THE NATIONAL ASSOCIATION OF
Pastoral Musicians
Director of Music Ministries Division
THE DIRECTOR OF MUSIC MINISTRIES IN THE PARISH:
WORK AND REMUNERATION
DMMD
A
Statement
and
Worksheet
National Association of Pastoral Musicians
Director of Music Ministries Division
THE DIRECTOR OF MUSIC
MINISTRIES IN THE PARISH:
WORK AND REMUNERATION
Ratified at the DMMD members’ meeting on July 4, 2001,
at the 25
th
Anniversary Convention of the
National Association of Pastoral Musicians
Washington, DC
Revised and Updated January 2013
Copyright © 2001, 2006, 2008, 2009, 2010, 2012, 2013 by the National Association of Pastoral Musicians.
All rights reserved.
The National Association of Pastoral Musicians fosters the art of musical liturgy. The members of NPM serve the
Catholic Church in the United States as musicians, clergy, liturgists, and other leaders of prayer. The Director of
Music Ministries Division (DMMD) is the membership division for those who hold or share primary responsibil-
ity for music in parishes and other institutions.
National Association of Pastoral Musicians, 962 Wayne Avenue, Suite 210, Silver Spring, Maryland 20910-4461
Phone: (240) 247-3000 • Toll-free: 1 (855) 207-0293 • Fax: (240) 247-3001 • Web: www.npm.org • E-mail:
National Association of Pastoral Musicians
Director of Music Ministries Division
The Director of Music Ministries
in the Parish:
Work and Remuneration
Preface
In 1963 the bishops of the Second Vatican Council, in their desire to renew
the life of the Church, called for the “full, conscious and active partici-
pation” of the faithful in the liturgy (Constitution on the Sacred Liturgy,
14). This active participation of the assembly was to be accomplished
rst of all through the musical elements of the rites, by “acclamations,
responses, psalmody, antiphons, and songs” (Constitution on the Sacred
Liturgy [CSL], 30).
The Council armed that “the musical tradition of the universal
Church is a treasure of inestimable value, greater even than that of any
other art. The main reason for this preeminence is that, as sacred song
closely bound to the text, it forms a necessary or integral part of the sol-
emn liturgy” (CSL, 112).
Because music is integral to liturgy, the employment of well-trained
Directors of Music Ministries in the Catholic Church is vital. Oftentimes
however, the special nature of the musician’s training and the practice
of his/her craft makes it dicult for others to understand properly the
required credentials and the amount of work involved in a specic church
position.
Work and Remuneration Page 3
Common perception of a parish musician may range anywhere from
a skilled professional to an amateur contributing his or her services.
However, the work done by the Director of Music Ministries covers a
broad spectrum of activities. Some of the work is visible (like playing
the organ or piano at liturgy or directing the choir), but much of it (like
keyboard practice or the study of musical scores) is not. Both types of
work are necessary components of the job. Typical responsibilities are
set forth in the Sample Job Description, Appendix A (page 11). However,
the aributes and job requirements dening the typical full-time posi-
tion of a church musician, which are listed below, are clearly those of
a professional (from the NPM publication Qualications for a Director of
Music Ministries: A Statement and Bibliography).
Pastoral Skills—A Director of Music Ministries is a pastoral musician,
of service to the church at prayer. He or she “. . . is not merely an em-
ployee or volunteer, but a minister, someone who shares faith, serves
the community, and expresses the love of God and neighbor through
music.” (Liturgical Music Today [LMT], #64)
Liturgical Skills—A Director of Music Ministries has acquired basic
information about the liturgy of the Roman Catholic Church and is
able to integrate this with musical skills so that the liturgical music
component of worship can be celebrated. Such basic information is
usually acquired through the study of liturgical theology and church
music or through wide reading or experience in the eld.
Musical Skills—A Director of Music Ministries has aained skills in ap-
plied music, music theory, and the history of music, usually through
an undergraduate and/or graduate degree in music. These skills in-
clude:
❖
prociency in at least one accompanying instrument used in
litur gical celebration or in voice and choral performance;
❖ a knowledge of keyboard technique, service playing re-
quirements, transposition, guitar techniques, group vocal tech-
niques for adults and children, choral conducting;
❖
use of instruments with choir and keyboard;
❖ some understanding of acoustics, especially as they pertain to
the space in which the parish worships.
Organizational Skills—The position of Director of Music Ministries im-
plies the involvement of other people in the musical programs of the
parish. The Director must be able to organize or see to the organization
of all aspects of the parish music program.
Conclusion—The Director of Music Ministries who fullls these quali-
cations is deserving of fair compensation, similar to that provided
by just employers in our nation, with a mutually agreed upon contract
describing the responsibilities of employer as well as employee.
Work and RemunerationPage 4
Music in the Church
Since music plays an integral part in the worship of the church, it is im-
perative to have the best musical leadership possible. A Director of Music
Ministries makes critical contributions to the parish by his/her “ability
to engage the parish in the musical celebration of worship,” because he/
she has developed the skills necessary “to empower the people to sing”
(from the NPM publication Qualications for a Director of Music Ministries:
A Statement and Bibliography).
