BCMMP Intern Position Available

admin — Mon, 26 Jul 2010 11:03:21 +0000

Internship Opportunity

The Black Church Music Ministry Project, Inc. (BCMMP) is an ecumenical, intergenerational organization founded on Biblical principles for the purpose of serving, nurturing and developing spiritual leaders through research, the publication of resources, and hosting leadership trainings via forums, workshops and conferences. We are seeking an intern to assist us in carrying out our mission.

Job Description: Create and design marketing materials (brochures, handouts, DVD covers) for the project and our events. Maintain and collect job postings in the field of Music Ministry for the website job portal. Assist with the planning of Music Ministry Leadership Forums as well as other projects. Reports to the Assistant to the President of BCMMP.

Qualifications: Must be working towards or possess a college degree in marketing and/or communications or related field. Must have at least two years of college level coursework completed. Looking for someone who is creative and detail-oriented. Must be willing to work virtually.

Notes: This is an unpaid, virtual position. For more information about the project, please visit http://www.bcmmp.org/.

To apply: Please send resume and cover letter to info@bcmmp.org.

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Emmett G. Price III, Ph.D. is president and founder of the Black Church Music Ministry Project. BCMMP aims to “serve, nurture and develop spiritual leaders within music ministry.” For additional information please visit http://www.BCMMP.org or contact us via email at info@BCMMP.org. Be sure to subscribe to BCMMP on YouTube and BCMMP on Facebook for important resources and updates!

BCMMP Remembers Bishop Walter L. Hawkins (1949-2010)

Lisa Terrasi — Mon, 19 Jul 2010 02:22:33 +0000

July 19, 2010

There are few individuals who can be credited with changing the nature of an entire repertoire of music. In fact, there are even fewer who are unanimously acknowledged with establishing a paradigm of composition that merges strong musicality and firm theology in a contemporary context. The late Bishop Walter Lee Hawkins (May 18, 1949 - July 11, 2010) is one such figure whose enormous gifts to the world far exceed the large body of recorded music he composed, produced, recorded, arranged and taught.

While many celebrate his timeless and irreplaceable contribution to the fabric of the gospel music industry, Bishop Hawkins was much more than a leader amongst leaders within the ministry of music. While many rejoice over the number of lives he touched through his amazing ministry at Love Center Ministries, Inc., he was much more than a pastor and bishop. As a God-anointed, Holy Spirit-led champion for Christ, Bishop Hawkins had the rare ability to train, groom and nurture both musicians and clergy. He had a sincere ministry of love, reconciliation and inclusion. Bishop Hawkins was created to love and called to serve.

From his early years at Ephesians Church of God in Christ (Berkeley, CA), Bishop Hawkins established himself as a keyboardist and vocalist who had sensitivity for worship. His encouragement and active assistance aided in the surprising success of his brother’s (Edwin Hawkins) 1968 “Oh, Happy Day” recording. It was Bishop Hawkins’ commitment to ministry that led him to divinity studies at the University of California, Berkeley and subsequently to establish The Love Center Church in 1973. As pastor, Bishop Hawkins (then Rev. Hawkins) was not only committed to shepherding the congregation that God called him to serve, but also to establish a leading music ministry built on the same tenets and virtues of his own beliefs. It was this music ministry that would become known around the world through the Love Alive series of recordings. Volumes I through V (spanning over 25 years) introduced some of the greatest Sunday morning worship repertoire for churches across the country and world. In addition to the fact that many of these recordings were award-winning and chart-topping, a greater claim to fame is the numbers of souls who were ushered to salvation through the strong melodies and powerful lyrics of Bishop Hawkins’ pen.

