain your role as minister and as friend?

17) What books have you read in the last six months?

18) Who have been the strongest influences in your life?

19) What concerts or cultural events have you recently attended?

20) Who are your favorite recording artists?

21) Who are your heroes? Why?

ssessing the Potential Church

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When considering a move to a different church, you must be cautious in your response. The possibility of a move often comes at a time when some aspects of your present position are not going well, and the automatic response is, "God is giving me an opportunity to move to another place of service." Also, it is easy to be highly complimented or even flattered that another church is interested in you. While these responses are normal, they must be short-lived,

and they must give way to careful spiritual analysis and thorough investigation of the potential church. When considering a new ministry position, you must never forget the old axiom, "The grass is always greener on the other side!" A new church and its representatives are courting you for a long-term relationship. What you observe in this courting relationship is the very best they have to offer; however, what you will actually experience on a day-to-day basis may be considerably different. There are no perfect churches or ministry colleagues. The longer you are in a church, the more you know its assets and its flaws.

Churches go about the hiring/calling process differently. In some denominations you are directed by a regional board to move to a new location. In others, the congregation carefully chooses a committee charged with the responsibility of choosing the new music minister. Yet in other churches, the congregation entrusts this important job to the pastor. The pastor is probably the single most important person for you to assess; therefore, the next section, "Assessing the Potential Pastor," is devoted to this subject.

The Search Committee

The make-up of the search committee will give you an important first glance into the priorities of the church and its leadership. If there is no committee and you only deal with a pastor, then you must assume that the church has adopted a CEO model in which the Chief Executive Officer (the Pastor) has been entrusted with the power to hire a staff of his/her choosing. While many churches adopt this model, it is not without pitfalls, and it does not offer you a wide glimpse into the life of the church. In this model, you must understand that you will be hired by an individual who may/may not represent the congregation at large. It is also important to acknowledge that the group/person who hires you probably has the power to dismiss you. When a single person hires you, that person will most likely be your immediate/single supervisor and will have complete control over your ministry in this church.

When the church has carefully chosen a committee, you have the opportunity to see a cross section of the congregation and to learn from this group whom the church has entrusted with this important task.

Other Ministers

As you visit the potential ministry site, closely observe other

ministers. If possible, ask for a private appointment with each of the other ministers during the interview process. Once requested, if this time is not scheduled, you may suspect that there is something to hide. Even if you meet with a negative staff member, you cannot automatically assume that this is a negative response to the congregation or other staff members, for this person may have other issues that cause his/her negativity. However, it may be possible that this person is being very honest with you, and his/her advice should be heeded. You will have to make these careful judgments. I have often found people to be very positive in a large group and to say only what they deem appropriate; but, when I've spoken with them in private and have asked poignant questions, I've sometimes found different responses. The following questions may prompt more careful observations:

1) Do they appear happy in their jobs?

2) Are they focused and capable?

3) What is the average tenure of the staff? If their average tenure is short, look for a good, logical explanation because this is a potential red flag. If their short tenure is because the pastor is relatively new, then you should inquire about the reason for the previous minister's departure. Long staff tenure is also a sure sign of the church's willingness to care for its ministers.

4) Are goals in their respective areas compatible with yours? Does the youth minister value youth choir? Is she willing to allow you access to students, and is she willing to share their loyalties. Is he willing to be cooperative in scheduling so that both of your priorities for youth can be met? How does the education minister view the role of music in the education process of children, youth, and adults?

5) Can you observe a healthy respect among all ministers? Are they comfortable around each other and free to speak their minds? How do you analyze the dynamics between pastor and ministers? Do they work with the pastor or for the pastor?

6) How do other ministers view worship and music? What are their stylistic preferences? Where do they fit theologically? How compatible will you be with them?

Analysis of your potential colleagues will be one of the most important aspects of your visit to a church. If you genuinely enjoy the people that you work with on a daily basis, then your job satisfaction will likely be very high. With the support of your colleagues,

difficult situations are easier to overcome. Choosing good ministry colleagues is a crucial step in this important process.

The Music Staff

You may be the only music staff, or your staff may include an administrative assistant/secretary, accompanists, and other full-time ministers. Whatever the size or structure of the music ministry team, you must carefully observe them in the interview process. If you will be working with other full-time music ministers, then the questions above apply here. If you will only be working with accompanists, then consider the following:

1) Are the accompanists musically competent? Do they have good training and good technical skills? Are they knowledgeable in their fields? Do they keep up with current trends, literature, and resources?

2) Are they able (and willing) to play in different styles? Are their stylistic preferences compatible with the church's current direction and where you perceive the church may be headed? Do they have good keyboard skills, including modulation and improvisation?

3) Are they team players? Do they have the ability to see the big picture in music ministry and in the life of the church? If you observe fragile egos and careful guarding of territory, beware! A fine accompanist can be your best friend and ally; however, a disgruntled accompanist can make your job difficult!

4) Do they have long tenure in the church? If not, what are the reasons?

The Music Ministry Groups

These are the people that you will work with each week — choirs, ensembles, instrumentalists, and others. Normally, as part of the interview process, you should have the opportunity to work with them. As you do so, carefully observe their musical skills, their attitude toward service in the church, and their willingness to give careful consideration to your approaches in rehearsal. In addition, is there a strong sense of dedication and loyalty to music ministry in the church? Do they appear eager to learn? Do you believe they are willing/capable of embracing a new leader? Are they already organized for effectiveness, i.e., ministry teams, officers, parent support groups, and committees? Will you enjoy spending time with them?

Do you sense a connection that seems natural and has the possibility of further growth?

The Congregation

The congregation is the most important music ministry group, for these are the people for whom you will plan worship and will lead corporately. As you lead and observe their worship, notice if they participate actively? Do they embrace congregational song wholeheartedly? Are they involved in the selection process? Have their wishes been considered in an earlier poll, and do they have opportunity for continued input? As you lead/observe worship, do you sense a connection developing or see the potential to connect in a personal and spiritual way?

Summary

Your major role in analyzing the church will be observing people; therefore, you should have adequate opportunities to observe people in many roles. Your ability to understand them and read them accurately will be important for your long-term success should you eventually serve in this church.

Assessing the Potential Pastor

Of all the aspects of considering a new ministry position, your compatibility with the pastor is probably the single most important aspect of the assessment process. If you and the pastor are not compatible, your ministry together will be short term! Relationships with all of the ministers are eminently important; however, the relationship with the pastor is absolutely critical. The time and energy that you spend in assessing the potential pastor is a good investment in your future. In fact, you must spend as much time assessing the pastor as he/she spends assessing you. Although you may not be free to interview the pastor openly or ask for references or vitae, there are many ways that you can gain an accurate impression of the person with whom you will potentially minister. The following categories represent aspects of the pastor that you must carefully analyze.

Direction and Vision

Spend time talking with the pastor about his/her direction and

vision for the church. Where does he see the church going? What are her dreams for the church? Where would he see the church being in five years? Ten years? What are the methods that she might use to assist the church in reaching these goals? What current methods are in place to help this vision become reality?

If you are a visionary person and you do not immediately sense vision as a trait of the potential pastor, beware, for you will experience frustration if you dream about the church's future and the pastor does not think in these terms. If you do not see that the pastor has set a forward-moving direction for the church, you must analyze the meaning of this perceived lack of focus. In addition, if the pastor has set a direction for the church that you cannot enthusiastically embrace, then this church with this pastor's leadership is not a place where your ministry will be effective.

Background

As you assess the pastor, pay careful attention to his background. What types of churches has she served? Where and with whom has she studied? What is his church background as a child, young adult, and adult? Are these areas of his background that you view as potentially incompatible?

Theological Foundations

Although the pastor and the minister of music do not have to see eye-to-eye theologically, they must be supportive and agree to respect differences. While many theological issues will not necessarily interrupt a good working relationship, others can and often do! Which theological issues are important to you and which are vitally important to the potential pastor? While theological differences may seem minor on the surface, they can easily become more important when a situation arises in the church where this issue directly impacts ministry.

Worship Preferences

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The range of differences in worship is continually broadening. Consistency in worship practices within a denomination is no longer the norm; therefore more care must be taken in choosing a pastor with whom you will share a similar philosophy of worship. When discussing worship with the potential pastor, it will most likely be necessary to talk very specifically about particular music,

readings, and methods of communion in order to be sure that you are using the same terms to describe the worship that you prefer. Sometimes we use terms such as traditional, contemporary, and blended to discuss worship and find out later that what we thought someone else was saying was not what he or she was saying at all. All of these terms are ambiguous. In addition, be careful to discuss methods of accompanying congregational singing. For instance, two congregations may sing ninety percent hymn-based music. While one congregation uses organ to accompany its congregational singing, the other uses guitars and percussion. These two churches may sing identical texts and tunes, but their worship will be very different in its style and impact.

Professional Expectations

The pastor will have professional expectations both for himself and for you. Perhaps the best way to analyze this is to observe the pastor's own expectations of herself. If her work expectations are very high, she will most likely have high expectations of you. People who are highly motivated tend to expect the people with whom they work to be similarly motivated. People who take a more laidback approach to work tend to enjoy the company of those who view life similarly. If the pastor is highly motivated and you aren't, then the match will not likely be good.

Personal Security

Although difficult to discern in initial meetings, you must attempt to discover how secure the pastor is as a person. This knowledge will strongly impact your working relationship. If the pastor is not a secure person, then you may be easily perceived as a threat to him/her. Since music leadership is public and your role is highly visible, your role easily can be threatening for someone who needs unrealistic affirmation from others in order to feel secure. These issues will impact your ability to do pastoral ministry without being intimidating to the pastor, your ability to express yourself openly concerning the overall work of the church, and your ability to work independently in the music ministry.

Supervisory Style

In most cases, the pastor is the immediate supervisor for the minister of music. You must respect and work well within her

supervisory style to create a productive relationship. If the pastor wants to be aware of everything you do and you are very independent, you will view his style as non-trusting or intrusive. If you have difficulty being internally motivated and the pastor doesn't want to supervise you, but expects you to get your work done independently, the relationship will be undesirable for both of you. You will be wise to explain your working style and your expectations of supervision up-front so that there are no future surprises. A question such as "How do you see your role in supervising the work of the minister of music?" can be an important discussion starter. You may eventually make a statement such as "I am committed to team work; however, I am highly motivated and appreciate the opportunity to work independently. In the past I've sometimes had difficulty responding positively when I've perceived that my work was being too carefully scrutinized." While this may seem bold, it may divert potential problems in the future.

Relationship to Family and Others

The pastor's relationship with his family and with others will give rich insights into his relationship with you and to his expectations of your relationships with others. As you talk with the pastor, does she talk about spouse and family? Do you have evidence that she is committed to her spouse and family?

As you observe the pastor relating to other staff and to church members, does he treat them respectfully? Does he say good things about them even when they're not present? Do you sense a strong value for the input of others? Consider your honest answer to the following: Does the pastor love the church and staff, and is she committed to being their personal pastor? If the answers to any of the questions in this section are suspect, exercise caution and seek to gain more information.

Summary

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All of the information above can easily give the impression that you cannot be trusting of pastors and other professional ministers. The opposite is actually true; however, you must see this potential relationship as similar to a courtship — the need to impress is mutual. While you should not enter an interview process with suspicion and ask too many risky questions, you must use all available options for gathering information. Perhaps you should call the previous minister of music. Consider contacting regional and state

leaders for an assessment. There are many ways to gain knowledge of the pastor without appearing skeptical and untrusting.