Besides providing the best and most appropriate music for the praying
assembly, the pastoral musician will “engage the parish in an ongoing
educational process regarding the place of music in worship; aend to
the continuing spiritual and musical growth of parish music volunteers;
and provide appropriate training for cantors, organists, and members
of musical ensembles” (from the NPM publication Qualications for a
Director of Music Ministries: A Statement and Bibliography). Using music
creatively, the Director of Music Ministries will further enrich the lives
of the parishioners in a variety of ways. Some possibilities are:
❖
Organization of choral ensembles, e.g., adult, youth, children’s,
contemporary;
❖
Presentation of special musical services;
❖ Training of instrumental groups (handbells, brass, strings,
guitar, etc.);
❖
Presentation of choral programs or organ recitals;
❖ Development of music education programs;
❖ Use of liturgical dance, plays, and other art forms;
❖ Production of recordings of music in the church.
A creative music program requires a talented Director of Music Min-
istries as well as the support of choirs, clergy, and the assembly.
Before eorts are made to employ a Director of Music Ministries, the
job should be analyzed to determine the extent and nature of the re-
sponsibilities, the eectiveness of the existing music program and what
changes may be needed. Then, an appropriate salary can be determined.
It should be remembered that the competent, qualied Director of Music
Ministries has invested thousands of dollars and years of hard work to
develop his or her skills and should receive proper compensation. Each
parish must judge the applicants for a position on the basis of musical
and personal qualications. The process should include both an interview
and an audition.
The Formation of the
Director of Music Ministries
In order to function eectively, the Director of Music Ministries must
have expertise in the four skills areas listed in the preface. To acquire the
necessary training, especially in the areas of music and liturgy, a large
investment of time and money is required. In most cases, this training
Work and Remuneration
Page 5
Work and Remuneration
Page 6
includes an undergraduate or graduate degree from a college or music
conservatory. A music degree alone will include the following:
❖ Music theory, which includes the development of many skills:
sight singing, score reading, transposition at sight, musical termi-
nology, and dictation (writing down music that has been played).
Training in all of these areas gives the individual a keener musical
sense and the ability to grasp the complex problems involved in the
performance of music.
❖
Courses in the history of music cover the study of musicians,
musical styles, and the signicant compositions of many centuries,
while studies in liturgy, theology, and the history of worship give
additional background to the church musician.
❖
In the study of musical composition, the intention is not to be-
come a professional composer (although this may be the result)
but to learn enough about composition to understand the methods
used. This enables a musician to evaluate a variety of music from
all centuries. The most important subjects in this area are harmony,
counterpoint, and musical form.
❖
Private study in an area of musical specialization, for example,
voice, piano, organ, guitar, or choral conducting. Such a study em-
phasizes technique, repertoire, and interpretive skills; is accomplished
through weekly one-on-one lessons; and requires daily practice.
Knowledge of liturgy and the development of liturgical skills add yet
other broad areas of education that require additional years of study,
time, and money. In order to exercise good liturgical judgment, a Direc-
tor of Music Ministries must have a basic knowledge of the liturgy of
the Roman Catholic Church and the ability to integrate this with musical
skills. Studies and/or a degree in liturgy will include:
❖
A knowledge and application of these documents: The Constitution
on the Sacred Liturgy (1963); the Instruction on Music in the Liturgy
(Musicam sacram, 1967); Music in Catholic Worship (1972, revised
1983); the Directory for Masses with Children (1973); Introduction to the
Lectionary (revised 1981); Liturgical Music Today (1982); This Holy and
Living Sacrice (1985); the Rite of Christian Initiation of Adults (1988);
Built of Living Stones: Art, Architecture, and Worship (2000); and The
General Instruction of the Roman Missal (2002);
❖
An understanding of the requirements of the lectionary, the litur-
gical calendar, the Roman Missal, and sacramental rites;
❖
An understanding of the assembly as the primary liturgical sym-
bol and the willingness to plan and prepare celebrations to pro-
mote “the full, active, and conscious participation of the assembly”
(CSL, #26) with the judicious use of cantors, choirs, ensembles, and
instrumentalists;
❖
Continuing education that will include at least one periodical con-
cerning liturgy and aending workshops and conferences on music
and liturgy annually.
Work and Remuneration
Page 7
Pastoral skills must be honed to deal with the broad spectrum of people
and circumstances that the Director of Music Ministries will encounter.
He/she must develop the skills to:
❖ interact well with parishioners, parish sta, the liturgy commiee
and other musicians;
❖
work eectively with children as well as adults;
❖ make cultural and ethnic adaptations appropriate to the require-
ments of the parish;
❖
plan liturgies that will address the spiritual needs of the parish.