As co-founder and vice president of the Music & Arts Love Fellowship Conference, Bishop Hawkins (along with brother, Dr. Edwin Hawkins) played an important role in bringing together pastors, ministers, seminarians, managing music ministry leaders, choir directors, musicians, vocalists, songwriters, liturgical dancers, fashion designers, fashion show producers, praise & worship leaders, dramatists, actors/ actresses, laypersons and a host of others for an annual week of study, fellowship and worship. Founded in 1979 as the Edwin Hawkins Music & Arts Seminar in San Francisco, CA the conference would slowly evolve until it emerged in 1994 (then named the Edwin Hawkins and Walter Hawkins Music & Arts Love Fellowship Conference) as a well established national location of retreat, rejuvenation and revival where participants would emerge with a renewed understanding, appreciation and appetite for worship.

Bishop Hawkins leaves a tremendous legacy and a huge footprint that will be visible (and audible) for generations to come. As the city of Oakland prepares to celebrate his life this week through musical celebration (Tuesday, July 20) and homegoing service (Wednesday, July 21), thousands of congregations across the country (and beyond) will honor the gospel great by rendering many of his compositions during Sunday morning and afternoon worship. Church choirs, chorales and ensembles (vocal and instrumental) as well as liturgical dance ministries, flag ministries and all of the creative ministries will offer renditions and arrangements of “Dear Jesus,” “I Love You Lord,” “Be Grateful,” “Thank You,” “Goin’ Up Yonder,” “Changed,” “I’m Going Away,” “Follow Me,” “Marvelous,” and the list goes on. The fact that this list continues says it all. Bishop Hawkins’ masterful ability to fuse strong musicality and firm theology to a ministry grounded in love and exemplified by service was a gift of God. We at BCMMP thank God for the life, love and legacy of Bishop Walter Lee Hawkins.

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Praying Our Music into Existence

alexevil67 — Fri, 07 May 2010 00:02:44 +0000

May 7, 2010

Prayer is an essential part of ministry. As a mechanism of communication with God and a means of staying tuned into the frequency of God’s will in our lives, prayer is fundamental in our role as servants. As musicians, directors, seminarians, ministers and pastors leading the congregation in worship, we pray prior to communal worship. We initiate and participate in liturgical prayers during the congregational worship experience, but do we “pray the music into existence?” I was struck when I first read this question in Victoria Sirota’s Preaching to the Choir: Claiming the Role of Sacred Musician (Church Publishing Incorporated, 2006). In our desire to lead the choir, chorale, ensemble or team with the right key, the right pulse, the right feel and the right style, do we forget to “let go” and get out of the way of the Holy Spirit? Are we so fixated on the rehearsed plan of action for the worship music that we forget to “pray the music into existence?”

Let’s hear from you.

Join the Celebration!!!

Lisa Terrasi — Tue, 23 Feb 2010 01:36:06 +0000

As part of our commitment to “Preserve the rich heritage and legacy of music ministry within the Black Church,” BCMMP is launching a campaign to honor the “Living Legends” who have served as our mentors in Music Ministry. Over the next year we will present and celebrate individuals who have served as leaders and innovators within Music Ministry.

Do you know anyone who has served in Music Ministry for over 50 years and should be recognized as a “Living Legend?” Please post your nomination on our Facebook Discussion Board or send an email to info@BCMMP.org. Please include the name of the nominee, their church affiliation (including city) and a brief 2-3 sentence blurb on why they should be recognized as a “Living Legend.”

In order to provide you with an incentive, we mail a FREE copy of our widely celebrated DVD “The PROPHETIC VOICE in CHURCH MUSIC: Are We Still Connected to Our Rich Legacy?” [BCMMP Presents… Music Ministry Leadership Forum - Volume 1] to the 30th person to post a nomination (either on Facebook or via email).