Nothing will replace the time that you actually spend on site with the pastor. The most trusted method of determining the sincerity of another is time; nothing can replace the observation of a person over time. Unfortunately, in this situation, time is limited!

eaving Effectively

While ministers tend to put thought and energy into beginning well, they tend to give little thought to leaving effectively. Leaving well is important for the church's continued ministry, and it is often the time when memories are built for the departing minister. Leaving well should be the goal of every minister in transition.

The situations surrounding a ministry transition can be varied. On the plus side, the time can be filled with anticipation as a new ministry is envisioned; on the minus side, some transitions are made when negative events have occurred. Regardless of the circumstances, both church and minister are wise to practice good manners and make the transition graceful.

The Letter of Resignation

The letter of resignation is often the first step in the process of transition. The letter is sometimes presented to the personnel committee and subsequently printed in the church's newsletter, while in other churches it is read publicly following a time of worship. Whatever the process and whether or not the letter will receive public attention, it deserves careful thought. The resignation letter should have two overall purposes: (1) to formally announce the departure and (2) to thank the congregation for its support. The letter should contain the official date that your service will end.

While this letter is usually the beginning of an important process of reflection, in some circumstances it can be a source of great pain. Obviously, the congregation was supportive and caring at some point, and this should be recognized. Whatever the circumstances, you should be gracious in thanking the church for the opportunity to work with them. The form of the letter should be similar to the following: (1) gratitude for the opportunity to serve together and reflection on that time together, (2) statement of your new position, departing date, and other related information, and (3) assurance to

the church that you feel this is a part of God's call for your life and ministry and of your desire to make a smooth and productive transition.

Time to Grieve

You must be allowed the opportunity to grieve. It is often difficult for the minister to grieve because he/she is so engrossed in the details of transition. Emotions are mixed, for you are sad to leave, excited about the future, yet anxious about the unknown. You must carefully consider all of these emotions and deal honestly with your feelings.

As the news of your leaving becomes public, you must allow the congregation members to process your leaving in their own way. Some people will eagerly embrace the new opportunity in your life, while others may display anger and lack of understanding. Realize that while you have been processing this potential move for quite some time, your decision is completely new for them. They must be given time to "catch up" in processing their grief.

Make Memories

Utilize every opportunity in these weeks to create good memories for yourself and your family. You will most likely be asked to attend dinners, parties, and other events. Try to participate in every event. Recognize that these events will require significant time, and there will be little personal time in the days before the actual transition. Anticipate this process and plan accordingly. In the lonely days that may accompany the first days and months of your new job, you will receive great strength from these days of celebration.

Prepare For Your Successor

One of the primary tasks of this period will be preparation for your successor. These are days to complete tasks already begun, not to begin new ones. The following is an example of materials, lists, and files that should be left for your successor:

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1) Repertoire Information – Leave anthem lists from the past and plans for the next several months. Even if the church hasn't found your successor in a few months or they don't choose to follow your plans, your preparation for their future will be recognized and appreciated. It is a part of your investment in the ministry that you've worked to build.

2) List of Soloists – A list of soloists from the past and for the coming months will prove helpful. A simple contact list of who has sung and who will be singing provides this critical information in a simple and straightforward manner.

3) Contact information – An up-to-date contact list for each choir and ensemble is very important. This should also include the leaders or officers for each group. The file should also contain a listing of recent activities, repertoire, and other pertinent information.

4) Past orders of worship – Accurate files of past orders of worship allow your successor to gain a sense of history about recent worship. They also give a starting point when the new person begins to plan these and other similar services.

5) Event files – You should leave well-notated files on all annual events within the church. These may include Hanging of the Greens, Advent, Holy Week, Choir Recognition, Choir Tour, Outreach Events, and Children's Choir Kick-off Events.

6) Financial Files – Files containing the current and past budget and recent expenditures are helpful.

7) Personal Notes and Contact Information – You should leave a file with personal notes to the new minister of music. In addition, leave your phone number, e-mail, and address along with permission to contact you when needed.

8) Instrument Files – Files containing information on maintenance of instruments should also be in good order.

9) Other files – These might include library holdings, equipment warranties, service contracts, or other similar material.

10) Commitment File – If any commitments have been made for concerts, major events, or conference leaders, all information relative to these commitments must remain. Sometimes it is appropriate for you to break obligations that the church may not want to continue in your absence. This should be done in consultation with the pastor.

11) Well-Maintained Library – The library should be left clean with all music put away and organized.

12) Clean office and facilities – The office and music facilities should be clean and organized with all personal items removed.

If the church does not have full-time music ministry staff, then all of the above information should be shared with someone such as the music ministry committee chair, the pastor, or someone who will know how to orient the new minister. Often long interim periods

follow before a successor is found. A dependable person needs to be knowledgeable about this information.

Summary

The old adage, "never burn bridges", is very appropriate when leaving. A well-planned and executed leaving can offer great memories for the future. Even when circumstances surrounding leaving are negative, there will come a time when the pain of these days will lessen. Eventually you will be grateful that you had the wisdom and grace to leave well.

The New Position: Getting Started

Beginning a new position is an exciting time and yet one that can be filled with loneliness and insecurity. There is so much to do and so much to learn, and deciding priorities is particularly difficult. In this initial period it is normal to wonder if you've made the right decision, for often, in the first days of a new job, your old job seems much better than it actually was! The approach you take in the first days and weeks of your new position will often set the direction and define your tenure in this new location. Starting well is vital, and this section will offer practical assistance in making the most of this important time.

Learn About the Church

In the first days, weeks, and months of a new position, spend considerable amounts of time learning about the church. This time will be beneficial because it will help you avoid costly mistakes later. Additionally, as you get to know the church and its members, they will appreciate and respect you for taking the time to learn about them.

Worship History – Since you will plan worship immediately, learning about the church's worship history is a good first step. Peruse many years of old worship orders to gather an idea of the church's worship history. Go back twenty to thirty years, for many current members will have been in the church for a long time. Through this process you will learn about the liturgies that have been used, the preferences of your predecessors, and the songs/hymns that are familiar. Carefully observe orders of worship

that may reflect the preferences of the other ministers with whom you will work.

Church History – Learn as much as you can about the church's history. If a written history is available, read it carefully; however, realize that church histories often don't reflect key information such as splits and unhealthy situations with previous ministers. This information is valuable and can be gained through other sources. Every church has a personality and, as with a child, much of a church's personality is shaped early in its development. Through understanding the church's history, you can often learn about church traditions, sacred cows, and other hidden agendas that will help you avoid changes that could be costly and counter productive.

Music History – Learn as much as possible about the church's music history. Spend time in the music library. Learn about your predecessors and the strengths of their ministries. When discussing this information with someone, use a positive approach by asking, "What are the greatest contributions of Jack Doe to University Baptist Church?" Also, look at correspondence and other files for helpful information.

Organizational Structures – If organizational charts are available, learn who reports to whom. Be sure that you communicate upward, downward, and across. Early in your new position it is often good to bring problems to others to check their reactions. This will test the communication structure and should help you determine the types of problems on which you can act independently and those that should involve others. If you're unsure, ask your supervisor, "Should I bring a problem of this nature to you in the future or act independently?" Also, be aware that while churches have formal organizational structures, they have informal structures that must be acknowledged and honored.

Job Descriptions – Learn your job description and evaluate it carefully in the first months of your job to be sure that it is accurate and that it reflects what you do and what you perceive as your expectations. It is much easier to have a job description altered early in a new job.

The Norms – Learn the norms of your new ministry. What is acceptable dress for work, worship, meetings, and other church events? What time should you report for work? What time should you leave? How long should the lunch break last? What meetings are you expected to attend, which are suggested, and which ones can you miss? If you have a family, to which activities are they

invited? Realize that churches have written and unwritten protocol. Seek to learn both! When in doubt, it is always better to ask questions!

Key People – Spend time identifying and getting to know key people. You will want to initiate numerous lunch meetings in the first months of a new job. Spend time with other ministers, choir officers, children's choir leadership, accompanists, and church leaders at large. Set up meetings with larger groups of music leadership as early as possible. Spend time listening and hearing their dreams for ministry.

Get to Know People – Take every opportunity to get to know people, and do your best to remember their names and connect them with their family group. This will immediately endear you to the people of the church. Begin with the choir. As you work on names, spend time with the church directory, studying it daily!

Expectations – Be sure of the church's expectations. Also learn what things they don't expect you to do and what things are considered off limits.

The Honeymoon

Most new positions have a period of getting to know one another usually referred to as the "honeymoon." This period may last for as long as one year. While you need to approach change slowly in this period, you must also choose important issues with which to begin your work. The balance of not initiating change too rapidly and of choosing the best areas to invest energy is critical. This is a time to be sure that both your expectations and those of the church are aligned.

Honeymoons also provide a good time for upgrading physical facilities such as office space and equipment, since the church will be concerned that you have the tools that you will need. However, avoid unreasonable demands.

An important component of this period is setting a workable pace. Many times we begin a new position in a fast run that is unsustainable over the long haul. A steady walk is a much healthier pace and is more desirable. Remember: the pace at which you begin a position is the pace that you will be expected to maintain!

Manage Your Time – One of the greatest challenges of a new position is learning to manage your time. Every position has its challenges; therefore, time management strategies that worked in your previous position may not work here. Meetings will be held on

different days, publication deadlines will be different, and rehearsal schedules may not be the same. All of these changes will require that you be flexible and seek to build new routines that will help you to use your time effectively.

In addition, you will be overwhelmed with so many personal and job related changes that it will be difficult to get all your work done. As you manage your time, think in terms of time that is demanded by those above you; time required by those with whom you work side-by-side, and time over which you have direct control.

Personal Transition

In the earliest days of your new position, you will have to make time for items related to your personal transition – housing, unpacking, registrations, licenses, insurance, and many others. I've found that taking care of these items as soon as possible will help you to feel both more a part of the community and in control of something you have the power to complete. Be sure to make an appointment with your church's payroll person to set up withholding, retirement, insurance, housing allowance, and payroll deductions. Don't delay on these important aspects of transitioning.

Setting Goals and Priorities

Prior to accepting a position, you will no doubt have priorities, dreams, and goals; however, these may change in the first few months as you learn about the church. Make careful notes of ideas and begin to formulate plans. Be sure to spend time in prayer and reflection and, if possible, share your ideas with a trusted confidante.

For Personnel Committees Only!

When searching for a minister of music, churches can approach the process in a number of different ways. The Congregation may utilize the existing personnel committee as the search committee, select a separate music search committee, or utilize a ministerial committee that will make recommendations to the church. Although the latter process has received more prominence recently, most churches utilize one of the first two options. A specific music search committee is preferable since a higher portion of its members

are actively involved in music ministry. This is helpful both to the potential candidate in answering his/her questions and helpful to the church since issues specifically related to music ministry are more likely to be addressed. An ideal committee might include, from the music ministry, the president of the adult choir, the president of the youth choir, the organist or pianist, and a children's choir coordinator or worker. In addition to representatives from music ministry, the committee should have some members representing the congregation at large. The committee will usually consist of five to seven people.

While some churches give the committee power to bring the candidate without interaction with the church at large, other churches expect involvement in the interview process.

