Music Response #1February 19, Musical BackgroundMusic has always been an important part of my life. This may be a bit surprising since my singing voice would make a dog howl and since my only formal music instruction occurred when I was 10 years old and my instrument of torture was an accordion (my playing would also would make a dog howl). I have been a musical consumer for as long as I can remember, but never a musical practitioner. (As I am typing this out, I am listening to a J.S. Bach composition for Piano.) Maybe it's part of my multi-tasking personality, that I need a musical accompaniment to most any activity of life. This addiction started in High School, when I just had to put on a Beatles LP in order to complete my homework. My tastes now are somewhat eclectic. I do like to listen to nostalgic rock and roll, like my Beatle favorites. I have praise albums that I listen to on occasion. These go back to the 80s. The center of my musical pleasure can be found in Classical music. This happened by accident during my sophomore year in college. I was trying hard to complete some homework while at the same time listening to Led Zeppelin. I couldn't manage to do it. Earlier, quite by accident, I had "inherited" some old scratchy classical LPs that someone else had thrown out. I put these on the turntable and suddenly I could do my homework. I do enjoy the old hymns of my youth. I enjoy medieval hymns played with lute and sackbut. God has not seen fit to give me a good singing voice, and I have never been motivated to pursue a musical instrument. However, I do have a good ear for music and can remember tunes and lyrics for years on end. Check out my personal music link at http://flyingfog.net/identity/interests/music/music.htm |
Music Response #2February 19, Corbitt IntroductionI enjoyed reading the introduction to The Sound of Harvest. I appreciated the inclusion of Reverend Thuku the musical pastor from Kenya. I have preached in that part of Africa and count African choral music as one of my favorites. It provides such a rhythmic counterpoint to the classical music I normally listen to. I can also identify to the kind of musical "imperialism" that is alluded to in the introduction. I traveled to Africa with a group of Korean missionaries. It was so absurd to me that some Korean people took it upon themselves to "teach" the Rwandese how to sing and dance. The introduction reminded me how critical music is in setting our mood and in bringing a community together. What else is there that can immediately bring 100 people together in harmony, speaking the same words and moving their bodies in unison? I am looking forward to reading the rest of the book. My older son Zachary is a philosopher priest. In a discussion with him we were discussing what invention of the past century was most important to him. In other words, if he were required to live in a primitive society what would he miss most. Would it refrigeration, modern medicine, the internet? He said that for him the hardest part would be giving up his recorded music. I think that I agree with him. It would be tough for me to pass by a few months without listening to anything musical. Maybe I would have to finally learn how to play that musical instrument. One final note: I read somewhere (I think it was C.S. Lewis) about why the angels in heaven are traditionally pictured as holding harps while standing on clouds. Many people mock this image. The answer is instructive. The ancients understood that the hearing of good music is the closest that a mortal can approach to being in heaven. The harp was just the instrument of the era. |
Music Response #3February 26, Corbitt Chapter 1Chapter one of the Sound of Harvest is about "Kingdom Music". In this chapter, the author tells two stories: one of a Costa Rican man who turned his back on his musical roots and lived a musical life of European music. Another story is of an African woman whose salvation arrived by breaking the bonds of imposed musical style by creating songs in her own style. Living in a bi-cultural marriage I can see both of these happening. Worship is a response to God for who He is. For this response to be heartfelt and genuine, it must come from deep within. Is there anything deeper than music? The author makes the point that music is in the people and not in the sounds. It is the church that makes the music, not music that makes the church. The author makes seven points in this regard. First, all music is a gift of God given freely to all people. Second, music is an expressive behavior of human cultures. Third, singing is universal, music is not. Fourth, music is bound to a context. Fifth, music is a lifestyle. Sixth, music is dynamic, like the cultures that make it. Seventh, technology has changed the way we experience music. As I ponder the contents of this chapter, I am amazed at how much the church concept of music has changed. When I was young, there was no mention of cultural diversity. All good Protestant music was played on organ or piano. A choir sang in front of the church with robes and the congregation sang with hymnals. Maybe it's not the concept of music that has expanded, but the concept of the church. Rather than being small town American, the church has been recognized as multi-cultural international. |