Looking forward to hearing from you!!!
The BCMMP Team

Grooming the Next Generation of Church Musicians: Working with our Children

Lisa Terrasi — Thu, 19 Nov 2009 03:06:35 +0000

When positions in music ministry become available in our local churches we often seek to hire candidates with experience and a proven record of success in ministry. These candidates are usually at other churches already and are either looking to leave or looking for a better opportunity. In many ways, we often nurture, train and develop musicians who will most likely benefit another congregation; but what about all of the future musicians, of all ages sitting in our own congregations Sunday after Sunday? Many of us music ministry leaders have little patience for grooming all of the fledgling talent, novice and intermediate musicians, eager and thirsty to learn. Clearly, most music ministry leaders are overwhelmed and often consumed with the challenges of ministry. To the average parishioner, we simply sing, play or direct the music, but most will never know the hours of prayer, preparation, administrative duties and intra-ministry communication that go unnoticed and underappreciated week after week. Yet, this is what we are called to do and this is what we must do, regardless of whether we feel appreciated or not. For many of us, we are so overwhelmed that the additional challenge of grooming the next generation of musicians seems impossible for some and undesirable for others.

In this writing, we hope to inspire some well-proven recommendations as to how to move in the direction of grooming the next generation of church musicians from within your own congregation. In a previous post, Oh Where, Oh Where Have the Church Musicians Gone?, we initiated this discussion and in response to your requests we will take the conversation even further, with attention focused on working with our children.

1) The children’s choir should be the most important choir of any church relative to the developmental process. Children learn to speak not only by mimicking but through the practice of singing. We sing our ABC’s into memory. We sing our 123’s in order to learn them as well. We even sing our expanding vocabulary into existence through cleverly constructed songs. The children’s choir is not only one of the first points of interaction for theology (Children sing about who God is; God’s love; and God’s gift of salvation through Jesus Christ), but it is often, for many, the first introduction to musicality in an organized manner. In the children’s choir, children experiment with melody, rhythm, and even pitch. It is important at this early developmental stage to keep things fun and energetic as these children are all potentially future musicians.

2) Children who have been taking private lessons on any instrument should be encouraged to either accompany the children’s choir (or other choirs/ensembles based on level of proficiency) or to offer a solo performance during or perhaps prior to the church service. Not only does this build confidence, it allows them to see themselves in the role of expressing their love for God through the talent/ giftedness that He has given them for all to appreciate and be blessed by. You’ll be amazed at what this simple yet intentional commitment will do for even the youngest child who has a gift to share.

3) Children should be taught how to use hand percussion and other small music-making objects as a part of their ministry. It would be a great representation of Psalm 150. It will also solidify the connection between what they often do during music time in their preschool, kindergarten or grade school classes. The more connections made between church, home and school, the more reinforced these lessons become.

4) Children should be allowed to explore the instruments of the church (under supervision, of course). Children are fascinated with sound and science. Explaining how the Hammond or the Pipe organ makes sound is of interest to just about everyone. Looking inside the piano to see the hammers strike the strings as the keys are pressed is equally exciting and will quickly show the children why we ask them not to bang! Demonstrations on the set drum, percussion, electric bass, lead guitar, trumpet, saxophone and other instruments will also fascinate and encourage interest in these future musicians.

5) Children should be encouraged at an early age to lead the congregation in worship. This is one of the major functions of the children’s choir. The importance of knowing that even they [the children] at their ages have the power to take a lead in the worship experience of a congregation through their ministry of music is extremely important. This intentional commitment will help them develop a healthy respect for the responsibility and discipline needed in order to lead worship.

6) It is imperative to teach the congregation how to respect and encourage the children. They should never be seen as the “place holders” for the “big choir.” The children’s choir should serve as a mechanism for children to express their love of God and passion for Christ in children’s language and in a manner and method that means something to them.

It is our responsibility to provide a firm foundation for our children to explore music ministry in a safe, non-competitive and affirming environment. The benefits greatly outweigh the costs. We are blessed to have children in our congregations. Some of these children are future musicians with extraordinary God-given talent. It is our responsibility to groom and nurture them. However, regardless of whether they pursue music or develop into church musicians (vocalists and instrumentalists), it is our most sincere prayer that they always remain worshippers!

