Chapel Choir Corruption

Oxford's ecclesiastical roots are well known and well manifest. Gowns, spires aplenty, regular bells, Latin graces: all are largely secularised symbols of a past Christian exclusivity. In its musical life, however, the continuation of chapel choir culture is still blatantly oppressive. Here are a few reasons why.

Firstly, the matter of organ and choral scholarships. Most colleges at Oxford offer these. Organ and choral scholarships reward talent at - you guessed it - singing and playing the organ with money, sometimes hundreds of pounds a year, and other perks, such as free lunches. As well as the face value of the scholarships, colleges pour in thousands of pounds into these scholars' development, hiring part- and full-time directors of music to oversee training and services. With an immense amount of resources thrown their way, Oxford's organ and choral scholars are primed for leaving university as some of the best-connected young performers in the country. Of course, each college's approach differs. The top choral colleges (New, Magdalen, Christ Church, Merton) are very serious affairs: almost every day is spent either in rehearsal or in service.

The main problem with organ and choral scholarships is that they bind the scholars to participating in a college's chapel life. Money is not just given willy-nilly, to spend at the performer's discretion: scholars must take an active role in the chapel choir, dedicating hours to rehearsals, religious services, training boy choristers, and schmoozing with the clerks at port-laden receptions. This requirement means that those with experience in the Christian (and specifically Church of England) choral tradition are going to be prioritised.

Firstly, organs are - by and large - only found in churches. It is difficult to even try an organ, let alone train to be an organist, without having access to a church and the church's official organist (to turn on or open the instrument). Secondly, members of other or no religions or faiths may feel uncomfortable having to channel their musical talent into Church of England services. I do know a couple of Jewish scholars: one relayed - shockingly - that they were required to miss out on Friday night dinner to sing in weekly Evensong. Thirdly, singers without experience in the relevant tradition are unlikely to have the necessary vocal technique or knowledge: chapel choirs require distinct enunciation and a firm grasp of Latin. Finally, those on scholarship decision panels are going to want scholars who are confident in the Christian traditions and rituals (in other words, they won't mess up important sacred rites), and scholars who they know will be committed to chapel life: remember, a lot of money is at stake.

Organ and choral scholarships are thus highly exclusive: and not just religiously. A large proportion of the positions are - anecdotally - filled by alumni of top public schools. With their own chapels, organs, choirs, links to cathedrals and (as mentioned) Oxbridge college chapels, public schools are a perfect feeder. In essence, then, the scholarship system is largely corrupt: a closed loop of boy choristers who become scholars, scholars who become directors of music, and directors of music who train choristers and select scholars.

Another problem with these scholarships is that they only apply to organists and choral singers. What about me, a brass player? Why should I not receive a stipend and a free boozy dinner every Sunday for my talents? Instrumental scholarships do exist at various colleges, but they are on the whole purely monetary: the recipient only gets hard cash which is to be spent on tuition or training. 

Oxford's obsession with the chapel choir runs deep, unsurprisingly including its BA in Music. Not only are there modules dedicated purely to the practice (Choral Performance, Choral Conducting (there is no non-choral conducting course)), but there are a number of courses that presume knowledge of the Christian liturgy. Terms such as 'mass', 'passion', 'eucharist', and 'evensong' are banded about as if their meaning is obvious to all.

An empirical study of Oxford's chapel choir culture would, I'm sure elucidate many of my claims; I'm sure, also, that there are many exceptions to the rule that I am not aware of, particularly in the more progressive colleges. But the prioritisation of choral music - and Christian choral music - over others is a real problem within the University, and one that is disconcerting to a Jewish trombonist.