Worship Arts July August September 2022

from being a Roman Catholic church musician to one accepted by the Church of England. You think that the transitions between “traditional” and “contemporary” music cause you problems, failure to change one’s al legiances in Tallis’ day could have a deadly result – by that I mean, torture and the loss of your head. While he was, for sure, a good composer in his day, his ability to respond to the changes in his vocation, for example composing in both Latin and English, probably contrib uted to his musical growth and reputation for being one of the great composers in the western tradition. Beyond the safety of mediocrity What kind of person would assume the position at York Minster? Obviously, not a novice. The current Organist and Director of Music, Robert Sharpe, held positions in a number of smaller cathedrals and colleges before coming to York Minster in 2008. Sharpe is recog nized in the professional societies in the UK as a Fellow of the Royal Society of Arts and the Royal College of Organists. Pursuing one’s art to higher levels pushes us beyond the safety of mediocrity into places that chal lenge both our skills and the skills of those under our care – potentially a dangerous position. If we rely only on the skillset that we acquired in college or seminary, we may be running the risk of settling into the safety of mediocrity. By skillset, I am referring not only to those skills that produce musicianship or other forms of artistry. I am also speaking of theological, liturgical, interpersonal, cultural, and contextual understandings that shape a maestro into a spiritual mentor and an audience into a manifestation of the body of Christ in the community. We share an initial spark W e share much with this train of church musicians at York. Our names may not be etched on a wall,

but are etched in the hearts of those whom we have served. So, we metaphorically join this amazing list of musicians who, for centuries in myriad places and various lengths of time, have been the custodians of a ministry through music and the arts. We join them on a potentially dangerous journey. All of us share an initial spark that billowed into a burning bush. That spark may have been lit while taking piano lessons from the organist at the church where we grew up; or, while singing our first solo in an anthem as a boy soprano; or, by playing drums in the praise team; or, by finding community in a dance ensemble that shared their gifts in worship; or, on a mission trip to lead a Vacation Bible School in a community with fewer resources than ours. That spark may have been fanned by a teacher, mentor, pastor, or choir director who pointed out something to us that we did not see in ourselves. At some point, the spark grew from being a bit of smoke to the flame that we call a vocation. It is at this point that I have had the privilege of entering the picture for nearly forty years as a professor in a theology school – that is the point where the spark has become a burning bush that will not be consumed; and the person has discovered they are on holy ground and are ready to make a commitment and continue their vocational journey in some aspect of music ministry. Keeping the spark alive What holds it all together? Each vocational journey is singular – each of us is formed in a different environ ment and each will be shaped by differing places of ser vice. I think of vocation in two interrelated parts: 1) the initial spark and vision that provides the impetus for what we do, and 2) the places and ways that we serve that take that vision and give it shape, meaning, and di rection. In both aspects of our vocation, the sacraments can play a significant role. I would suggest that it is

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___________________________________________________________________________________________________ 14 July-August-September 2022 • WorshipArts • umfellowship.org