The Committee Process

The search committee will usually meet for an initial organizational meeting. At this meeting the committee should design a plan of action and project a timetable for their work. Initial steps will include:

1)Conducting a Survey – Conduct a survey of the congregation to discover the qualities that they are looking for in a minister of music. The committee can design its own survey instrument, secure one from their denominational office, or obtain one from another church that has recently conducted a similar process. The committee should tailor the survey to fit its particular needs. The survey can be conducted on a specific Sunday, can be mailed to homes, or can be completed during a specific time frame. If the survey is conducted on a single Sunday, the date should be announced in advance, and people who must be away should be allowed to submit surveys. The primary objective is to receive broad input and wide participation.

2)Conducting Listening Sessions – Conduct listening sessions with various groups within the congregation. This may be done instead of the above or in addition to it. Listening sessions should be arranged for choirs, music workers, and key age groups in the church. Additionally, there should be an open meeting during which anyone not otherwise included has an opportunity to respond.

3)Developing a Profile – Once the surveys are in and the listening sessions conducted, the committee should design a profile of the person for whom they intend to search. The profile should be

published in church publications so that the congregation understands that their voice has been heard. Church members will begin to accept the possibility that the new minister of music may be different from his/her predecessor.

4)Building a File of Resumés – Resumes can be obtained through denominational offices, universities and seminaries, and networking with other music leaders.

5)Advertising – Until recently very few churches advertised for vacancies; however, many churches now announce vacancies in denominational publications and professional journals.

6)Developing a Short List – Decide how candidates will be screened and how a short list will be determined. Who will make calls and check references? Will each candidate receive a questionnaire? Will references be contacted by phone, e-mail, or postal mail? Committees are encouraged to contact references by phone since this allows them to control the process — some references may take weeks to respond to you in writing. A phone call allows the committee to gain the information that they need immediately. Also, phone calls allow them to hear the person's tone of voice and analyze pauses and other verbal communication that might allow them to gain a fuller understanding of the potential minister. A phone call also allows the reference to learn a bit about your church, which allows him/her to give a more honest assessment of the candidate's potential for success in your setting. In addition, phone calls are usually more respectful of the time of the reference since he/she might receive several such calls in a week. References often dread a request for lengthy questionnaires and original reference letters; however, simple, straightforward forms with various rating scales are not so time consuming to complete. The validity of these simple forms, however, seems questionable. Their use should probably be limited to initial screening of a large pool of candidates.

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7)Deciding on a Timetable – The timetable should include (1) the time period for the survey and compiling of results, (2) for announcing the position and gaining resumés, (3) for beginning to consider applicants, and (4) the proposed time for interviews and selection.

8)Discussing Salary – The committee should decide how salary will be determined and discussed. Will it be discussed with the entire committee, the chair, the pastor, or the business administrator? Who will determine the salary for the position?

Conducting Reference Calls

Everyone on the committee should be briefed on conducting reference calls. Since each person will emphasize certain aspects of the position and will seek to have his/her personal questions answered, one person should conduct all calls, although this is rarely feasible. At best each person should ask the same questions. The calls should either be taped (with the permission of the reference) or copious notes should be maintained.

When the call is made, the committee member should identify himself/herself and identify their church, position, and person for whom a reference is desired. The caller should then ask if this is a good time to talk. If this is not a convenient time, then arrange to call back at a more convenient time. When leaving voice mail messages, be as detailed as possible. Be sure to leave your contact information (including cell phone numbers, e-mail, and home phone), good times to call, your employer's name, and other helpful information. Often callers don't leave their employer's name, which can make returned calls awkward. Although some callers do not leave their contact information because they feel awkward in asking the reference to return their call at his/her expense, the cost of the call is a small price to pay for allowing the reference to return the call at his/her convenience.

The following questions provide a good guide for a reference call: (1) How long have you known the candidate and under what circumstances? (2) What is your current contact with the candidate?

(3) To what degree have you observed this person in a music ministry setting? (4) What do you consider to be this candidate's strongest assets in music ministry? (5) What are this person's strongest personal assets? (6) Would you like this person to be the minister of music in your church? Why or why not?

Professional Courtesy and Ethics

Traditionally, many search committees only dealt with one candidate at a time rather than interviewing several candidates and choosing the best person. Although many ministers prefer this process, your committee may choose to deal with more than one candidate at a time. However you proceed, the process should be clearly communicated to the candidate(s).

Once the process is begun, you have an obligation to keep the candidate apprised of developments. A committee must acknowledge that once a candidate receives a personal contact, he/she begins

to consider all the "what ifs" of relocating. These pressures are intense and should not be prolonged.

Relating to the Candidate

Once the list is narrowed to a select group and references are contacted, interviews or visits can be arranged. Many committees choose to visit the candidate either for an interview or to observe him/her in rehearsal and/or worship leadership. Committees may also request tapes of worship leadership, rehearsals, or performances. If a visit is to be made, the committee must consider all aspects of the candidate's present position. It should be noted that unannounced public visits to a candidate's current church are seldom appropriate, for a committee's visit can send the message to the candidate's church that he/she is looking for a new position. A public visit should be carefully coordinated with the candidate. Confidentiality is an important part of the process.

When a visit to the prospective church is desired, the committee chair or designated representative should organize the visit. The candidate should only relate to one person rather than have various members contact him/her concerning different aspects of the visit. Every effort should be made to make the time convenient for the candidate. The committee should arrange for travel, lodging, meals, meetings, and other associated items. The committee, in consultation with the candidate, should decide if the candidate's family will be involved. Every aspect of the visit should be communicated in writing to the candidate. Requests to observe a choir rehearsal or to hear a mini concert should be clearly communicated.

Once the candidate is invited for an interview, he/she should be told about the process, i.e., "We intend to interview three people. You will be the second candidate interviewed. We intend to reach a decision by November 15." These commitments should be kept or explanations of changes should be made. Correspondence and notes relating to all conversations should be kept until the end of the process.

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The on-sight visit should give ample opportunities for the candidate to relate to different groups within the church. Individual and group meetings should be arranged with the pastor, churchwide staff, and music staff. A rehearsal or informal time should be arranged with the church's main choirs and ensembles. A time for meetings with a congregational group should also be arranged. A mini-concert or other performance can be helpful, if desired,

although many ministers of music are generally skilled in a variety of areas rather than being specifically skilled in one performance medium. Many fine music ministers are not stellar performers. The committee should provide ample information for the candidate to begin to assess the church and prepare for the interview. This material should include budget, long-range plans, community information, past orders of worship, constitution and by-laws, a job description, and other items decided on by the committee. These documents should be sent to the candidate before he/she arrives for the interview.

Assessing the Candidate Beyond the References

The committee is encouraged to assess the candidate beyond the references that he/she provides. Additional references may be requested, although no one would knowingly suggest a negative reference. Possibilities for additional references may include denominational leaders, staff members in former churches, or former teachers not listed as references. In addition, you may want to request transcripts from academic work and copies of written job assessments. Many committees choose to request a credit report and other reports that may indicate criminal activity. In general, church committees are far too likely to assume that anyone who applies for a church ministry position is a good person and worthy of being hired. This is not necessarily true!

The Interview

The interview is the time for the committee and the candidate to get to know each other; therefore, the committee should spend time preparing for the interview. The preparation time (which might include one or more practice interviews) will be well spent, for it will allow you to ask the questions that you deem important. It will also keep you from using the first candidate as an opportunity for the committee to learn its role! See the section, "The Interview," earlier in this chapter.

As you prepare for the interview, think of questions that probe the candidate's church music philosophy, ministry skills, musical knowledge and preparation, and ability to reason and use good judgment. Questions that involve situations or case studies are often most helpful in assessing ministry and problem solving skills. In addition, consider asking the candidate to come with a list of goals and objectives for the music ministry. Consider allowing the

candidate to talk with specific members of the committee in order to prepare.

Salary

In all the search process, perhaps salary is the most awkward aspect. The committee is sometimes hesitant to mention this subject, and the candidate may feel that mentioning salary will appear inappropriate; therefore the committee should bring up salary rather than forcing the candidate to do so. This issue may be best discussed with the chairman, church administrator, or pastor rather than the full committee. A specific salary package should not be discussed at this stage; however, a possible range should be given so that the candidate has all the information. It may also be helpful for the committee to have some idea of whether or not the church's proposed salary is within an appropriate range for the candidate; however, I strongly recommend against asking the candidate his/her current salary!

Follow Up and Making a Decision

Once the interview(s) has been conducted, the committee should meet as soon as possible to make a decision. Each person should present his/her impression of the candidate(s). The committee should then attempt to reach a consensus. Once the consensus is reached, the committee should contact the candidate to negotiate specific aspects of the hiring. These details will include salary, moving expenses, retirement, insurance and other benefits, vacation, administrative support, time frame for the move, and potential housing. Once all this is communicated, the candidate should be given time to make a decision. Usually one to two weeks is adequate. The candidates who were not chosen should not be contacted until a person has been hired. If the first candidate does not accept the position, the committee may want to pursue one of the other candidates.

There will often be a negotiation process that will only involve the candidate, the committee chair, the pastor, and the personnel committee chair. Negotiations usually involve salary, benefits, and job expectations. The number of people involved in this process will be determined by the church's tradition and practice. A negotiation process should not be viewed negatively, for when these details are worked out prior to the acceptance of the position, the actual working relationship will be more effective. In order to protect the church

and the candidate, all aspects of salary, benefits, job description, and other items should be in writing. There should be no verbal agreements.

When the process is complete, the documents related to the process should be destroyed. There is no value in keeping committee notes from references or minutes of meetings that contain confidential information about the candidate or the committee. A file with appropriate information related to the process should be maintained in the church's files; however, it should be purged of confidential information.

Once the decision is confirmed and the position accepted in writing, the committee should contact the other candidates (all who applied/were considered and those who were on the short list). The letter should thank them for their interest, the time involved in applying, and the emotional energy exerted. The letter should tell the candidates who the committee chose and when he/she will begin ministry.

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Ministering in Special Situations aking a Hospital Visit

MHospital visits are a regular part of every minister's routine, even part time ministers. Hospital visits are always difficult, for with few exceptions (perhaps a new baby), visiting a hospital requires the minister to face pain directly. While effective ministers are caring, they are also people who sometimes have a strong need to "fix" the problems of others. When making a hospital visit, one must realize that providing Christ's presence is the ultimate goal. Physical sickness involves the total person. While the person's immediate needs may seem to be physical, the visit of the minister is primarily related to the patient's psychological, emotional, and spiritual needs. In addition, the patient's whole family is involved, family routines are disrupted, and all family members can be afraid. Preparing for the Visit. According to Kent D. Richmond and David L. Middleton, "The predominant emotion experienced by patients upon entering the hospital is fear."1 Fear may take the following forms: (1) The fear of separation. Entering the hospital requires that we leave home and be separated from family and friends. (2) The fear of dependence. We are totally dependent on various caretakers for our every need. (3) The fear of losing control. We surrender everything from privacy to the ability to start and stop our heart from beating. (4) The fear of pain and death. We are unaware of our ability to cope with pain, and the fear of death is always around us.2

Parking – Because of the frequency and importance of ministers' visits to hospitals, most hospitals provide services that make a minister's hospital visit more convenient. Among these privileges is reserved parking. Clergy that visit hospitals frequently should visit

1 Kent D. Richmond and David L. Middleton, The Pastor and the Patient: A Practical Guidebook for Hospital Visitation, (Nashville: Abingdon Press, 1992), 81.