Administrative skills must be acquired that will allow the Director of
Music Ministries to:
❖
coordinate all of the parish music ministries;
❖ plan and administer the music budget;
❖ organize programs and rehearsals;
❖ be adept at short- and long-range planning;
❖
schedule music ministers (cantors, choirs, organists, etc.);
❖ see to the timely distribution of all schedules and music;
❖ maintain the music library;
❖ select and maintain instruments;
❖ seasonally evaluate the music ministries program.
The acquisition and development of musical skills alone do not imply
that a musician is qualied as a pastoral musician, so some additional time
and eort must be spent on certication, whether through a diocese, a
college, or the National Association of Pastoral Musicians.
The National Association of Pastoral Musicians
and DMMD Certication
The DMMD Certication program is designed to be an independent
course of study in which the candidate works in close collaboration with
a mentor. The program is based on the DMMD Qualications Statement in
which the four areas of expertise form the foundation of certication. Since
those four areas—musical, liturgical, pastoral, and organizational—all
contribute to the make-up of the Director of Music Ministries, they dene
the skills necessary for dealing with the day-to-day experiences one meets
in a parish. Directors of Music Ministries who may be decient in any
of these four areas would need to acquire the skills needed to complete
their certication successfully. Further, candidates must declare an area
of specialization from the following: choral conducting, voice, piano,
organ, or guitar.
Requirements to enter the program include a minimum of two years
experience in full-time parish music ministry; competency in general
music (normally fullled by a least a bachelor’s degree in music, i.e.,
church music, performance, music education, or relevant course work);
Work and Remuneration
Page 8
and active membership in NPM and DMMD. Once admied into the
program, the candidate is assigned a mentor mutually agreed to by the
mentor, candidate, and certication commiee. A self-study is sent to
the candidate; it denes the required skills to be acquired by means of
questions based on history, documents, and given scenarios. There are
sets of questions for each of the four areas of expertise. Through the self-
study the candidate, in conjunction with the mentor, will determine any
course work which may be needed to ll in gaps from past study.
When the candidate has completed the self-study and taken the appro-
priate action to become procient in all four areas, he or she applies for
the nal examination which is administered prior to an NPM convention.
The candidate must pass wrien examinations in each of the four areas.
In addition, the candidate must pass a musical performance jury in the
area of concentration; the level of performance would be comparable to
a senior undergraduate level at a music school. Upon successful comple-
tion of the above requirements, certication is awarded.
The advantages of certication include recognition by one’s peers and
the achievement of a certain standard of excellence, with the possibility
of additional monetary and other benets accruing through national
acceptance of standards for Directors of Music Ministries and standard-
ized contracts (or detailed job descriptions and leers of agreement to
abide by just employment procedures). Through these means Directors
of Music Ministries continually dene who we are and how we shape
the quality of what we oer.
Determination of Salary
The church has a moral obligation to pay its musicians fair and equitable
salaries. A reasonable standard of living for all church employees is the
responsibility of the church. The DMMD endorses the salary guidelines
laid out by the American Guild of Organists and set forth on this page and
the next page. These gures reect a salary based on the acquisition of
music skills alone, are based on average values for the entire country, and
were derived from a study of other professions with comparable skills,
education, and supervisory responsibilities. Factors such as experience
and special talents have not been included directly since these are dif-
cult to specify. However, the variations shown in the table at each level
should be used to take into account some of the less tangible factors. For
example, additional adjustments should be made for the cost of living in
more expensive regions of the country, acquisition of additional degrees
in related elds, or for DMMs with outstanding abilities or positions
which require the very highest musical standards or responsbilities.
Salary Guidelines for the Director of Music Ministries*
The gures in italics represent 20%–30% of the base salary (the gures
in bold type in the box on the next page), with our without compensa-
tion for obtaining certication (CDMM = Certied Director of Music
Ministries)—the average cost of health and pension benets oered by
*These guidelines have been
fashioned after those of the
American Guild of Organists,
and the DMMD gratefully
acknowledges the many years
of pioneering work done by
the AGO on behalf of church
musicians everywhere.
denominational plans. When an employer does not oer such benets,
this amount should be added to the base salary to allow employees to
provide for their own needs.
Those with fewer than ve years experience should be considered at
the lower salary level and those with greater experience at the higher
level. Directors of Music Ministries with outstanding abilities or posi-
tions that require exceptional performance may exceed the chart gures.
Directors of Music Ministries who pursue additional studies or acquire
additional degrees in related elds such as pastoral leadership, ministry,
liturgy, spirituality, etc., should also receive additional compensation
commensurate with those studies, beyond the above gures, which reect
a salary based on the acquisition of music skills alone.
How to Use the Salary Table
1. Education Level
Determine the level of training of the person in question. Select the
category that best ts that person.
2. Base Salary Determination
Those people with lile experience (ve years or less) would be con-
sidered at the lower salary level and those with greater experience at
the higher level.
3. Regional Cost of Living Adjustment
The salary levels are recommended average values for the entire country.
The cost of living, however, does vary from one region to another, and
this should be taken into account in arriving at an equitable salary.