BCMMP Recommends … Equipping the Church Choir for Ministry: A Resource for Church Music Leaders and Choir Members

Lisa Terrasi — Fri, 16 Oct 2009 13:31:55 +0000

Resources for church music ministries that are educational, encouraging and spiritually stimulating are infrequently published, which is why the recent publication of Equipping the Church Choir for Ministry: A Resource for Church Music Leaders and Choir Members (AuthorHouse, 2008) by Eli Wilson, Jr. is so important, timely and worthy of mention.

The son of a Baptist preacher and pastor, Eli Wilson, Jr. (http://www.eliwilson.com) is one of few ordained ministers of music - one who is consecrated and commissioned to deliver God’s word through the gift of music. With decades of service as a minister of music, a composer, an independent recording artist, a lecturer, a clinician and worship leader, Eli’s recent publication, Equipping the Church Choir for Ministry: A Resource for Church Music Leaders and Choir Members (AuthorHouse, 2008), is priceless! As founder and CEO of Eli Wilson Ministries, Inc., (A Church Music Educational Resource Ministry) he is one of this country’s hidden treasures in not only developing rich and fruitful music ministries in houses of faith of all denominations, but he is also one of this country’s leading mentors of some of the most influential and equally unknown ministers of music of present and future generations.

Written for musicians, choir members, choir directors, music ministry leaders, pastors, clergy and seminarians, Equipping the Church Choir for Ministry: A Resource for Church Music Leaders and Choir Members offers a well-researched and well-tested treasure trove of practical applications, girded by scripture, that will assist any music ministry to be more intentional, more effective and more fruitful. The 113 pages of this important text are broken into ten thought provoking, well-researched and well-written chapters that are full of scriptural references, insightful commentary and wise gems of information gained from years of serving as a leader in the trenches of music ministry.

The first three chapters, titled, “Clarifying the Problem,” “A Theological Perspective” and “The Power and Influence of Music” are alone worth the price of the book. Chapter one offers a riveting synopsis on dysfunctional leadership initiated with the question, “How can a spiritually deficient musician lead God’s people?” (p. 3) Moving quickly to scripture to illuminate the biblical precedents for music ministry, the chapter ends by examining the question, “How are music ministry leaders trained?” Chapter two sets a path for correcting and recovering from dysfunctional leadership with the assertion that “music ministry needs a solid theological framework.” With a clear understanding of church infrastructure, Wilson posits, “the mission, the message and the ministry of the church provide an accurate theological framework of the music ministry.” Chapter three offers applicable ideology and sound theology that will help grow the power and influence of the music ministry from the spiritual seed planted in chapter two. “Music is a very powerful and influential tool. Therefore, its handlers should be accountable both to God and His people.”

The next four chapters offer lessons in distinct yet related biblical foundations as they each examine “the call to the ministry of music,” “preparation for music ministry,” “consecration” and “commissioning.” This section of the book offers intense study of the Levites and their “mystical call” to the ministry of worship. Grounded in sound exegesis, yet communicated in lay terms, these four chapters are the missing link for many music ministries that have talented practitioners eager to grow their spiritual leadership skills. Lessons on accountability, servant-leadership, the challenge of commitment, discipline and other important topics flood this section of the manuscript.

The final three chapters move the conversation into the unique settings of local church ministries offering a big picture perspective of how to understand worship as a personal (life of the leader) and communal (life of the ministry) lifestyle. In these final chapters Wilson offers helpful suggestions on the timeless challenge of pastor-music leader relationships which involve recommendations on conversations as well as in-depth suggestions on how to develop and communicate requirements and expectations. Full of practical applications on leadership development and leadership self-actualization the final chapter offers even more strategic lessons on courage, how to understand influence, the discipline of maintaining a consistent relationship with God, conflict-resolution strategies, the importance of community and an important conversation on how to maintain and protect passion within ministry.

Regardless of how small or how large your music ministry is… regardless of how traditional or how contemporary your liturgical style is… no matter how many musicians you have, how well trained your music staff is, or how seasoned your musicians and music ministry is … Equipping the Church Choir for Ministry: A Resource for Church Music Leaders and Choir Members (AuthorHouse, 2008) by Eli Wilson, Jr. will challenge you to move to the next level in ministry and in the process it will help you to create self-sustainable growth in your music and worship ministry using scripture as your guide.