2 Ibid., 80-81.

the hospital's appropriate administrative department to secure a clergy parking sticker.

Entering the Hospital – As you enter the hospital, check with a receptionist to learn where the patient(s) that you will be visiting are located. By observing patient locations in hospitals, you can sometimes gain clues to a person's illness and status. When you arrive on the floor, check in at the nurse's station. Introduce yourself as the patient's minister. Ask if there is anything that you should know prior to your visit.

Entering the Room – As you approach the door, pay careful attention to your surroundings. Take note of special instructions on the door, family/friends standing in the hall, and the activity of the nurses or doctors if present. Knock softly on the door. If no one responds and you are aware that the person is able to speak, seek the assistance of a nurse. Many embarrassing moments occur when well-meaning ministers walk into hospital rooms at inappropriate times. If the patient is asleep, you should leave a card to make the patient and his/her family aware of your visit.

Making the Visit – If the person is alert, then begin your conversation with the patient with opening questions or comments such as "You're looking good today." or "How are you feeling today?" Pull a chair close to the person so that he/she doesn't have to talk loudly to be heard. Avoid speaking too loudly as if the person's hearing has been affected by his/her current illness. Avoid sitting on the bed. Whenever possible, allow the patient to take the lead in conversations. You are there to provide support for the patient, not to gain information. Whenever possible, let the patient determine the content of the conversation. The best gift you can offer the patient is simply your presence! According to Glendell Smith, "God's presence is experienced most vividly through persons who walk alongside others. God's caring presence mediated through you may be the gift they need in their confusion and struggles."3

Hospital visits should be brief. Usually, five to ten minutes is adequate depending on your relationship with the person and his/her needs. As you prepare to leave, voice a prayer. You may simply say, "Before I leave, I'd like to lead you in prayer. Is that alright?" Rarely will someone refuse. The prayer should be related to the unique situation of the person with whom you've visited. If the person has verbalized particular needs or issues, include these in the

3 Glendell Smith, "When Death Comes Slowly," Church Administration, vol. 40, no. 10, (July 1998), 9.

prayer. You may choose to hold the person's hand as you lead him/her in prayer. Some ministers also read a passage of scripture during a visit; however, this option should depend on the status of the patient and the comfort of the visitor. Before you leave, you should ask if there is anything that you or the church can do to assist the patient or his/her family.

Leaving – As you leave, you may check in with the nurse's station again to alert them to anything that you've observed or that the patient may have mentioned to you. In some cases, you may need to be the advocate for the patient. If the patient has asked you to do anything, make a note so that you won't forget. If you're making many visits in one day, make notes so that you can provide accurate reports when you return to the church.

Special Situations

Emergency Room – Emergency room visits usually fall into one of two categories; (1) You are there to comfort a family whose loved one has been in an accident or some other traumatic situation, or (2) you are there to wait with someone during hours when the doctor is not in. When making a visit to an emergency room, be aware of the crisis nature/sense of chaos that is usually present. Your role will be to provide a sense of stability to the patient and/or family. Emergency room patients must first be assessed in a triage unit, which determines the patient's immediate needs. This assessment allows the patients in the ER to receive treatment according to the seriousness of their condition. When waiting with the family of someone who is critically ill or injured, you should be prepared to listen to needs, offer a prayer when appropriate, assist in calling other family members, and assist in important tasks such as caring for children. Since emergency room visits are urgent, the minister's role is to deal with crisis management or to intervene if needed. Richmond and Middleton offer the following suggestions for the minister who is seeking to provide a sense of structure and normalcy to a crisis: (1) Become actively involved with the family by helping them talk and vent their feelings. (2) Remain warm and calm and communicate a sense of control. (3) Attempt to control the environment to the degree that this is possible. The minister may suggest moving to a quieter waiting area, may adjust heating or cooling, or provide food or drink. (4) To paraphrase a common realtor's motto: The three most important aspects of crisis intervention are listening, listening, and listening. (5) Help the family to cope.

Gently remind them of effective coping from the past. In the event of death, the minister may assist in determining initial steps toward funeral preparation. (6) Be open to the opportunity to use spiritual resources.4

Intensive Care Unit – Visits to the intensive care unit (ICU) are usually limited to the immediate family and the patient's minister, and are further limited to certain times of the day for only a few minutes at a time. When visiting a person in ICU, you are obviously aware that the person is critically ill. As Richmond and Middleton state, "In ICU, dependence is total."5 There is every likelihood that the person will not be able to talk and may be unconscious; however, the sense of touch must not be underestimated. Patients in the ICU are very vulnerable because their bodily functions are all monitored, the lights are usually bright, they are not able to turn over or move, and they are often connected to respirators and feeding tubes that render them unable to speak.

Conversation should be limited to yes/no questions. Most often you should quietly tell the person who you are and offer some encouraging words or a brief prayer. No mention should be made of the person's condition.

Terminally Ill and Hospice – Visits to persons who have terminal illnesses are among the most difficult. You should not initiate conversation about the person's terminal nature; however, be open and willing to discuss it with them if they have a need to talk. Conversations about their illness may range from talk of their fear in facing the time ahead to discussions about their family and friends. They may want to talk about funeral arrangements, or they may be in complete denial. Always take your lead in conversation from the patient.

The primary role of Hospice is to provide at-home care for the terminally ill: "The primary concern of Hospice caregivers is quality of life and control of pain — not cure, but comfort. The focus is on life, on living with dignity until it's God's time to call them home."6

Hospice is always the last step in the dying process.

Surgery Waiting – Surgery waiting usually involves waiting with family members during the surgery of their loved one. Many of the above issues that relate to emergency rooms are applicable to surgery waiting; however, in the surgery waiting area the mood is

4 Kent D. Richmond and David L. Middleton, The Pastor and the Patient: A Practical Guidebook for Hospital Visitation, 83.

5 Ibid., 85.

6 Glendell Smith, "When Death Comes Slowly," 10.

usually tense and somber. There is a sense of urgency, though crisis intervention skills are not usually required. Often family members have anticipated the surgery; however, the results may be unknown. Richmond and Middleton list the following five types of surgical procedures. Each surgical procedure has its own set of associated fears: (1) Exploratory surgery carries the fear of what will be found. The discovery of cancer is often feared. (2) Cancer procedures carry the fear that the cancer will be widespread and uncontrollable. (3) Some surgeries threaten the patient with a change of life-style. (4) Various gynecological surgeries raise questions related to sexuality, appearance, and identity. (5) Transplant procedures carry the very real fear that the body will reject the transplanted organ.7

It is important to acknowledge that the fears listed above can be fears of the patient and/or family.

Ministering to Families in Grief

Every minister is called upon to minister to families in grief; therefore, understanding basic issues involved with the grief process is important. When a family faces the death of a loved one, this crisis literally turns their world upside down. They are overcome with the feeling of wanting to replay old memories and live for a moment in the past. The initial shock of death is incomprehensible for persons who have not experienced it firsthand. The minister's role is multi-dimensional at this point, for he/she is called upon to "be" and to "do." In her book Caring Ministry, Sarah A. Butler offers the following suggestions:

What to Be

Be there – People may remember little of what we say in a moment of crisis; but they will remember our presence.

Be Flexible – Events and situations change by the moment. We must be flexible and go with the flow.

Be Familiar with Their Vulnerabilities – Realize the vulnerable state of the bereaved and respond accordingly.

Be a Listener – Let the person express whatever emotion he/she needs to express in this moment of crisis. Do not let your own

7 Kent D. Richmond and David L. Middleton, The Pastor and the Patient: A Practical Guidebook for Hospital Visitation, 87.

discomfort stifle necessary responses of the person to whom you are ministering.

Be Christ's Presence – St. Teresa wrote that Christ has no body now but ours.

What to Do

Take Action – Crises often demand action, not words. You will be called upon to act: make telephone calls, give hugs, make coffee, answer the door, and anything else that is needed.

Stand By to Protect – Your judgment will be sounder in a moment of crisis, and you may be able to assist the bereaved in refraining from potentially self-destructive behaviors.

Assist with Decisions – You may have the opportunity to assist; however, resist the temptation to control. Most ministers are accustomed to "running things," and we are often called upon to assist in various crises. When dealing with a grief stricken family, all action must be careful, deliberate, and seasoned with much prayer and discernment.

Assist with Resources – People often cannot remember whom to call to gain assistance. You will be valuable in helping them to call the church and family members and to begin to make arrangements for the funeral and burial.1

Communicating Bad News

One of the most difficult acts of any minister is communicating bad news to a family, particularly the news of death. There is no easy way to communicate such bad news; however, the following suggestions may offer some help. (1) The person communicating the bad news must do so in a straightforward, honest manner, but not without great amounts of compassion. (2) Bad news is always better delivered in person and with the support of another person. (3) It is better to deliver bad news in a safe environment where the receiver is in the company of persons who can provide nurture. (4) Prayer should precede such an encounter and should be a part of the process as well. (5) Be prepared for extreme circumstances that may merit medical support or other crisis/medical intervention.

1 Sarah A. Butler. Caring Ministry: A Contemplative Approach to Pastoral Care, (New York: Continuum 1999), 96-97.

Assisting with Funeral Preparations

The music minister most often interacts with grief-stricken families when he/she is needed to assist with arranging for the funeral service. Many times the church's senior pastor has already met with the family, and many of the decisions regarding the funeral or memorial service have been made, including the music. Therefore, the music minister is usually only responsible for securing an organist and a soloist or vocal group.

However, the minister of music is often asked to meet with the family to assist them in planning the music for the service. The minister of music should be prepared to assist and offer suggestions. The following questions may help to get the conversation started: (1) Tell me about your (mother). (2) Do you remember any songs that were particularly meaningful to her or ones that have been meaningful to your family? (3) What would you like the service to communicate to those who are present? If your church does "Favorite Hymn Surveys," then keep them on file and take them with you when you visit with the family of a deceased church member. If you have particular recollections of conversations with the deceased about his/her favorite music, then recall these conversations as you visit with the family. Questions such as those above may help the family begin to focus on a service that has the potential to minister to all those who may attend. If family members have no musical suggestions, don't press the issue. Simply begin to make some suggestions of songs that you feel are appropriate for the service that they envision.

Sometimes families may suggest songs that seem inappropriate for a funeral or that may be difficult to locate. In such cases, if the material is sacred in nature, you are usually left to find the music and see that it is presented. If a family suggests music that you feel is inappropriate, then you should ask if there are other selections that they can recall. However, if they insist, you MUST seek the advice of your pastor or worship committee. Never tell a grieving family that their choices cannot be sung at a funeral. Refusing a family's funeral request is not an issue that you want to tackle on your own.

Music for funerals can often be very difficult to locate; therefore, ministers of music should keep old hymnals and songbooks as funeral resources. For a hard-to-find request, network with others in your area who can assist you. When you've ministered to a congregation for a long period of time, you may be asked to sing for

funerals regularly, and often people will request songs that they've heard you sing. In addition, ministers of music should have a list of potential soloists and organists that they can call when needed. There is little preparation time for funerals, and it is sometimes difficult to enlist musicians.