4. Additional Adjustments
The salaries given are intended to apply to the majority of competent
Directors of Music Ministries. In exceptional cases of outstanding
talent and ability, the Directors of Music Ministries should receive a
salary higher than the range suggested in the table. Also, if the church
demands the very highest artistic musical standards, it should oer a
greater salary than that indicated in the table. This would take into ac-
count the added responsibility, which may not be adequately reected
in the working time or amount of training. An adjustment of up to 15%
LEVEL OF FORMAL MUSICAL TRAINING SALARY RANGE AND BENEFITS
1
(2015)
Doctoral Degree in Music with CDMM* Base: 64,475–84,967 Ben: +13,253–26,197
Doctoral Degree in Music Base: 61,300–81,793 Ben: +12,600–25,217
Master’s Degree in Music with CDMM* Base: 57,598–75,849 Ben: +11,840–23,385
Master’s Degree in Music Base: 54,386–72,675 Ben: +11,140–22,408
Bachelor’s Degree in Music with CDMM* Base: 51,005–66,034 Ben: +10,483–20,361
Bachelor’s Degree in Music Base: 44,640–62,985 Ben: + 9,831–19,420
No Academic Degree with CDMM* Base: 43,305–57,007 Ben: + 8,901–17,578
No Academic Degree Base: 40,193–52,650 Ben: + 8,262–16,234
1
When an employer does not oer benets, an addition should be made to salaries so that employees may provide for their own needs.
*
CDMM = Certied Director of Music Ministries
Work and Remuneration Page 9
Note: This salary scale, based on
gures provided by the American
Guild of Organists, is current
as of January 2013. Its intended
use is for full-time pastoral mu-
sicians with various educational
backgrounds. The DMMD Board
suggests a three percent increase
overall for the current year. The
scale on page 23 envisions a wider
range of possibilities, including
part-time ministry.
Page 10
should be considered in these cases.
In addition to the above salary table, some of the material in this booklet is adapted
from the American Guild of Organists publication The Work and Compensation of
the Church Musician and is used with permission.
Appendices
Appendix A Page 11
Basic Job Description
for a Director of Music Ministries and Organist
This is a basic job description for full-time employment as a Director of
Music Ministries and organist and includes:
Goals for the Director of Music Ministries;
Goals for the overall music program;
Duties and responsibilities of the Director of Music Ministries;
Evaluation of the Director of Music Ministries and the program;
Appendix B Page 14
Sample Contract for the Director of Music Ministries
This is only a sample of one possible type of contract for the Director of
Music Ministries. Approaches to contracts and policies regarding em-
ployment will vary greatly from diocese to diocese. For example, some
dioceses may prefer to use, in lieu of a contract, a detailed job descrip-
tion with a leer of agreement to abide by just employment procedures
as would be laid out in a particular diocese’s employment guidelines.
Either will x the responsibilities of both parties and help eliminate the
possibility of future misunderstandings
Appendix C Page 17
A Guide to Determining a Just Workload
and Just Compensation for a Director of Music Ministries
Several dioceses in the United States have begun to establish all-inclusive
employment programs and policies for all of the lay ministries (music
ministers, social concerns directors, youth ministers, directors of religious
education, pastoral administrators, etc.) involved in parish work today.
Employment—part-time through full-time—is based on an evaluation of
education, experience, responsibilities, and tasks. A point system is used
to help to determine the just correlation between the actual workload
and compensation. Out of a possible 200 points, up to 50 points each
may be given for education and experience and 100 points for actual
responsibilities and tasks performed.
Work and Remuneration
Page 11
Appendix A
National Association of Pastoral Musicians
EXAMPLE of a (Basic) Job Description
for a Director of Music Ministries and Organist
A job description for the Director of Music Ministries and organist at
St. John’s Parish, Anywhere, U.S.A.
1. The goals for the Director of Music Ministries will be:
❖ to develop a prayerful, singing assembly through celebration, prepara-
tion, and evaluation and through education and personal ministry;
❖
with the cooperation and assistance of all the parish ministers, the
Director of Music Ministries will support the gospel message through
song and challenge the assembly to live it more fully.
2. The goals for the Program of the Music Ministries will be:
a. to build and sustain congregational song at the 9:15 and 10:45 Sunday
liturgies;
b. to deepen the liturgical understanding and prayer of these as-
semblies through quarterly education sessions;
c. to help to increase regular aendance at these liturgies through
the quality of music;
d. to develop a plan to expand the 10:45 choir membership this
year;
e. to recruit, train, and sustain three regular cantors for the 10:45
liturgy;
f. to develop sung liturgy three days a week at the morning Eucha-
rist.
3. Duties and Responsibilities
❖ The Director of Music Ministries will be responsible for all music
associated with worship, religious education, social ministry, and
evangelization in the parish.
❖ Ordinarily, the Director of Music Ministries will be responsible for
performing two liturgies as accompanist (organ or other instrument),
cantor, or choir director per Sunday or major feast.
❖ In addition, the Director of Music Ministries will be responsible
for coordinating and stang all other liturgies with competent
musicians.
