Nonetheless, I wanted to share with you my take on what promised to be a respectful exchange, perhaps controversial, until TSA determined that my ethical considerations ought not be voiced. Here's my take on it from a purely philosophical position - subsequent to your reading the below, you can perhaps perceive why and share a comment.
________________________
There are several ethical questions that demand thoughtful
consideration in determining the appropriateness of using Heaton's Just as I AM
as a ‘test’ piece:
• Was the original intent and purpose of Wilfred Heaton
honoured by both TSA, and the Heaton Trust?
• Does the SA have the moral right to sell or disperse ‘intellectual
property’ entrusted to them, without the artist’s consent?
• Was the SA’s motive mission or money (Return on Investment
or Cost-Benefit Analysis) on releasing the piece?
• Did TSA's release of the piece become a case of compromise;
abide by the different (lesser) ethical policies and motives of an agent? (The
Heaton Trust)
• Was the SA consulted about ‘Just as I Am’ being approved
for use as a test piece? If not, will this factor into future release by the SA
of music entrusted to them for a specific purpose?
______________________________________
Owners of intellectual property expect to be compensated when others use
their property. Should ‘others’ using the ‘property’ not be obligated to
respect and honour the creator’s intent and purpose? And is there a legitimate
cause for concern that the TSA’s reputation might be at risk for not protecting
composers' expectations? From the Heaton Trust: It was expected (acknowledged)
that Wilfred would dedicate his musical talents to the Salvation Army. Does
that intent not also include an appropriate venue, purpose and response?
SA music when played should focus on God not the performers.
When the piece concludes we should not ask, "How did you score it?"
Rather, we should ask, "Did that help me think about and praise God?"
Of course God is able to use all SA music for His glory if
played with respect and in a suitable setting, however the missional focus and
intent was compromised in this instance, when using Heaton’s classic as a 'test
piece'. It suggests that we (and Heaton) value skill levels above heart
motives; the difference between someone who lives to perform on stage and
someone who lives to share a love offering to God. Yes, the very same language
but totally different motives!
PhD Ethics and Human Values
11 comments:
As both a former officer and a composer, this causes me considerable concern. While some composers (Peter Graham comes to mind) have written quite a number of pieces which obviously have the contest market in mind, many of the rest of us have no such intent or desire. Speaking only for myself, I would be extremely disappointed if any of the devotional pieces I have submitted were suddenly to be made available as a "test piece" rather than published for Army bands to use as intended.
Can we now look forward to EB's Songs in Exile being tossed to the highest bidder, or DG's Light of the World? RSA's In Quiet Pastures too could be added!
Or better yet, why not an entire brass band contest with a program consisting of 'All SA Devotionals', conducted at one of our larger halls. The ISB, Enfield, Kettering, Boscombe, Norwich and other 'top' SA bands would be allowed to compete.
A guaranteed money maker and might even bring a blessing or two! Blessings though are a secondary consideration.
Band Reservist
UK
Thank you Dr. Ljungholm for your scholarly insight. Can only wonder why the Salvation Army 'sold' Heaton's piece in the first place?
The attraction of "Just as I Am" is evidenced by its immediate prominence in repertoires and CD recordings alike.
Heaton's arrangement penned more than a half century ago, and gift to the SA have been sullied through its use as a test piece. Surely there are pieces equally appropriate that can be used and thereby diluting a composer's sacred intent and spiritual offering.
Brighouse, UK
From an earlier post -
Anonymous said...
Did Heaton express his willingness for this classic devotional piece to be played as a 'test piece'? I doubt it and think there's a commercial interest in all of this.
SA Bandsman UK
As a Counterpoint....
As an Officer, we were constantly reminded that anything we created or produced whilst in Officership, was the complete property of TSA. Intellectual Property Rights were not a consideration. There is a difference between creating something as a secular person, and creating something as a Christian for the church. As such, intellectual property rights does not come into this question. The logic goes - are you a Christian first who uses his talents to serve God, or are you a secular person, who has talents that incidentally might be used as a secondary purpose of serving God, where the primary purpose is to glorify yourself and keep control of it? This is why many earlier Christian composers actually signed their name Anon. In many cases it's not because we have lost the name of the composer, but because the composer did not want his/her name attached to it as it put glory to them - not God.
As to the appropriateness of venue etc. Think of it in the reverse. What was going through Booths mind when he heard the band play the 'Can-Can' after one of his meetings? Did Booth consider the intellectual property of using 'Champaign Charlie', or 'my bonnie lies over the ocean' etc etc etc. How much of our song book uses secular tunes?
TSA has almost from its' inception, taken the view that 'by any and all means shall we spread the gospel'. It may not be played with the intent of spreading the gospel, but I guarantee, knowing so many secular musicians, that most of them hearing and playing it would be deeply spiritually moved by the piece. Using it as a test piece would also highlight to secular musicians that even more modern church music/compositions are of a very high quality and not something to be made a joke of. For secular musicians, you need to appeal to their sense of musicianship if you want to win them for God - because they find God in the music - not the spoken or written word. People consider Christianity a Joke nowadays, and so by association they think anything attached to it - music, art, literature, scholarly works - is also a joke. Anything that can highlight that the work of Christians is not a joke is in my opinion a victory for the Church, and in this case, TSA.
As a result, I would find it an honour to have such a piece used as a test piece in an international band competition - particularly if it were a secular band competition. If there is a commercial by-product of it - all the better. How different is that from getting money from those in the Pubs every friday evening, or corporate sponsorship?
It would seem that this furor is about glorifying the individual, not God, but masquerading it as wanting to glorify God. Are we not saying in this discussion 'look at me - look how wonderfully I glorify God. See! That's MY name on that piece that is glorifying God. Aren't I so wonderful and talented'.
What would have happened if Heaton had signed his name 'Anon' to the piece? Would we have been any less blessed in hearing the piece, not knowing it was written by Heaton?
Some food for thought.
Yours in Christ,
Graeme Randall
Former Australian East in London
Thank you all. I'll be adding part three tomorrow and where some of your valuable and very helpful comments will be addressed.
blessings, sven
'Our former leaders were acutely aware of the danger of deflection from our main purpose by reason of changes within ourselves. They therefore, created music boards to control our musical publications, and regulations...'
Albert Orsborn
House of My Pilgrimage
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'Just As I Am' is a meditation, and is in NO way 'test piece' material. Sorry, there is no justification for this to be used as a test piece.
Bandmaster
USA Central
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