Music ministers should have knowledge of and communication with funeral homes. Funeral homes have a protocol; when possible, follow their protocol. When you know the "usual" organist at different funeral homes and are familiar with their limitations and those of the facility, you will be better able to accommodate the desires of the family. For the sake of convenience and expense, many families opt for services at funeral chapels rather than the church. While this option is easier for the church, it provides challenges for the music minister since most funeral chapels are not designed for typical worship experiences. In most funeral chapels, the organist and the singer are separated from the congregation, and the music is often heard through a sound system. While this set-up allows for emotional distance (which is important for funerals), it does not allow for critical personal communication.

The Funeral Service

While some funerals have elaborate orders of worship and include congregational participation, most services are primarily directed by one minister who prays, reads scripture, and presents a message, eulogy, or homily. More elaborate services are usually held at the church and involve the music minister in the planning. For less elaborate services, orders of worship are usually not printed for the congregation, but should be provided for the persons directly involved (organist, vocalist, and minister). The singer and organist will usually know the titles of the songs prior to the service but may not know the order until they arrive and actually receive it from the minister or funeral director.2

Pay for Funerals

Since many people have prearranged funerals, singers and accompanists for funerals are paid by the funeral home; however, this is not always the case. Sometimes the family will pay the musicians from a personal account, and sometimes families do not pay

2 For a thorough discussion of funerals and memorial service see Randall Bradley and Franklin Segler, Understanding, Preparing for, and Practicing Christian Worship, 2nd ed., (Nashville: Broadman and Holman Publishers, 1996), 209-13.

musicians. This may result from either lack of knowledge or an oversight. If you are not paid for services provided for a funeral, you should not inquire or send a bill. I have always assumed I'd be paid nothing, and I've considered this ministry an important part of my music ministry. If I'm paid, I appreciate the gesture; if not, I am not disappointed.

After the Funeral

There are many books written that offer suggestions for dealing with one's own grief and assisting others with their grief. The suggestions offered in this section are meant to be pastoral suggestions that may provide assistance to ministers who lack professional counseling skills.

It is important for every minister to realize that grief takes time. Some experts believe that it takes three years before the bereaved begin to experience more good days than bad days. This fact alone adds perspective to the grief situation and to the need for appropriate follow-up by the ministers and the congregation. The following suggestions may prove helpful:

1) Understand the accepted stages of grief.

2) Write a short note.

3) Call and visit often.

4) Don't rush the process.

5) Listen with your heart.

6) Encourage grievers to accept all of their feelings.

7) Resist any temptation to recite clichés.

8) Make specific invitations. Instead of making blanket invitations to an event, specifically invite until the bereaved is able to accept.

9) Urge caution concerning hasty decisions.3

10) Offer to talk about the deceased.

11) Never simply sign a sympathy card. Always write a note — preferably one that genuinely remembers the deceased person.

12) Assist the bereaved in re-connecting with life.

3 Victor Parachin, "Helping People Through Grief," Church Administration, vol. 43, no.1, (October 2000), 9-10.

Ministering Through Counseling

Formally or informally, counseling is a part of every minister's work. As a minister, you will often listen to the problems of parishioners. This kind of informal sharing, which is sometimes presented in the form of prayer requests, may become part of the minister's daily routine. However, people (church members and others) often share issues that need greater attention. When people have serious issues, they usually make an appointment, or they will linger following a service or event. When the latter happens, the person is usually in considerable emotional pain, which might be compared to an emergency room visit. In these cases you should view yourself as an ER doctor who provides temporary relief until the patient can see their regular doctor! Actually, unless you have specific training as a counselor, all of your counseling should be seen as an ER visit, not a hospital stay!

The Need

Many people have tremendous emotional difficulty. While they will approach the senior pastor for counseling issues, most will talk with the minister with whom they work closely, respect, and have developed a relationship. The dilemma for the music minister (and other ministers as well) is discerning his/her commitment to minister to the total person coupled with the lack of knowledge and training to deal appropriately with the multiplicity of problems that are encountered!

Basic Tools of the Trade

1)Always have someone else in the building or in close proximity when counseling. This rule applies to both same sex or opposite sex counseling. While this suggestion is usually offered in response to issues related to sexual misconduct among ministers, other issues such as safety are also important.

2)Counsel in a room that is not totally private. A window in the door is preferred.

3)Create a referral list of counselors in your area who are qualified and respected.

4)Avoid physical contact in a counseling situation. Hugging or holding hands is inappropriate. While most ministers seem to be

concerned with being seduced in the counseling situation, more ministers actually become the seducers!

5)Avoid counseling someone who is dealing with issues that are personal to you or which you have not resolved. Examples may include counseling someone about an extramarital affair when you have been involved in a similar situation yourself or counseling someone about depression when you are dealing with depression.

6)Be sure that your church has adequate liability insurance to protect it from lawsuits that may result from counseling. Most liability insurance does not cover sexual misconduct!

7)Avoid subjects that deal with sexual intimacy. Under no circumstance should sexually explicit language be used.

8)When child abuse is reported to you, you are usually required by law to report it.

9)Avoid developing co-dependent relationships in counseling. You must stop the relationship before a person begins to depend on his/her relationship with you.

10)Messiah complexes are common among counselors/ministers. You are not capable of helping all people. Your ability to minister is directly related to your ability to embody Christ.

11)Ministers who counsel frequently should be involved in ongoing supervision. You must have someone outside the church who can help you remain accountable.

12)Ministers should keep written records of sessions including dates, names, significant statements, and other appropriate information. Counseling notes must be kept in a secure location.

13)Recognize the importance of confidentiality. Confidentiality means sharing information with no one, including your spouse!

14)You must never use privately disclosed information in sermons, writings, or in any other form of public discourse.

The Counseling Process

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The following suggestions may provide some assistance in developing basic counseling skills helpful to the minister of music.

1)Listen to the entire story. Avoid the temptation to offer input or tell the person about similar issues in your own life. Good listening is the key ingredient in counseling, and sometimes the ability to tell someone is all that is needed.

2)Do not immediately try to offer solutions from your own experience or from biblical insights. Specific suggestions are rarely

helpful in an initial counseling situation.

3) Avoid the temptation to dictate feelings. Statements such as "you should feel" are not appropriate.

4) Don't preach. Counseling clients do not need sermons.

Develop Policies and Guidelines

Whether you have written/posted policies or simply have personal policies, all ministers must think carefully about their role as counselor. Most ministers do not need written/posted policies unless counseling begins to consume a large chunk of their weekly schedule. If you are seeing more than one to two people in your office each week for counseling, develop and publish policies! Polices should include days, hours, location, and other important information. Also, the policies should include limits in the numbers of visits, referral policy, and limits on the part of the counselor in experience and training. Many professional counselors recommend that pastors only offer an initial counseling session before referring.

Know When to Refer

Unless you have specific training as a counselor, your primary role is to offer initial listening, limited suggestions, and referrals. The following suggestions are helpful in knowing when to refer:

1)Refer when someone is looking for more help than you are able to provide.

2)Refer when those you are counseling have lost hope and may be suicidal.

3)Refer if you don't see improvement after a session or two.

4)Refer if you feel you "must" work with someone. You have likely become emotionally involved in their situation and have become vulnerable. When you become deeply invested in their choices, beware.

5)Refer when a client has an addiction. (Addictions may come in many forms.)

6)Refer when a counseling situation begins to hinder your normal relationships with family and friends.

7)Refer when you offer quick advice and expect it to have longterm implications and when you are failing to see God's discernment.

8)Refer when you start giving direct solutions without allowing the person(s) to make his/her choices.

9)Refer when you do not see a biblical answer to the problem.

10) Refer when you resist the advice of someone else to refer, although you lack the expertise to assist the person appropriately.

11) Refer when you become manipulative.

12) Refer when you don't trust the individual's perception of how he/she feels about the situation.1

Conclusion

All pastoral counseling must be approached with caution. However, since most music ministers have little/no specific training as a counselor, greater caution must be exercised. Recent studies have shown that brief counseling is often as productive as long-term counseling. This is achieved through quickly shifting the focus from problems to goals and achievements. According to Howard W. Stone, "The long-term counselors appeared more likely to develop relationships in which counselees became increasingly dependent upon them."2 In many instances, people are able to make improvements in their lives without digging into the sources of their troubles.3 The implications of this research are important for music ministers as we realize that our counseling should be brief and should not delve into areas in which we are not qualified to offer help. However, we must realize that our limited assistance can be important, and we must not fail to offer this minimal help when possible.

Ministering without a Pastor

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Most ministers of music will eventually minister without a pastor. Although this period may be long anticipated, sometimes it comes by surprise. While this period can be filled with anxiety, it can also be a time of personal as well as church growth. Churches respond differently to interim periods. Churches that are strongly lay-led often function very effectively, and the pastor may be hardly missed in the day-to-day operations of the church. On the other hand, churches that are very pastor-driven often move into a tail-

1 Andre Schaeffer, "Knowing When to Refer," Church Administration, vol. 41, no. 11, (September 1999), 28.

2 Howard W. Stone, "Pastoral Counseling and the Changing Times," The Journal of Pastoral Care, vol. 53, no. l, (Spring 1999), 34.

3 Ibid., 36.

spin when the pastor leaves, especially if he/she was particularly well loved and much grief accompanies the departure. When ministering without a pastor, the following suggestions will be helpful:

Realize Your Role

You will be asked to shoulder more responsibility during this period; however, realize that this is only temporary. You should understate the new roles and be willing to give them up when the new pastor arrives. While you may receive accolades during this period for your outstanding administrative abilities, don't get attached to this new role and become ineffective in making the transition when the new pastor arrives. Your role is only to facilitate this interim.

Discover New Skills

Be willing to view the interim as a time to discover and practice new skills. You may be asked to facilitate staff meetings and set the agenda for church council. You may have added responsibilities for worship leadership and planning. You may be asked to preach and preside at weddings and funerals. Whatever you're asked to do, recognize the opportunity for personal growth and special service to the church.

Be Flexible

Interim periods require flexibility. Often, you will have to make hospital visits and other ministry calls that may interrupt the usual flow of your schedule. You will usually be asked to attend more committee meetings and supervise more people. Worship plans may be changed at the last minute to accommodate guest speakers and called business meetings. Church policies may outline plans for interim periods, or the church may devise a plan. Each time you serve without a pastor, the interim will be different because it will reflect current staff, lay leadership, and the current needs of the church.

Don't Become Power Hungry

When you take on more responsibility and assume a higher profile, you can be tempted to enjoy the power. Realize that these responsibilities were added because the church trusted your ability to handle them. They are not a reflection of power or control.

Be Ready to Offer Input If Asked

You may or may not be asked to provide input to the pastor search committee. Your role in the process may be either significant or minimal. I have been in three pastor-less periods, and the input that I was asked to give has varied. Often you will not be asked to provide input until the candidate is brought for interviews. By that time, it may be a "done deal." Most importantly, don't set up a scenario in which you expect to be sought-out for your opinion. If you set up such a scenario and you're not consulted, you'll be frustrated and will feel as if your input in not considered valuable.

Be a Source of Positive Energy for Others

You have the opportunity to be a source of positive energy for others. Ministers often become discouraged in this period, and church leaders become weary when the process is lengthy. You can offer an optimistic perspective during this time. Members of the congregation and the ministerial staff may grieve the loss of the former pastor. This grief process is normal. If healing is not allowed to take place, the new pastor will have little chance of being effective.