❖ The Director of Music Ministries will be responsible for participat-
ing in planning the liturgies with the Parish Liturgy Commiee and
will be primarily responsible for the music selection of all regular
and special celebrations (listed below).
Work and Remuneration
Work and Remuneration
Page 12
The regular liturgical celebrations this year include:
a. Eucharistic celebrations on 52 Sundays (4 per Sunday), Easter
Vigil, Holy Thursday, Good Friday; the holy days of obligation, the
parish secular feasts, Thanksgiving, Labor Day, Memorial Day, and
All Souls Day.
b. Communal sacramental celebrations of conrmation (1); baptism
(4); reconciliation (8); anointing of the sick (1).
c. Weddings (21 last year); funerals (28 last year).
d. And the following special days: First Communion (1), opening
day of school (1), _________________________.
4. During this contract year, in addition to the general duties and respon-
sibilities, the Director of Music Ministries shall be responsible for the
following (examples of some of the items that might be mentioned):
a. Special liturgical celebrations, viz., ordination of a permanent dea-
con, the pastor’s 25
th
anniversary of ordination;
b. Rebuilding the defunct parish liturgy commiee;
c. Starting a children’s choir;
d. Preparing wedding and funeral guidelines for the parish;
e. Establishing a more eective process for obtaining parish consul-
tation on repertoire selection;
f. Developing a plan for the implementation of new repertoire con-
nected with our new worship aid;
g. Participating in the revised parish budget process by submiing a
timely budget through commiee;
h. Increasing practice time from ve hours a week to six hours a
week;
i. Providing musical accompaniment for the parish musical;
j. Designing, planning, coordinating, and promoting three concerts
this year for promoting Christianity to our parish neighbors.
5. The Director of Music Ministries reports directly to the Director of
Liturgy (or pastor) for the parish.
6. The Director of Music Ministries will be responsible to aend the fol-
lowing meetings:
❖ The parish sta meeting (weekly);
❖ The parish council meetings (4 times/year);
❖ The liturgical commiee meeting (monthly);
❖ And the preparation team of the parish liturgy commiee (every
two weeks).
7. The Director of Music Ministries is responsible for participating in the
parish budget process by:
a. preparing a music budget;
b. submiing the budget to the Budget Commiee of the Parish
Work and Remuneration
Page 13
Board;
c. participating in the budget revision process.
8. The parish music budget will not fall below 7% of the total parish
budget and shall contain line items as specied in the contract.
9. The Director of Music Ministries shall obtain continuing education in
musical-liturgical education, particularly in the area of preparation/plan-
ning.
In addition, the Director of Music Ministries shall obtain continuing
education in the area of communication with sta.
In addition, the Director of Music Ministries will be allowed one
weekend o for a three-day retreat at the Diocesan Retreat Center.
Funds for this education are contained in the line items as specied in
the budget.
10. The Parish music program shall be evaluated as follows:
a. Six parishioners, two from the music program appointed by the
Director of Music Ministries, two from and appointed by the Liturgy
Commiee, and two selected at-large, shall meet three months before
the end of the contract.
b. This Evaluation Commiee shall examine the goals for the pro-
gram as stated in this job description and evaluate the program based
on those goals. The Evaluation Commiee shall also comment on
the overall condition of the program and the work of the Director
of Music Ministries.
c. The Evaluation Commiee shall submit a wrien report of their
ndings to the Director of Liturgy sixty days before the end of this
contract.
11. The performance of the Director of Music Ministries shall be evaluated
by the Director of Liturgy (or pastor) who shall review the evaluation
of the program submied by the Evaluation Commiee and, based on
the statement of personal goals contained in this contract, shall evalu-
ate the work of the Director. This material will serve as the basis for any
annual raise.
Work and Remuneration
Page 14
Appendix B
National Association of Pastoral Musicians
SAMPLE CONTRACT
for
The Director of Music Ministries
This agreement is made at ______________________________________
this____________________ day of ___________________, 20_________, the
employer, herein after referred to as PARISH, and __________________,
the Employee, herein after called DIRECTOR OF MUSIC MINISTRIES.
The DIRECTOR OF MUSIC MINISTRIES agrees to perform all of the
duties and responsibilities as described in the job description for the
__________, a copy of which is aached to this contract and becomes a
constitutive element of this contract.
1. THE PARISH AGREES to compensate the DIRECTOR OF MUSIC MIN-
ISTRIES for services rendered by paying to the DIRECTOR OF MUSIC
MINISTRIES an annual salary of $_______________, payable in weekly
(semi-monthly, monthly) sums of $____________, for services performed
during the preceding pay period.
2. THE PARISH AGREES that the DIRECTOR OF MUSIC MINISTRIES
is entitled to the following benets:
2.1 Social Security withholding and all Federal and State Taxes.
2.2 Health Insurance, according to the following plan:
____________________________________________________________
2.3 Life Insurance according to the following plan:
____________________________________________________________
2.4 Retirement Program according to the following plan:
____________________________________________________________
3. THE PARISH AGREES that the DIRECTOR OF MUSIC MINISTRIES
shall be entitled to earn additional income from the following sources:
______________________________________________________________
______________________________________________________________
4. THE PARISH AGREES that the DIRECTOR OF MUSIC MINISTRIES
shall be entitled to the following vacation and holidays:
4.1 Weekly, the DIRECTOR OF MUSIC MINISTRIES will be totally
free on ____________ and _____________ each week throughout the
year.
