St. Richard’s MaultsBy Takes Key Role in National Symposium, Also Honored for Scholarship

The inaugural Justice, Mercy, and Music Symposium brought together musicians and clergy from across The Episcopal Church on June 12 in Atlanta to explore two questions: a) How does our history in Episcopal African Diasporic congregations inform our present and future use of music, and b) What does justice and mercy look like in The Episcopal Church? Sponsored by the Association of Anglican Musicians with support from several dioceses, including the Episcopal Diocese of Central Florida, the symposium offered presentations and workshops focused on justice, mercy and the future of worship in historically Black parishes.

Among the symposium’s leaders was Dr. Carl MaultsBy, director of music and organist at St. Richard’s, Winter Park, whose vision and service on the symposium’s planning committee helped bring the gathering to fruition.

The gathering grew from an idea MaultsBy proposed to the AAM in 2022 in response to conversations about increasing Black participation within the organization. In his symposium summary report, MaultsBy wrote: “A significant number of Black Episcopal churches never reopened in the post-COVID era. Consequently, the Planning Committee’s focus took on a more purpose driven mission beyond AAM, i.e., how to use Afro-Centric liturgy and music to keep open the doors of historically Black Episcopal churches.”

What began as a discussion about AAM membership evolved into the symposium’s broader mission: exploring how Afro-Centric liturgy and music can strengthen historically Black Episcopal churches and help them flourish in the years ahead. With that mission in mind, Dr. MaultsBy and the planning committee shaped the day to feature sessions on the historical development of Afro-Centric liturgical music, using music to promote justice and mercy, Afro-Centric planning worship for major feast days and more. Eight of the oldest historically Black parishes in the nation were represented by scholars who participated in the symposium, including:

• The African Episcopal Church of St. Thomas, Philadelphia, 1792 (Waltier Blocker).
• St. Philip’s Church, Harlem, New York City, 1809 (Charles Lovell).
• St. Paul’s Episcopal Church, Paterson, New Jersey, 1817 (Gail Blache-Gill).
• Christ Church Riverdale, Bronx, New York City, 1864 (Malik Jardine).
• St. Ambrose Episcopal Church, Raleigh, North Carolina, 1868 (Christian Foushee-Green).
• Grace Episcopal Church, Norfolk, Virginia, 1883 (Terry Butler).
• Cathedral Church of St. Peter and St. Paul (National Cathedral), Washington, D.C., 1893/1907 (Michele Fowlin).
• The Episcopal Church of the Transfiguration, Miami Gardens, Florida, 1957 (Lloyd Brockington).

Collaborative discussions centered on practical ways churches can use music as a ministry to engage their communities, involve younger generations, and celebrate the rich heritage of Black worship and how justice and mercy are expressed in the Episcopal Church.

Scholarship Recognized

MaultsBy’s AAM and symposium leadership coincides with national recognition of his scholarship.

On July 30, the Historical Society of the Episcopal Church announced that MaultsBy had been named the recipient of the 2026 Nelson R. Burr Prize, awarded annually for the most outstanding article published in the Society’s peer reviewed Journal, Anglican and Episcopal History. His winning article, “Afro-Centric Liturgical Music and Its Implementation at St. Philip’s Church, Harlem,” was recognized for its “exceptional scholarship, extensive research, and careful documentation.”

The article traces the evolution of music at the historic parish in Harlem and outlines how traditional Anglican musical traditions were enriched through the incorporation of Afro-Centric liturgical music. The Historical Society noted that the work provides important historical and theological context.

Together, this symposium and award highlight MaultsBy’s longstanding commitment to preserving, studying and advancing Afro-Centric liturgical music in The Episcopal Church. “I hope this award will encourage congregations to include in their historical narratives the role of music and the music makers,” he said.