Be sure to subscribe to BCMMP on YouTube and BCMMP on Facebook for important resources and updates!

BCMMP Recommends… Four Books You Must Have in Your Library!

alexevil67 — Sat, 22 Aug 2009 02:08:42 +0000

Books on the relationship between music and worship are published annually. Authors such as Robert E. Webber, John M. Frame and Paul Westermeyer are considered leaders of a pack of scholars, clergy and musicians who actively engage in research, teaching and writing on the intersections of music, theology and worship. Yet, these authors and most of their peers rarely include the African American experience or the worship experience of the Black Church within their prose. The music and worship of the Black Church has a rich heritage and is the product of a resilient legacy built on hope, faith and survival. The African American worship experience with all of its diversity and variety needs to be researched, taught and written about!

The four resources mentioned below are models of intellectual treatment of the music and worship experience that we know and love, authored by scholars, clergy and musicians who are fully invested in making sure we not only “know the God we sing about,” but that we better understand how God has blessed us with a powerful sacred music tradition birthed on the continent of Africa and nurtured on the soil of the United States. These books are not only “must haves” in the libraries of pastors, ministers, music ministry leaders, musicians and laypersons but for anyone interested in studying the power of music and worship from a Black perspective.

“Somebody’s Calling My Name:” Black Sacred Music and Social Change by Wyatt Tee Walker. (Valley Forge, PA: Judson Press, 1979)

Written by one of the most distinguished civil rights and human rights activists (former Executive Director of the Southern Christian Leadership Conference and Rev. Dr. Martin Luther King, Jr.’s Chief of Staff) and pastor emeritus of the historic Canaan Baptist Church (Harlem, NY), this text offers one of the first studies of Black Sacred Music from a socio-historical perspective by a scholar from within the fold. From this first of fourteen books, Dr. Walker offers readers poignant quotes such as “… if you listen to what Black people are singing religiously, it will provide a clue as to what is happening to them sociologically,” and “The Black Church is the American fruit of an African root.” Inclusive of musical and lyrical examples from various periods as well as the now classic pictorial “Music Tree,” Dr. Walker’s treatment of the Black Sacred Music Tradition remains as timely and provocative as it did when it was first published 30 years ago.

The Ministry of Music in the Black Church by J. Wendell Mapson, Jr. (Valley Forge, PA: Judson Press, 1984)

Composed by a veteran musician and dynamic pastor (Monumental Baptist Church, Philadelphia, PA), this book offers an important treatise on the role and function of music ministry within the Black Church. With dedicated chapters focused on “The Pastor,” “The Church Musician” and “The Choir,” Dr. Mapson wrestles with longstanding problems faced by numerous congregations of all sizes and denominations in clear, concise and effective prose. Taking a note from Dr. Walker, Dr. Mapson undergirds his study with a clear understanding of the Africa - African American Cultural Continuum and the unique cultural context of the Black experience in the United States. In addition to offering a wealth of experience and expertise as both a musician and pastor through the well scripted text, Dr. Mapson’s very applicable strategies and suggestions for effective music ministry remain current and fundamental to success in ministry.

Let Mt. Zion Rejoice! Music in the African American Church by James Abbington. (Valley Forge, PA: Judson Press, 2001)

This text is required reading by anyone interested in music ministry. Written by the widely regarded musician, educator and worship leader extraordinaire known for his riveting lectures and dynamic presentations on Music of the African American Church, Dr. Abbington takes the sociological work of Dr. Walker and the foundational study by Dr. Mapson to the next level. From critically analyzing the “Current State of Music in the African American Church,” to offering thought-provoking chapters on “Essentials for Church Musicians” and “The Relationship between Pastors and Musicians,” this text breaks the silence on some of the major issues, challenges and problems facing many houses of faith across the country. Chapters on “Planning Worship” and “The African American Christian Year” give insight into methods and approaches to dynamic worship, while other chapters reclaim the use of spirituals, hymnody and anthems within 21st century worship.