4.2 The DIRECTOR OF MUSIC MINISTRIES will be entitled to _____
Work and Remuneration
Page 15
_______ weeks annual paid vacation, including ________ weekends.
4.3 The DIRECTOR OF MUSIC MINISTRIES shall be entitled to ______
paid holidays on these weekends—Labor Day, July 4
th
, and Veterans’
Day—together with the following paid seven days of vacation:
_______________, _______________, _______________,
_______________, _____________, _______________, ______________.
5. THE PARISH AGREES to provide ______________ days paid sick leave
per year; accumulative at the rate of ________ days after ___________
months, but no more than ______________.
6. THE PARISH AGREES to provide the DIRECTOR OF MUSIC MINIS-
TRIES with a parish music budget of $______________ for FY _______;
the music budget shall include the following items:
6.1 Substitute for Vacation $ _______________
6.2 Substitute for Sickness (if needed) $ _______________
6.3 Repertoire $ _______________
6.4 Instruments $ _______________
6.5 Sound Equipment $ _______________
6.6 Professional Memberships $ _______________
6.7 Continuing Education $ _______________
6.8 Spiritual Formation $ _______________
6.9 Additional Musicians $ _______________
7. THE PARISH AGREES that the DIRECTOR OF MUSIC MINISTRIES
shall have access to the following parish facilities:
7.1 Parish church for rehearsal;
7.2 Parish church for music instructions;
7.3 Oce space;
7.4 Meeting space
according to the following terms:
____________________________________________________________
____________________________________________________________
____________________________________________________________
8. THE PARISH AGREES that this contract shall be renewed automati-
cally in the absence of evaluation.
8.1 Evaluation of the program and person will be conducted by
____________________________ in the following manner:
8.1.1 The evaluation shall use the following time table:
__________ months before the end of this contract, evaluation
begins.
__________ months before the end of this contract, evaluation
ends and a report is given to the DIRECTOR OF MUSIC MINIS-
TRIES.
Work and Remuneration
Page 16
8.2 Following the evaluation, negotiations for a salary increase
based on a cost of living increase and a merit increase ranging from
_____% to _____% shall commence.
8.3 If the Pastor, ________________, is transferred during this con-
tract, the contract cannot be terminated until at least ______ months
after the expiration day.
9. THE PARISH AGREES that the DIRECTOR OF MUSIC MINISTRIES
shall begin services on __________________, 20 _____ to continue for a
period of _______________ year(s) thereafter.
10. THE PARISH AGREES that ordinary termination of the contract can be
made with mutual agreement of both parties by wrien notice ________
days before expiration.
(Second Year contract language:) Voluntary termination of this contract can be
made by mutual consent of both parties by sixty days wrien notice.
10.1 THE PARISH AGREES to the following method of involuntary
termination:
10.1.1 An evaluation commiee is formed consisting of three pa-
rishioners, one appointed by the PARISH, one appointed by the
DIRECTOR OF MUSIC MINISTRIES, and one mutually agreed to
by both parties;
10.1.2 An evaluation of both program and person are completed by
the commiee;
10.1.3 Both PARISH and DIRECTOR OF MUSIC MINISTRIES agree
to be bound by the majority decision of the commiee.
10.2 This contract constitutes the entire agreement between the par-
ties hereto and no verbal or implied agreement shall alter or add to
its terms.
IN WITNESS THEREOF, the parties hereto have set their hands on the
date and at the place rst above set forth.
Signed in the presence of:
__________________________ _____________________________
President, Parish Council PARISH
__________________________ _____________________________
Secretary, Parish Council PASTOR
___________________________________
DIRECTOR OF MUSIC MINISTRIES
Work and Remuneration
Page 17
Appendix C
National Association of Pastoral Musicians
A GUIDE
to Determining a Just Workload and Just Compensation
for a
Director of Music Ministries
DIRECTOR OF
MUSIC MINISTRIES
__________________________________________
PARISH ____________________________________________________
PASTOR __________________________________________________
DATE ______________________________________________________
STEP ONE:
In dialogue with your pastor, determine your ministry evaluation
points using the Ministry Evaluation Worksheet (see pages 18–24).
STEP TWO:
Add up your total points.
Factor ONE:
_________________ Education (maximum 50 points)
Factor TWO: _________________ Experience (maximum 50 points)
Factor THREE:
_________________ Responsibilities (maximum 100
points)
TOTAL: _________________ (maximum 200 points)
STEP THREE:
Convert your total points to a classication level
Total points Level
0-39 1
40-79 2
80-119 3
120-159 4
160-200 5
STEP FOUR:
Relate the Classication Level to the salary scale for Director of Music
Ministries. Placement between the minimum and the maximum indicates
the number of points and the quality of work. (A sample scale for this sys-
tem may be found on pages 23-24. Note that this scale, compiled from several
sources, diers in some details from that given on page 9.)