Anticipate with Optimism

While you are carrying extra duties during this period and are consumed with added responsibilities, you may also be fearful for your own future. "Will the new pastor be someone I can work with effectively?" "Will the new pastor want to bring in his/her own ministerial staff?" "Will I still have a job?" "Will the new pastor desire things from me that I'll not be able to provide?" All of these questions are valid and real; however, resist the temptation to obsess on these concerns. You may be tempted to begin to build a network within the church to protect you should some of your fears become reality. Resist this divisive action! God has called you to your present place of service, and God can surely be trusted with your future.

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Spend Extra Time with Your Family

This period can be difficult for your family because of your added responsibilities. Also, they may be conscious of your anxiety about the future. You must not neglect time off, vacations, family outings, or other events that make life normal for your family.

Conclusion

While most ministers of music feel quite anxious during these periods of transition, the interim usually results in a positive relationship with the new pastor. It can be exciting to be a part of a congregation that is able to experience the energies that new leadership can bring.1

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1 Several ideas for this section are from notes A.L. "Pete" Butler used in his classes at Midwestern Baptist Theological Seminary, Kansas City, Missouri.

The Minister of Music’s Most Frequently Asked Questions

Most dialogue with congregants follows worship services. Before worship, ministers of music are busy with their preparations; however, once the worship service has ended, ministers of music usually remain to talk with people informally. During these times people often ask questions about music ministry, and the following questions represent some of those most frequently asked. When dialoguing with people about your work, worship, and music ministry, be sure to value each question and response and accept it as if it were offered in a spirit of love and genuine curiosity. Through informal dialogue we often have our best moments to help others grow in faith and to share the passion of our calling. Each question is followed by a possible response.

What Do You Do All Week?

(Since most people see the minister of music only on Sunday, they incorrectly assume that the minister of music works just one day each week. This should not be an intimidating question and it is not designed to trick you or to question your ministerial validity.

What it really means is, "Tell me about your work.")

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My job involves many challenging and important duties; however, my main responsibility is to get ready for Sunday. For instance, this morning's worship involved lots of people, and I was partially responsible for coordinating their efforts, rehearsing with musicians, designing the worship order and worship folder, and taking care of many other details. A typical week for me might involve worship planning, staff meeting, committee meetings, rehearsals, rehearsal preparation, long-range planning (seasonal music, future choral presentations, and other special music), project planning (youth choir tour and music camp), administration (writing letters,

sending cards and e-mails, ordering music, balancing the budget, purchasing materials, and meeting with tuners and repair persons), practicing, ministry (counseling, hospital visits, visits to prospects, funerals and weddings), continuing education (meeting with local ministers of music, attending conferences, reading, or studying), spiritual development (prayer, Bible study, and meeting with an accountability group), and community service. The real challenge for my job is getting it all done, and the weeks never seem long enough.

How Do You Choose Music for Worship?

Many factors determine what music we sing in worship. They include the season of the year (the Christian calendar and other important days), the theme for the day, what our congregation knows, the make-up of our congregation, theological balance (songs of praise, confession, thanksgiving, proclamation, or commitment), varied styles and forms, and available resources (accompaniment, choirs, singers, leaders, and others). (It is often helpful at this point to talk with the congregation member about the worship planning process, i.e., the process of getting to a particular worship event.)

Why Don’t Preschoolers Sing in Worship?

Giving glory to God is our primary focus in worship. Since preschoolers are egocentric (i.e., they are very centered on self), it is difficult for them to focus on giving gifts to God. Furthermore, the goal of all individuals/groups who lead in worship is to help others focus on God. This is a difficult responsibility for preschoolers and for congregations when preschoolers sing in worship. Many people only see the children as cute and not as worship leaders.

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Developmentally, preschoolers should be experiencing music at this age and not working on specific music for a presentation. In our preschool area, we believe that we should expose preschoolers to as many musical experiences as possible in a non-threatening environment. We are working to build a body of experiences for them that they can build on in the future. We view worship leadership at this age to possibly be threatening to them. We believe that some preschoolers would be as nervous in front of the church as their parents would be in a similar situation; however, preschoolers do not have the emotional maturity to deal with their fear in appropriate ways. Hence, young children invariably behave unconventionally in an effort to deal with their fears, i.e.., they may sing very loud or

even yell, hide behind another child, wave at their parents, and pull their clothes over their face. Unfortunately, adults often think children are just trying to be cute when, in reality, they are afraid when they realize they are on display. Many seasoned ministers have had the experience of helping a young child through the horror of being laughed at in church when he/she was only acting appropriately for his/her age.

Since most preschoolers are only beginning to come to regular worship (in some churches they do not attend worship at all), they have no background in appropriate protocol. Instead of asking children who are not ready to present their gifts of music in worship, we look for ways to involve parents in the teaching process throughout the year.

Why Does the Organ Play So Loud?

We are fortunate in our church to have a fine organ and organist. Our organist attempts to utilize the many sounds of the organ to help us worship more effectively. Sometimes the organ produces very soft and introspective sounds and sometimes the sounds are loud and boisterous. Hopefully these sounds represent the many ways we approach God and God approaches us. (Sometimes they are right and the issue needs attention!)

Why Are Musicians in Our Church Paid?

Musicians spend many years and great expense to develop the skills to lead others in worship. Because our church expects high quality, we pay them. Also, musicians are in high demand and many churches are searching for qualified music leaders.

Why Do You Take Friday Off?

Many ministers take a day off during the week, often Friday, because for them Sunday is considered a workday. In many congregations, ministers work very hard on Sunday's leading numerous services, and attending various meetings or social gatherings, and they take a day off during the week to compensate for their extra Sunday duties.

How Are Soloists Chosen for Worship?

Soloist can be chosen in many different ways; however, you must choose soloists through an organized system in order to be fair

and also maintain your congregation's expectations. Some churches rarely utilize vocal soloists in worship because they believe that soloists draw attention to themselves as opposed to a choir, which is representative of the entire congregation. However, most churches do have soloists sing as a regular part of worship. Consider the following:

1)Recognize that most churches have a basic standard of excellence in worship that must be maintained. While the validity of such an unwritten expectation could easily be debated, it nevertheless exists. Therefore, while a soloist may be totally acceptable in one church, he/she may not be in another church of a different size, worship style, clientele, educational level, or other demographic difference. As a minister of music, you are responsible for discerning this information about your congregation and maintaining these standards. When you are in doubt, you should consult someone else in the congregation for advice, probably the pastor.

2)Never allow a soloist to sing in worship whom you've not heard sing or who has not been thoroughly recommended to you by a trusted musician friend. Unfortunately, many music ministers have learned this lesson by allowing someone to sing because of familial or other connections, and have regretted the error. While sometimes it is necessary to have someone sing against your better judgment (musically, morally, or otherwise) you must make these decisions carefully and with wise counsel.

3)Decide whether soloists will come from the choir or whether others in the congregation are allowed to sing solos. Some ministers of music adhere to the policy that in order to sing a solo, you must be a member of the choir, while others do not. Such a policy usually assures that people are connected to the church's total ministry; however, it can exclude people who would sing in choir if their time limitations or life circumstances were different. I have generally not held to the "member of the choir" policy because I view music ministry as a congregational ministry; therefore, it should involve as many people as possible. Issues regarding soloists easily can involve soloist's egos, control, and other similar issues.

4)Utilize a soloist in a low profile setting before allowing him/her to sing in a larger venue. For example, ask the soloist to sing a line in a hymn or anthem before enlisting him/her to sing a complete solo. If your church has multiple services, ask the person to sing in a smaller and more intimate setting first. Utilize soloists for Bible study gatherings or similar small groups before enlisting them

for larger gatherings. If soloists are only willing to sing in the church's largest congregational gathering, then you probably have reason to question the individual's motives for singing.

5)The person should be a respected leader in the congregation. A soloist is a proclaimer of the gospel and he/she must live a morally respectable life in order for his/her message to be accepted.

6)If difficult situations arise, seek advice. Many ministers of music get into trouble through various dealings with soloists. When you sense a potentially troublesome situation, seek the council of others.

Why Don't We Sing More __________ (insert a style) Music?

With so many different styles of worship music available to most churches, ministers of music are frequently asked this question. The most important step in answering this question is to not be defensive. Simply share with the person how music decisions are made. This answer may include theological issues, personal preferences, pastoral preferences, results of surveys, or a sense of the total congregation. Usually the best answer begins "Thank you for asking this very important question. It is certainly one of the most difficult questions for any minister of music to answer. There are many factors that influence the choice of music in our church. You will be interested to know that some people in our congregation like hymns, others like praise music, some prefer contemporary Christian, and still others prefer other styles." Continue to share the wide range of musical issues that are considered when choosing music. Usually people are amazed that you've thought through this so carefully, for they've only thought of their particular preferences. Assure the person that you will carefully consider his/her suggestions.

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How Do You Join the Choir? Is an Audition Required?

This relatively easy question deserves a simple answer concerning rehearsal times and expectations. My answer usually includes questions to the prospective choir member regarding his/her previous experience and interest. If the person has little or no previous experience and doesn't read music, you may explain that singing in the choir (if the choir is advanced) may be frustrating.

You may encourage him/her to come for a few rehearsals on a trial basis. While I believe that choir should be open to everyone, I do not believe that choir is the best place of service for all people.

Some church choirs do have auditions, although most do not. If you audition choir members, explain how to prepare for the audition and schedule an audition time.

My ___________ (name of friend or relative) Is Going to Be in Town Next Week. Can She/He Sing for Worship?

Never give the person an immediate answer. Explain that plans for the upcoming weeks are already under way, and you'll have to check to see what else is happening in the service and how this person's participation might fit in. If you do not know the potential soloist, you will want to do some background work to gain some information about the person's qualifications. You may want to obtain a recording. If you decline the offer, you must have good reasons, and you must have the support of other ministers and music ministry leaders. Realize the seriousness of such an offer and consider it very carefully. While most congregants are hesitant about wanting their family and friends to sing, others can be pushy.

What's the Difference between a Hymn, Song, and Chorus?

These are the kinds of questions that ministers of music enjoy answering, for they show that people are thinking seriously about the congregation's music. The following definitions may be helpful:

Hymn – Hymns are generally texts that are directed to God. They are usually described as vertical — they are written to God rather than about God or about our experiences as related to God. Strictly speaking, a hymn is text and the music to which the text is set is the hymn tune.

Song – Usually this distinction is made in regard to hymns vs. gospel songs. Gospel songs are songs that became popular during the 19th century that were testimonial in nature and described the human response to God's acts. Gospel songs are generally experiential and personal.

Chorus – A chorus is a smaller song of repetitive nature that is usually easily learned. Often choruses are repeated more than once. Their texts can be scriptural, directed to God, or experiential.

Choruses are often confused with refrains of gospel songs. Technically speaking, refrains are sung intermittently between stanzas of a longer song, while choruses stand alone and are not related to a longer text.

What Is an Anthem?

An anthem is a choral work that has an English text and is used in worship. An anthem is the English equivalent of a Latin motet. Generally speaking, in protestant worship, an anthem is the music sung by the choir as opposed to the music sung by the congregation or music that has congregational participation as its primary goal.

Why Do We Sing All Stanzas of Hymns?

The text of a good hymn has a logical progression, and each stanza can be vital in understanding the hymn's complete intent. Often, when a stanza is omitted, a key part of the message may be excluded. However, there are instances when stanzas may/should be omitted. For instance, when the final stanza of a hymn is related to communion and your congregation is not observing communion, you may need to omit this stanza. If a particular stanza is unrelated to a particular theme that is being emphasized, it may be omitted. However, leaving out a stanza in a Trinitarian hymn (a hymn addressed to Father, Son, and Holy Spirit) would omit a member of the trinity and would be unacceptable. Generally, leaving out stanza(s) is acceptable unless the stanza(s) are closely related to each other through a story line. These decisions must be made purposefully and with careful deliberation.