In Spirit and In Truth: The Music of African American Worship by Melva Wilson Costen. (Louisville, KY: Westminster John Knox Press, 2004)

Written by a skilled musician and esteemed scholar, Dr. Melva Wilson Costen, this comprehensive treatment of the music of African American Worship stands as the leading resource on the subject. Grounded in the African to African American cultural continuum and groomed with musical, liturgical, theological and biblical analysis, Dr. Costen clearly challenges the church to worship both “in spirit and in truth,” by aiding us to understand the roots and diversity of our worship using music as a fulcrum. This is a well-researched and extremely well-written volume that will encourage new found passion for the power of music within African American Worship. Chapters such as “Music as a Liturgical Element in African American Worship” and “Music Ministry in Theological Perspective” are essential reading for any pastor, minister, seminarian, music ministry leader and/ or musician interested in actively appreciating the rich heritage and legacy of African American Worship.

Be sure to subscribe to BCMMP on YouTube and BCMMP on Facebook for important resources and updates!

BCMMP Remembers Dr. Horace Clarence Boyer (1935-2009)

admin — Fri, 14 Aug 2009 19:39:35 +0000

Dr. Horace Clarence Boyer (1935-2009)

BCMMP mourns the loss of friend and mentor, Dr. Horace Clarence Boyer. Dr. Boyer was a consummate performer, esteemed scholar and exemplary educator. He was one of this nation’s leading scholars on Gospel Music and in many ways aided in creating the wave of interest that the field has seen in the past thirty years. Dr. Boyer was a kind hearted, compassionate and genteel soul who used music to aid in presenting the gospel to people around the world. He was a champion and tremendous exemplar on how to effectively use music as a tool to spread love, peace and joy.

BCMMP Tuesday Musings: Musicians Are Everywhere!

admin — Tue, 11 Aug 2009 15:25:57 +0000

Musicians Are Everywhere!

In a previous post, Oh Where, Oh Where Have the Musicians Gone?, we offered a glimpse at a growing issue within the Black Church. All across the country various houses of faith are lamenting, searching or assessing their present music ministry situation. Some have folks that they would love to invite to leave, many have folks who they wish would simply “fit in,” while most are seeking to recruit and hire musicians to fill current and in some cases, long-standing vacancies. The rumblings of rumors of a musician shortage continue to echo from coast-to-coast as many wonder is there a shortage of musicians in Zion?

Clearly, there is no shortage of musicians! Amongst the many genres of music composed, arranged, performed and recorded within the United States, the cadre of musicians continues to grow daily. Every spring, hundreds if not thousands of collegiate students matriculate from institutions of higher learning with exceptional musical training looking for opportunities to utilize their God-given gifts and well-developed skills. Numerous others who have been groomed by non-traditional or non-formal situations continue to flood the streets seeking to find places where their gifts, talents and skills might be utilized and appreciated. In fact, musicians are everywhere, except perhaps, the church.

Every city, suburb and rural area has local stories and nostalgic folklore of the great musicians who came from the area. Many of these great musicians ironically were trained in the church. Yet, the days of the Black Church as the major grooming field or training ground for musicians has greatly diminished over the years. The days of taking a risk on subsidizing musical lessons for young people who show a spark of talent, or giving the middle aged person who desires to return to their instrument after twenty years a chance are gone. In many situations the Black Church has lost its sense of nurturing and the responsibility of growing its own musicians. The effects of this demise are noticeable in all areas of the country. Although there are always exceptions to the rule, many churches now resort and rely on recorded music in order to overcome the perceived shortage of musicians. It is clear that churches (of all sizes) that are able to overcome the perceived shortage of musicians have benefited from strategic and intentional intervention and/ or visionary prioritization of their music ministries. According to our research, here are a few reasons that former church musicians say they left the church:

- Former church musicians felt they were never groomed or nurtured to grow musically. Most musicians are hired because they can “do what they do,” and for most that is good enough. Creative artists are always
seeking to go to the next level, to push the boundaries of exploration, to go beyond what was. Most churches, in the words of the musicians, simply wanted them to “do what they did” on the day they were hired… “no more, no less.”