Ministry Evaluation Worksheet
FACTOR ONE: EDUCATION
Complete Parts A, B, and C. (Maximum points: 50)
Part A: Formal Education (Circle only the highest level aained.)
Points
Certicate in church music (20 credits) 5
Unrelated bachelor’s degree 6
Bachelor’s degree with a minor in liturgy,
organ, music, or sacred music 7
Bachelor’s degree with a major in liturgy or music 10
Bachelor’s degree with a major in organ or sacred music 15
Master’s degree in liturgy or music 20
Master’s degree in organ or sacred music 25
36 hours postgraduate work in music and another
relevant master’s degree 27
Doctorate in music 30
Part B: Advanced Certication (Maximum points: 10)
NPM and/or AGO Service Playing Certicate 3
AGO Colleague 5
DMMD Certication and/or AGO Choirmaster 8
AGO Associate 9
AGO Fellow 10
Part C: Ongoing Formation This Past Calendar Year
(All points are to be documented regarding date and program.
Maximum points: 10)
One point for each NPM, DMMD, or AGO meeting _____
Two points for each music and/or liturgy workshop _____
Three points for an NPM or AGO convention _____
Four points for a related college course _____
Work and RemunerationPage 18
FACTOR TWO: EXPERIENCE
Complete Parts A and B. (Maximum points: 50)
Part A: Previous experience as a full-time Director of Music
Ministries (Circle only the highest level aained.)
Points
1-2 completed years 5
2-4 completed years 10
5-6 completed years 15
7-8 completed years 20
9-10 completed years 25
11 or more completed years 30
Total ______
Part B: Previous experience as a part-time or volunteer musician
and/or full-time or part-time worker in another parish
ministry
Director of Music Ministries Musician Other Minis-
tries
1-2 completed years 3 2 1
3-4 completed years 6 3 2
5-6 completed years 9 4 3
7-8 completed years 12 5 4
9-10 completed years 16 6 5
11 or more
completed years 20 7 6
Total ______
TOTAL POINTS FOR FACTOR ONE: EDUCATION
(Not to exceed 50 points) Total Points for Parts A, B, and C above: ________
TOTAL POINTS FOR FACTOR TWO: EXPERIENCE
(Not to exceed 50 points) Total Points for Parts A and B above: __________
Page 19Work and Remuneration
Work and Remuneration
Page 20
FACTOR THREE: RESPONSIBILITIES AND TASKS
Complete Parts A, B, C, and D. (Maximum points: 100)
The combination of responsibilities of the Director of Music Ministries
varies from parish to parish. In order to allow for this diversity, Factor
Three presents a comprehensive list of the component responsibilities.
Note that, although the possible number of points in this section is much
greater, the total points allowed may not exceed 100. This total reects
the maximum amount of responsibility which should be expected in any
full-time position.
Part A: Administration
(This part does not oer points for directly providing music at
liturgical services. That will be found in Part C.)
Points
Ensures appropriate music for all parish liturgical services 7
(e.g., Sunday Eucharists, weddings, funerals, etc.)
Develops assembly repertoire/weekly music selections 6
Participates in the planning and coordination of special 5
seasonal and sacramental events with other sta members
(e.g., Triduum, RCIA rites, etc.)
Participates actively as a member of the parish sta 4
Participates actively in the activities of the Liturgy Worship 4
Commiee
Ensures appropriate music for school/CCD services 4
Provides parish liturgical education 3
Prepares and administers the music budget 2
Selects parish music resources (i.e., hymnals, instruments) 2
Creates weekly/seasonal worship aid 2
Hires professional musicians and prepares their repertoire 2
and arrangements
Administrative/clerical duties (e.g., scheduling, maintaining 2
choir library)
Participates actively in community/parish events 1
Participates actively in professional music/liturgy/ministry 1
organizations
Work and Remuneration
Page 21
Part B: Formation/Training
Five points for each of the liturgical music groups
you directly
lead: _______
(List groups:)
Two points for each of the liturgical music groups
you are indirectly responsible for: _______
(List groups:)
Three points for each instrument or skill you are expected
to be procient in for this position (e.g., organ, piano, voice,
guitar, conducting, composing/arranging, etc.): _______
(List instruments/skills:)
One point for each hour of individual training you
provide to other parish musicians per week (e.g., cantors,
organists, instrumentalists): _______
Part C: Music Skills at Worship
(Count those service which are paid through your parish salary
and for which you directly provide the music.)
Eight points for each parish Sunday Eucharist
(include Saturday Mass for Sunday) _______
Average number of other liturgies/services per month
(including weddings and/or funerals only if they are part of
your contracted salary): One point per service
_______
Part D: Discretionary Points
Additional points (not to exceed 5) may be allowed for special duties or
areas of responsibility not adequately covered above, e.g., time spent
researching and meeting with commiees and company representatives
about installation of a new organ; special duties and commiee meetings
to plan activities for an anniversary year, etc.
