Maestros of Ministry: Their Legacy in the Department of Music and Worship

CHARLES CLEVENGER |  29 and Learning, he completed that immense project. Orig- inally offered as a hybrid delivery (part face-to-face and part online), Humanities transitioned to an exclusively online mode of delivery, offering approximately thirty-five sections per year. This popular general education course is required for all Cedarville undergraduate students and now enrolls numerous high school students through the College Now program. The course’s distinct integra- tion of the Fine Arts and scriptural authority makes it unique among offerings at other Liberal Arts colleges and universities. Clevenger went on to become Chair of the Depart- ment in 1989 when Matson stepped down, rising to the top after a national search. He took his initial charge from DiCuirci: “You’ve got to get us a better facility. We’re growing out of everything here.” Clevenger took his “marching orders” from his senior colleague and embarked on a seven-year journey to get that done. He solved the political problem of the Department’s low priority for a new space by piggybacking on the new DixonMinistry Center project. Due to his leadership and negotiating, the Music Department secured the entire west wing of the new facility providing a recital hall, a student and faculty lounge, practice rooms, rehearsal halls, and spacious faculty offices. Having worked tire- lessly through this process and having provided ample room for departmental growth, Clevenger felt that he had completed his mission. He stayed on for only one more year as Chair to enjoy the fruits of his labor, while giving all due credit to the Master Builder: Unless Jehovah builds the house, those who build it labor in vain. Unless Jehovah keeps the city, The guard watches in vain (Psa. 127:1). Under Clevenger’s direction, a first-rate facility grew. From the Department’s former disconnected locations found in various parts of Ambassador Hall, Alford Annex, Carnegie Fine Arts Building, and Milner, to a single location that afforded easy access to both the Jere- miah Chapel and Recital Hall, the Department gained a huge boost to its already fine and growing programs. In one stroke, the previous problems of space and equip- ment were immediately resolved. From Music Theory classrooms to sound-dampening faculty studios and rehearsal spaces, the Department now had ample room to expand. One key achievement in the project was the addition of a state-of-the-art Recital Hall built on its own concrete foundation with rubber grommets used to separate any steel work that connected the Recital Hall to the Chapel. This performance space has since hosted numerous student, faculty, and guest recitals. All this took teamwork with multiple parties having a vested The Department advanced into the twenty-first century due to Clevenger’s savvy foresight, management skills, and the ability to negotiate for the current facility.