- Former church musicians felt that they were “the work horse” of the church and received more demands and critique than they did gratitude and compensation. In fact, many continue to articulate that “it is easier to make a living as a musician outside of the church than it is as a church musician.”

- Former church musicians felt that they were overlooked when it came to being shepherded and they were not being trained or taught in terms of spiritual development. Most articulated that pastors would call “with demands but rarely with prayer.” Some went on to say that although prayer service and bible study were interesting, it was made clear to them by officers of the church that “they were there to play and not to participate.”

- Former church musicians felt that churches made it clear that they were hired because God gifted them with the talent and skills to lead the music ministry, yet the musicians never had the chance to actually
have the opportunity “to lead.” In addition to “decision by committee” situations and “four signatory approvals before implementation” policies, many musicians felt they were never given the space nor offered the opportunity to explore their talents and skills within the context of ministry. They were simply “burdened by assignments,” with no room to explore “new directions and new approaches to pronouncing the unchanging message through music.”

- Former church musicians felt that their passion for musical expression and their passion for God were continually stymied by the musical tastes and/ or lack of tastes by congregations who were unable to
follow their leadership in regards to music. Simply put, “we’re tired of non-musicians telling us how to play music!”

Be sure to subscribe to BCMMP on YouTube and BCMMP on Facebook for important resources and updates!

(Immediate Release) BCMMP Presents… Greater Boston Area Music Ministry Leadership Forum

admin — Thu, 12 Feb 2009 12:04:20 +0000

BCMMP Presents… Greater Boston Area Music Ministry Leadership Forum

INNOVATIVE MINISTRY:

Can we bridge the traditional and the contemporary and still minister?

Join Greater Boston Area pastors, ministers, scholars, music ministry leaders, seminarians and laypersons as we examine, ponder and discuss INNOVATIVE MINISTRY. The forum will take place on Saturday, February 21, 2009 from 3:00 to 5:00 PM at Messiah Baptist Church, 80 Legion Parkway, Brockton, MA 02301. Admission for this event is FREE.

Hosted and convened by the Black Church Music Ministry Project (BCMMP), this event will the 2009 season of conversations around leadership in music ministry. Different from past seasons, this year BCMMP is taking the conversations to area churches. According to president and founder, Minister Emmett G. Price III, Ph.D. (Associate Professor of Music and African American Studies, Northeastern University), “we are launching these conversations across the country in order to inspire more focus on spiritual leadership development within our music ministries.” Confirmed panelists include: Rev. Michael W. Walker, Pastor of Messiah Baptist Church; Evelyn Lee-Jones, Minister of Music of People’s Baptist Church; Shaundra Cunningham, a seminarian at Harvard Divinity School; and Herbert S. Jones, Minister of Music of Messiah Baptist Church. The conversation for this forum will focus on the question: Can we bridge the traditional and contemporary and still minister? Not only will the panelists wrestle with the challenge of reaching multiple generations with diverse styles of worship in our local churches but they will present leadership strategies and practical applications that may help area music ministry leaders more effectively utilize the ministry of music to support the vision and mission of local congregations. According to Price, who also serves on the ministerial staff of Greater Framingham Community Church (Framingham, MA) as the Minister of Music and Worship, “…it is our goal to complement the numerous hours spent on developing performance practice skills with numerous hours developing leadership skills. Music ministries across the country are facing serious challenges and BCMMP is set to take the lead in providing serious solutions with a focus on leadership.”

BCMMP aims to serve, nurture and develop spiritual leaders within music ministry.

For additional information please visit http://www.BCMMP.org or contact us via email at info@BCMMP.org.