Responsibilities
Points
__________________________________________ _______
__________________________________________ _______
__________________________________________ _______
__________________________________________ _______
__________________________________________ _______
TOTAL POINTS FOR FACTOR THREE: RESPONSIBILITIES AND TASKS
(Not to exceed 100 points) Total for Parts A, B, C, and D above: _________
Page 22 Work and Remuneration
This is only sample salary scale, but it does reect a just minimum wage
for each level and number of points, and we believe that salaries should
not fall below these levels.
Those with less than ve years experience should be considered at the
lower salary level and those with greater experience at the higher level.
Directors of Music Ministries with outstanding abilities or positions that
require exceptional performance may exceed the chart gures. Direc-
tors of Music Ministries who have aained DMMD Certication and/or
pursued additional studies in the elds of pastoral leadership, ministry,
liturgy, spirituality, etc., should also receive additional compensation,
commensurate with those studies, beyond the above gures which reect
a salary based on the acquisition of music skills alone.
HOW TO USE THE SALARY TABLE
1. Complete Factors 1, 2, and 3 to determine the total number of points.
2. Base Salary Determination
Relate the Classication Level to the salary scale for Directors of Mu-
sic Ministries. Placement between the minimum and the maximum
indicates the number of points and the quality of work.
3. Regional Cost of Living Adjustment
The salary levels are recommended average values for the entire country.
The cost of living, however, does vary from one region to another, and
this should be taken into account in arriving at an equitable salary.
Salary levels must also be adjusted to t the demographic pay scales
nationally. For example, those living in the major cities on the East
Coast, where the cost of living is among the highest in the country,
should see an additional 20%–25% increase on each level.
Work and Remuneration Page 23
12- Month Salary Schedule for Directors of Music Ministries* (2015)
LEVEL POINTS MINIMUM MIDWAY MAXIMUM
# OF POINTS # OF POINTS # OF POINTS
1 20-39 $21,911 $27,345 $32,782
2 40-79 $31,258 $36,071 $43,259
3 80-119 $46,209 $55,980 $61,827
4 120-159 $56,082 $63,911 $74,898
5 160-200 $63,182 $74,626 $85,955
*This schedule does not include benets. When health, insurance, and pension benets are NOT included in the
Director of Music Ministries salary, the above gures should be adjusted up between 20% and 30% to allow the
employee to obtain their own coverage of these items.
Sample Salary Scale
Note: This salary schedule, cur-
rent as of January 2013, envisions
a wider range of possibilities
than the salary scale on page 9.
In addition to formal education,
it includes the other factors de-
scribed in the Ministry Evaluation
Worksheet. The DMMD Board
suggests a three percent increase
overall for the current year.
Work and Remuneration Page 24
4. Additional Adjustments
The salaries given are intended to apply to the majority of competent
Directors of Music Ministries. In exceptional cases of outstanding
talent and ability, the Directors of Music Ministries should receive a
salary higher than the range suggested in the table. Also, if the church
demands the very highest artistic musical standards, it should oer a
greater salary than that indicated in the table. This would take into ac-
count the added responsibility, which may not be adequately reected,
in the working time or amount of training. An adjustment of up to 15%
should be considered in these cases.
Some of the material in this appendix has been adapted from the salary guidelines of the Diocese
of Pisburgh and the Archdiocese of Chicago and is used with permission.
Additional Resources
available from the National Association of Pastoral Musicians
A Pastoral Musician’s Employment Resource. NPM DMMD Professional
Concerns Commiee. $15.00.
Hiring a Director of Music: A Handbook and Guide. DMMD Profes-
sional Concerns Commiee. $5.00.
National Certication Standards for Lay Eccleisal Ministers Serving
as . . . Directors of Music Ministries/Normas Nacionales para Certi-
cación de Ministros Ecclesiales Laicos Que Sirven como . . . Directores
de los Ministerios de Musica. National Association for Lay Ministry,
National Conference for Catechetical Leadership, National Federation
for Catholic Youth Ministry, and the National Association of Pastoral
Musicians. $14.95.
Qualications for a Director of Music Ministries. DMMD Education
Commiee. $3.50.
The National Association of Pastoral Musicians fosters the art of musical liturgy. The members
of NPM serve the Catholic Church in the United States as musicians, clergy, liturgists, and oth-
er leaders of prayer. NPM’s Director of Music Ministries Division is the membership division
for those who hold or share primary responsibility for music in a parish or other institution.
NPM Publications, 962 Wayne Avenue, Suite 210, Silver Spring, Maryland 20910-4461 $5.00
Phone: (240) 247-3000 • Fax: (240) 247-3001 ISBN: 1-888360-03-8
Web: www.npm.org • E-mail: [email protected]
THE DIRECTOR OF MUSIC MINISTRIES IN THE PARISH:
WORK AND REMUNERATION
A Statement and Worksheet
