‘As One We Sing…’: Convergence Theology as Congregational Musicking in the Communion of Evangelical Episcopal Churches-Province USA

Abstract

This dissertation argues that The Communion of Evangelical Episcopal Churches, specifically Province USA (CEEC-USA) treats its congregational musicking as a theology of convergence. Convergence describes a vision of the Church through the confluence of the three primary ecclesial traditions of the Church – ‘evangelical’, ‘sacramental’, and ‘charismatic’ – and their corresponding practices. My assertion is argued through the evidence provided by qualitative research gathered from (1) two rounds of semi-structured interviews with laypeople, music ministers, and clergy from three congregations in the CEEC-USA – St Gregory, St Joseph, and St Raphael; and (2) observations of four consecutive Sunday services livestreamed from each of the three congregations.

Research into the relationship of congregational musicking and theology has advanced considerably over the last twenty-five years (e.g. Porter; Titon) – in particular, histories of ‘praise and worship music’ (e.g. Busman; Lim, Ruth; Reagan); research on the formative power of contemporary praise and worship music on certain Christian communities, traditions, and denominations (e.g. Altrock; Ingalls; Thornton; You); and insights into the burgeoning field of music theology (e.g. Heaney; Zon). My dissertation builds upon this work and the work of related scholarship through a series of historical, methodological and theologically-orientated chapters and case studies. The first three chapters are contextualising: Chapter One introduces convergence, its relationship to congregational musicking, and its place within the history and theology of the CEEC; Chapter Two introduces participating congregations, explains my approach to methodology, and explores the qualitative research data from two rounds of interviews; Chapter Three provides descriptions of livestreamed services. Using primary interview data, Chapters Four, Five, and Six provide case studies respectively interrogating each of the three primary traditions or ‘streams’ of convergence. A conclusion reasserts my thesis, summarises key points, substantiates my argument; and, considering my roles as bishop and musicologist, offers personal reflection on my dissertation.