What's the Difference between a Stanza and a Verse?

A stanza is a section of a hymn while a verse is related specifically to poetry. In hymns, the words stanza and verse are sometimes used interchangeably, although stanza is preferred.

What Do the Numbers on the Page of the Hymnal Mean?

Usually the numbers on the page of the hymn refer to the meter of the hymn. The numbers refer to the number of syllables in a line of the hymn. Knowing a hymn's meter allows us to interchange hymn tunes with the same meter. Most hymnals contain a metrical index that can be used for this purpose. Some meters are common

and have numerous tunes that accommodate them. Others are irregular and are often designated as so. In order to discern the meter of a hymn, simply count the syllables in each line of text. Remember that one line of a hymn tune and one line of text are not necessarily the same.

What Is a Hymn Tune?

A hymn tune is the music sung to a hymn. For instance, "Amazing Grace" is the name of the text, and the tune most often sung to this text is New Britain. The term "hymn" refers to the text and the term "hymn tune" refers to the tune or melody to which the hymn is sung. Most hymn tunes have names. Hymn tune names may come from a variety of sources including the text, the origin of the text, the name of the composer, or other information related to the composer. Hymn tunes are usually named either by the composer or by a hymnal committee.

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Appendix 1

Professional Music Organizations

It is important to remember that web sites and web addresses sometimes change. The addresses listed below were correct when published.

If a web address is extremely long, you may receive an error message. In that case, try reducing the length of the address so that it ends with edu, org, com, net, or something similar. Then click on the appropriate link or gradually add to the address to reach the desired site.

1.Acoustical Society of America

http://asa.aip.org

2.American Beethoven Society

http://www.music.sjsu.edu/beethoven/ABSociety.html

3.American Choral Directors Association

http://www.acdaonline.org

4.American Composers Forum

http://www.composersforum.org

5.American Federation of Musicians US and Canada

http://www.afm.org

6.American Federation of Violin & Bow Makers (AFVBM)

http://www.afvbm.com

7.American Guild of English Handbell Ringers

http://www.agehr.org

8.American Guild of Organists

http://www.agohq.org

9.American Handel Society

http://www.americanhandelsociety.org

10.American Harp Society

http://www.harpsociety.org

11.American Music Conference

http://www.amc-music.com

12.American Music Therapy Association (AMTA) (Silver Spring, MD)

http://www.musictherapy.org

13.American Musical Instrument Society

http://www.amis.org

14.American Musicological Society

http://www.sas.upenn.edu/music/ams

15.American Musicological Society Midwest Chapter

http://php.indiana.edu/~ygray/ams.htm

16.American Musicological Society South-Central Chapter

http://lschenbe.home.mindspring.com/SPRING%202000.htm

17.American Orff-Schulwerk Association –Music and Movement Education

http://www.aosa.org

18.American Pianists Association (Indianapolis, IN)

http://www.americanpianists.org

19.American String Teachers Association

http://www.astaweb.com

20.Associated Male Choruses of America

http://amcofa.org/index2.html

21.Association for Latin-American Music & Art (ALMA-USA)

http://www.amla-usa.org

22.Associated Board of the Royal Schools of Music –the world leader in music examinations (London, England)

http://www.abrsm.ac.uk

23.Association for Recorded Sound Collections (ARSC)

http://www.arsc-audio.org

24.Association for Technology in Music Instruction (ATMI)

http://www.music.org/atmi

25.Chamber Music Society of Lincoln Center

http://www.chamberlinc.org

26.Children's Music Network

http://www.cmnonline.org

27.Choristers Guild (Garland, TX)

http://www.choristersguild.org

28.The College Music Society

http://www.music.org

29.Conductors Guild (West Chester, PA)

http://www.conductorsguild.org

30.Contemporary A Cappella Society

http://www.casa.org

31.Dallas Fort Worth Prefessional Musicians Association (Arlington, TX)

http://www.musiciansdfw.org

32.Early Music America

http://www.earlymusic.org

33.Handel & Haydn Society

http://www.handelandhaydn.org

34.Historic Brass Society

http://www.historicbrass.org

35.Historical Harp Society

http://www.tns.lcs.mit.edu/harp/HHS

36.Intermountain Acoustic Music Association

http://www.xmission.com/~iama

37.International Association for the Study of Popular Music (IASPM)

http://www.iaspm.net

38.International Association of Electronic Keyboard Manufacturers (IAEKM)

http://www.iaekm.org

39.International Association of Music Information Centres (IAMIC)

http://www.iamic.ie

40.International Committee of Musical Instrument Museums and Collections (CIMCIM)

http://www.music.edu.ac.uk/euchmi/cimcim

41.International Computer Music Association (ICMA)

http://www.computermusic.org

42.International Confederation of Societies of Authors and Composers

http://www.cisac.org

43.International Council for Traditional Music (UNESCO)

www.ethnomusic.ucla.edu/ICTM

44.International Double Reed Society

http://www.idrs.colorado.edu

45.International Federation for Choral Music

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http://www.ifcm.net/index.php

46.International Musicological Society

http://www.ims-online.org

47.International Society for the Performing Arts

http://www.ispa-online.org

48.International Society of Bassists

http://www.isbworldoffice.com

49.International Trombone Association

http://www.ita-web.org

50.International Viola Society

http://www.uni-koeln.de/~axh01/ivgehome.html

51.Internet Cello Society

http://www.cello.org

52.Malmark, Inc. (Handbells)

http://www.malmark.com

53.Meet the Composer

http://www.meetthecomposer.org

54.Music Educators National Conference - MENC (Reston, VA)

http://www.menc.org

55.Music Library Associations

http://www.music.indiana.edu/music_resources/mla.html

56.Music Publishers Association (MPA)

http://www.mpa.org

57.Music Teachers National Association (Cincinnati, OH)

http://www.mtna.org

58.Musicians Network

http://www.musiciansnetwork.org

59.Nashville Songwriters Association International

http://www.nashvillesongwriters.com

60.National Academy of Recording Arts & Sciences, Inc. –The Recording Academy actively represents the music community on such issues as intellectual property rights, home taping, record piracy, archiving and preservation and censorship concerns.

http://www.grammy.com

61.National Association of Music Merchants (Carlsbad, CA)

http://www.namm.com

62.National Association of Pastoral Musicians

www.npm.org

63.North AmericanPerforming Arts Managers and Agents

http://www.napama.org

64.National Association of Recording Merchandisers (NARM) –serves the music and other prerecorded entertainment software industry

http://www.narm.com

65.National Association of Schools of Music (NASM)

http://www.arts-accredit.org

66.National Association of Teachers of Singing

http://www.nats.org

67.National Band Association (NBA)

http://www.nationalbandassoc.org

(or) http://www.nationalbandassociation.org

68.National Endowment for the Arts

http://www.arts.endow.gov

69.National Flute Association

http://www.nfaonline.org

70.National Music Publishers' Association, Inc. (NMPA) (New York, NY)

http://nmpa.org

71.National Association of Composers, USA (NACUSA)

http://www.music-usa.org/nacusa

72.Organization of American Kodály Educators

http://oake.org

73.Pacific Composers Forum

http://www.composersforum.org

74.Percussive Arts Society

http://www.pas.org

75.Performing Right Society (PRS) - UK association of composers, songwriters and music publishers. It administers the "performing right" in their music.

http://www.prs.co.uk

76.Piano Technicians Guild

http://www.ptg.org

77.Master Piano Tuners of America

http://www.masterpianotechnicians.org

78.Piano Tuners' Association

http://www.pianotuner.org.uk (United Kingdom)

79.Plainsong and Mediaeval Music Society

http://www.ncl.ac.uk

80.San Diego Songwriters Guild (San Diego, CA)

http://www.sdsongwriters.org

81.Schulmerich (Handbells)

http://www.schulmerichbells.com

82.Society of Composers, Inc. (SCI)

http://www.societyofcomposers.org

83.Songwriters Guild of America

http://www.songwriters.org

84.Stradivari Society

http://www.stradivarisociety.com

85.Suzuki Association of the Americas, Inc.

http://www.suzukiassociation.org

86.Suzuki Websites

http://www.suzuki-violin.com

http://www.suzuki-music.com

http://www.suzuki-method.com

87.The Orff Echo (Official Journal of the American Orff-Schulwerk Association)

http://www.aosa.org

88.The Viola Web Site

http://www.viola.com

89.World Folk Music Association

http://wfma.net

90.Young Concert Artists, Inc. (New York, NY)

http://www.yca.org

Directories

The College Music Society

http://www.music.org

*Resources for this list were taken and adapted from Indiana University website.

Dederick-Colon, Emman. Music Organizations and Professional Societies [WWW page]. Updated 18 April 2002. Available at: < http://www.music.indiana.edu/music_resources/societ.html.>

Accessed 16 December 2002

Music Licensing Organizations

1.ASCAP: (a musical copyright information source and licensing agency)

http://www.ascap.com/index.html

2.CCLI Christian Copyright Licensing International (copyright and licensing administration agency)

http://www.ccli.com/UnitedStates.cfm

3.Harry Fox (a musical copyright information source and licensing agency)

http://www.harryfox.com

4.LicenSing

(Click on Church Music, then on Licensing)

http://www.joinhands.com

5.New Dawn Music/Oregon Catholic Press (OCP)

(Click on Products and Services, then on Licensing) http://www.ocp.org

6.SESAC, Inc. (A performing rights organization with headquarters in Nashville and offices in New York and London) http://www.sesac.com

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Appendix 2

Church Music Publications

It is important to remember that web sites and web addresses sometimes change. The addresses listed below were correct when published.

If a web address is extremely long, you may receive an error message. In that case, try reducing the length of the address so that it ends with edu, org, com, net, or something similar. Then click on the appropriate link or gradually add to the address to reach the desired site.

