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

30  |  MAESTROS of MINI STRY interest in the Ministry Center building and in how that budget was dispersed. Clevenger exhibited shrewdness and the quality of character to work together with others to achieve the most suitable result for all. Under Clevenger’s watch as Chair, not only did the space and equipment grow, but key hiring moves were made to add to the growing department faculty. The qualities he sought in new faculty were “overkill leaders” who were “hungry to be second to none. In summary, spiri- tual leaders and aggressive fighters.” He hired Jim Cole- man, who brought computers to the Theory classroom. He hired Mark Spencer, John Mortensen, and current Chair, Beth Porter, all of whom exhibit the qualities Clevenger sought. 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. While Clevenger’s service to the growing department came at a crucial time, his ministry to his students always took priority. In addition to teaching mastery at the piano, Clevenger sees himself as a “life coach.” He sought to prepare his students for the real world. With the understanding that many musicians tend to be introspective and introverted, he conveys to all of them the assurance that Jesus loves them, and even though they are still a work in progress, Christ has finished all His work. It is good for students to remember that they have not yet arrived; therefore, they need to practice. He uses his initials as a reminder of two matters he always tries to impart in his lessons: C for Commending students on something they have done well, and C for Challenging students to reach new heights, giving them the tools to reach that goal. Comments from former students are typical of Clev- enger’s service as mentor and instructor to his students. Dr. Clevenger “taught me to play music, not just notes.” He helped students focus on musicality and forget about the inevitable small mistakes. “Listen to the sound actu- ally coming out of the piano, not what you think you played.” Every freshman started with Bach, even though most freshmen had played what they felt were “grander” pieces in their high school years. In his wisdom, Clev- enger guided them to learn that playing Bach correctly was something beyond their youthful aspirations.