1.The American Choral Foundation (Chorus America)

1811 Chestnut Street, Suite 401

Philadelphia, PA 19103

http://www.chorusamerica.org

2.American Music Teacher

(Official journal of Music Teachers National Association)

http://www.menc.org/publication

3.American Organist Magazine

(Official Journal of American Organists Guild)

475 Riverside Dr., Suite 1260 New York, NY 10115

http://www.agohq.org

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4.ASCAP in Action (Official Journal of ASCAP)

http://www.ascap.org

5.Call to Worship (Formerly Reformed Liturgy and Music, Official Journal of Presbyterian Association of Musicians)

http://www.pam.pcusa.org

6.Choir and Organ

http://www.choirandorgan.com

7.Choral Net (The Internet Center for Choral Music)

http://www.choralnet.org

8.Choral Journal (Official journal of ACDA)

http://www.acdaonline.org/cj

9.Chorister (Chorister's Guild)

http://www.choristersguild.org

10.Christianity Today

http://www.ChristianityToday.com

11.Church History (Publication of American Society of Church History)

P.O. Box 8517 Red Bank, NJ 07701-8517

http://www.churchhistory.org

12.Church Music Quarterly (Official Journal of the Royal School of Church Music)

http://www.rscm.com membership@rscm.com

13.Clavier

http://www.instrumentalistmagazine.com

14.The Clergy Journal

6160 Carmen Avenue East Inver Grove Heights, MN 55076-4422

1-800-328-0200

http://www.lutheranleader.com

15.Contemporary Christian Music

http://www.ccmmagazine.com

16.Creator

http://www.creatormagazine.com

17.The Diapason

(An international monthly dedicated to the organ, the harpsichord, and church music. The official journal of the International Society for Organ History and Preservation)

http://thediapason.com

18.Family Ministry

http://www.fmef.org

19.GIA Quarterly Magazine

http://www.giamusic.com/scstore/P-GIAQ.html

20.Glory Songs (Lifeway, Southern Baptist Convention)

http://www.lifeway.com, subscribe@lifeway.com

21.Gramophone

http://www.gramophone.co.uk

gramophone@galleon.co.uk (subscription enquiries)

22.Hymn (Official Journal of the Hymn Society)

http://www.hymnsociety.org, hymnsoc.@bu.edu

23.Hymn Society of Great Britain and Ireland

http://www.hymnsocgbi.org

24.The Instrumentalist

http://www.instrumentalistmagazine.com, subscriptions@instrumentalistmagazine.com

25.International Choral Bulletin (Official Journal of International Federation for Choral Music)

http://www.ifcm.net

26.The Journal (National Association of Church Musicians) (includes a newsletter)

http://www.nacmhq.org/content/home

27.Journal of American Organ Building (Official Journal of the American Institute of Organ Builders)

P.O. Box 130982

Houston, TX 77219-0982 (713) 529-2212

http://www.pipeorgan.com

28.Journal of the Conductors Guild (Official Journal of the Conductors Guild)

http://www.conductorsguild.org

29.Journal of Music Teacher Education

http://www.menc.org (for the publication, click on resources, then click on periodicals)

30.Journal of Pastoral Care and Counseling

http://www.jpcp.org

31.Journal of Singing (Official journal of NATS)

http://www.nats.org/journal.html

32.Journal of Voice (Official Journal of the Voice Foundation)

http://www.voicefoundation.org/VfJournal.html

33.Leadership

http://www.acsa.org

1-800-627-3494

34.Liturgy

http://www.litconf.org

1-800-394-0885

35.Mars Hill Audio Journal

http://www.marshillaudio.org

36.Music Educators Journal

http://www.menc.org (for the publication, click on resources, then click on periodicals)

37.Music and Liturgy (Society of St. Gregory)

http://www.ssg.org.uk

38.Overtones (AGEHR Magazine)

http://www.agehr.org

39.Pastoral Music (Official Journal of the National Association for Pastoral Musicians)

http://www.npm.org

40.Reformed Worship

http://www.reformedworship.org

41.Sacred Music (Official Journal of the Church Music Association of America)

http://www.musicasacra.com

rskeris@excel.net (subscription inquiries)

42.Teaching Music

http://www.menc.org (for the publication, click on resources, then click on periodicals)

43.Theology

http://www.spck.org.uk Theology@spck.org.uk

44.Theology Today

http://theologytoday.ptsem.edu

45.The Tracker (Official Journal of the Organ Historical Society)

http://www.organsociety.org

46.Voice of Chorus America (Official Journal of Chorus America)

http://www.chorusamerica.org

47.Worship Leader

http://www.worshipleader.com

48.Youth Cue Newsletter (monthly)

http://www.youthcue.org

Denominational Organizations

1.American Baptist (does not have a journal)

http://www.fabm.com

2.Anglican (includes a journal)

http://www.anglicanmusicians.org

3.Baptist (includes a journal)

http://www.sbcmc.org

4.Disciple Musicians

http://www.adm-doc.org

5.Lutheran (includes a journal)

http://www.alcm.org/alcm/html/index.jsp

6.Methodist (includes a journal)

http://www.hometown.aol.com/fummwa/events.htm

7.Presbyterian (includes a journal)

http://www.horeb.pcusa.org/pam

8.UCC Musicians

http://www.ucc.org/musicarts

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Index

Abilities, assessing, 9

Accompanists, working with, 84

Action plan, 182

Action verbs, list of, 255 Anthem, defined, 305

Assessing the potential church, 260-264 the potential pastor, 264-268

Benefits, 59

Bi-vocational ministers, 208-212

Budget, checklist, 187 preparation and presentation, 184-188

sample, 189-190

Burnout, avoiding, 39 causes, 40 defined, 39 signs and symptoms, 40 solutions, 44

Calendar, 196

Calendaring, 207-208

Change, managing and leading, 137-142

Children's instruments, purchasing, 229

Choir audition, 303 joining, 303

Choir officers, duties of, 202-204

Choir organization adult, 200 children's, 199 handbells, 201 instrumental groups, 201 pre-school, 199 youth/student, 200

Choir promotion adult, 157 children, 157 instrumental, 160 senior adult, 160 youth/student, 159 handbell, 161 Chorus, defined, 305 Church, work of, 15 Clutter, 197 Committees, working with, 129-132

Communication, 120, 165 barriers to, 92 correspondence, 119 defined, 117 defining audience, 169 designing printed materials, 172-175

working with the media, 170-172

Compensation, 57 annual salary review, 61 worksheet, 62

Conflict, dealing with, 89, 93 in worship, 142-147 managing, 94 resolving, 91 types of, 90

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Continuing education, 54 developing a plan, 55 Conventions, hosting, 110

Counseling, 292 basic information, 292 policies and guidelines, 294 when to refer, 294

Delegating, 133-136

Development, spiritual, 36

Difficult people confrontation, 125 picking up the pieces, 127 understanding, 126 working with, 124

Donated instruments, 230

Employment stages, 72

Enlisting and training budget, 116 workers, 113-116

Equipment, purchasing, 229

Estimate of housing allowance, chart, 68

Evaluation of music ministry program, 191-193

Evaluating minister of music, 181

Facilities, music ministry, new, 231-235

Family concerns, 23

Financial management, 69

Fiscal responsibility, guidelines, 213

Fundraising, 175 keys to effective, 176

Funeral, 289-291

Goals defined, 179 effective, 180 evaluated, 181 evaluating minister of music, 181 importance of, 179

Grouping tasks, 198

Handbells, 201 purchasing, 226-227

Honeymoon, 273

Hospice, 286

Hospital visit, 283-285 emergency room, 285 intensive care unit, 286 surgery waiting, 286 terminally ill/hospice, 286

Housing allowance, 63 allowance chart, 68 limits to, 64 money designated for, 65 mortgage, 66 parsonage, 66

qualifying expenses, 64 who qualifies, 63 Hymn, defined, 304 singing all stanzas, 305 Hymn tune, defined, 306 Hymnal, purchasing, 246-247

Instrumental groups, 201 Instruments, purchasing, 228 Interns

covenant with, 111 working with, 111, 112 Interruptions, 198 Interview list of possible questions, 260 preparation for, 258-260

Job description, 102 Job descriptions

administrative assistant, 108 minister of music, 103, 299 music associate, 105 music secretary, 108 organist, 106 pianist, 107 Joining a collegial group, 6 Journaling, 13

Kierkegaard model, 18 Leader, developing as, 47 Leaving effectively, 268-271 your successor, 269-270 Leaving deciding to, 249 questions to consider, 250 reasons to consider, 249

Lifestyle emotional, 35 maintaining, 33 physical, 34 spiritual, 34

Lighting, 244-246

Long range planning and process, 182

Mentor spiritual, 38 mentoring, 33

Minister's compensation worksheet, 62 estimate of housing allowance chart, 68

Ministering through counseling, 292-295 communicating bad news, 288 funeral, 289-291 grief, 287 without a pastor, 295-298

Ministers

bi-vocational, special issues, 208-212 single, special issues, 28 working with, 78 Ministry and family aspects of, 23 challenges, 24 children's issues, 25 practical suggestions, 27 spousal issues, 24 when problems arise, 26 Ministry involvement, 38 Ministry team, developing, 95 team building, 82 team work, 97 Ministry, call to, 1 Ministry, music, as vocation, 1 Ministry, music, philosophy of, 18 Ministry, music, potential vocations, 3 Miscellaneous equipment, purchasing, 229

promoting within the Church, 155 promotion guidelines, 155 promotion ideas, 156 use of computer in, 212 Music, borrowing, 220 finding, 216-218 ordering, 219 permanently out of print (POP), 220 what is needed, 216 Music, ordering from Publishers, 219 Retail music, 219 Discount, 219

New position, 271-274 making the decision, 280 Nouns and modifiers, list of, 255

Ordained, roles of, 6 Ordination, 4

Organ, purchasing, 221-223

Organizational charts, 102, 109

Organizations, local and national, 109

Parent councils, responsibilities of, 136

Pastor, working with, 75 Personality traits, 10

Mission statement, 184

Modifiers and nouns, list of, 255 Morals, 6

Music committee, music council, 132 Music Library, maintenance of, 204-207

Music ministry and other programs, 162-165

youth ministry, children's ministry, missions, Christian education, other

Music Ministry, as vocation, 1

Music ministry, choir promotion, 157-162

adult, children, youth, senior adult, instrumental, handbell

Music ministry facilities, new, 231-235

music academies, 169 philosophy of, 18

potential vocations, 3 professional musicians, 167 program evaluation, 191-193 promoting in the community, 166

Personnel committee, 133, 274

Personnel, conducting a review, 100 expectations of, 98 hiring of, 102 job descriptions and policies, 99 records of, 101 reviews and evaluations, 100 supervision of, 98, 101 termination of, 101

Perspectives, Biblical, 17 historical, 17

Philosophy, 18

Piano, purchasing, 223-225

Placement, 7

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Preparation, professional, 51

Priorities, setting, 23

Prioritization, 195

Process, 5

Professional considerations, 2

Promotion ideas, 156, 166

Publicity checklist in the Church, 162 in the community, 172

Purchasing a piano, 223-225 a synthesizer/keyboard, 225-226 an organ, 221-223 children's instruments, 229 handbells, 226-227 miscellaneous equipment, 229 other instruments, 228

Song, defined, 304 Staff members, working with, 82 Stanza, defined, 305 Support system, 32 Synthesizer/electronic keyboard, 225 purchasing, 225-226

Qualifications, 7 Questions for reflection, 3

Reading, 38

Relationship to Church, 31 to community, 32 to congregation, 31 to God, 29 to self, 29

Relationships, developing, 80 Resignation, letter of, 268

Resumé

design and distribution, 252-256

Retirement, 71 affording it, 73 financial planning for, 71 other factors, 73

Retreat, 38

Roles of the ordained, 6

Salary, 280

Saying no/yes, 197 Search committee, relating to, 257-258, 261

Self employment, 63, 66 who qualifies, 63

Singing, congregational, 147-154

Skills and knowledge, 51 other issues, 53 training, 53

Social Security Tax, 66 opting out of, 66

Team building, 82 Team work, 97 Theological issues, 14 Time management, 194 prioritization, 195 To do list, 195 Transfer, 250 Transition, 249

Understanding ministry, 11 others, 12 self, 10

Verse, 305 Vocation, 1, 3 Volunteers recruiting, 122 working with, 122

Worship and preschoolers, 300 Worship committee, 133 Worship facilities, 235 acoustical decisions, 236 choir space, 237 sound systems, 239-244 ventilation/environmental noise, 238 Worship, choosing music for, 300 concept of, 15 form and musical style, 18 private, 37 public, 36 soloists, 301

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