Music Response #4Liesch Chapter 2Chapter two of The New Worship focuses on the exegesis of two passages of the New Testament. One passage is Colossians 3:16 and the other is Ephesians 5:18-21. I appreciate this effort, because it tells me that the author is serious about scripture and about getting a true attitude about what music should be in the church. The words of emphasis in the parallel passages are: "teaching and admonishing one another with psalms and hymns and spiritual songs, singing with thankfulness in your hearts to God." The author's concern is that we all take the teaching role of music and song much more seriously. These words from Paul state plainly that the central role of song is to teach and to admonish. I think that the power of music in that it can work at two levels. The words seep into your mind while the tune seeps into your heart. A sermon, no matter how great, only has the one dimension. The author makes six principle points evident in this passage. First, we sing to the Lord. Second, we sing to one another. Third, we teach and admonish one another with songs. Fourth we value variety. We do not know exactly with the three terms mean in today's lifestyle (psalms, hymns, spiritual songs). Whatever they mean, however, it does appear to me that Paul is appealing for variety in the singing experience. Fifth, we recognize that grace motivates our praise. We sing because we have a song to sing in our hearts. Sixth, we worship as one way to be filled with the Holy Spirit. I believe that congregational singing has a unique way of making a group of people into one: speaking the exact words at the exact time, focusing on the same mental imagery, and raising voices in unison. Why does scripture speak of being born again as "singing a new song?" Our song is our story. Our song is who we are. |
Music Response #5March 5, Corbitt Chapter 2Chapter two of The Sound of Harvest is entitled "Music as Priest". This chapter begins with the astute observation that "The primary purpose of music in the kingdom is to worship God. However, the function of music is one of expressive unifier (p 50)". I hadn't thought of it in this way: a purpose and a function. If it's true that music is a unifier then I can see how the expression of the music will change with time and place. I also like the definition Corbitt uses for "worship". He says that the worship service is "a dialogue with God in an apex celebration event within the life of Christian communities (p 54)". I like this definition. My best worship has been at the same time very personal (a dialogue), yet in the company of fellow believers (community). I can discern that God wants an individual commitment from each person, yet He wants us to be a church. I can identify with his term "worship vertigo". I can appreciate a variety of worship experiences, as long as the true God is worshipped. But that doesn't mean that I won't get dizzy watching clapping hands one Sunday, or listening to Bible reading another Sunday, or smelling liturgical incense on another Sunday. I also like the quote that maybe worship should be like planning a party rather than like rehearsing a performance. I think I have an intuitive understanding of the difference. Finally, I like the emphasis on the musical worship of our triune God, the worship be: (1) Christ-centered (2) God-directed (3) Spirit-empowered. How can we do all three at the same time? Can we have the spontaneity of the Spirit on top of a plan that is Christ-centered? Can we direct our praise to the Father, while celebrating joyously in the Spirit? They that worship Him must worship Him (the Father) in Spirit (Holy Spirit) and Truth (The Son). - John 4:24. |
Music Response #6March 5, Liesch Chapter 12Chapter 12 in The New Worship is entitled "Resolving Tensions over Musical Style: Peter". This chapter begins by saying music/worship style is the most divisive issue in the church today. I would cast this idea in another way. Most church-hopping in evangelical churches involves hopping to find a worship/music style that is most comfortable to the hopper. Doctrine seems to take a backseat to music. This chapter lists several reasons why this is so. I agree with them all. As the world goes global and multicultural, everybody seems to be acquiring their own set of musical sensibilities. For most people there is a category of music they love, another category they hate, and some amount in the middle. (No matter how good the preaching, I don't think that I would sit long in a country music church service. Sorry.) I often say to my 25-year-old son who is a hip-hop artist: "I recognize your art, but I am not able to appreciate it". The example of Peter in this chapter revolves around two episodes in Peter's life. The first was with the conversion of Cornelius, the first Gentile Christian, and the second was Peter speaking on the day of Pentecost. In these moments, Peter was compelled to admit to his church those with a different ethnic background and with a different language. It is interesting that Jesus seems to leave the church is Peter's hands, appointing him leader of the apostles. As the book points out, the word "conversion" probably describes Peter more accurately than it does Cornelius. Cornelius was eager to accept Christ as his savior, but Peter was reluctant to accept Cornelius as his brother. The visions had to convert him. There is probably an analogy to church music. Many music forms want to be baptized and join our church. It is we who are Christians that put up the obstacles. |
Music Response #7March 12, Corbitt Chapter 3Chapter three of The Sound of Harvest is entitled "Music as Prophet". I had a more difficult time relating to this chapter than the first two. When church music sounds the voice of the prophet it "speaks more to the ills of society than to its benefits". This is when church music calls for social justice. It's hard for me to relate to this chapter, because I have sung few hymns or choruses that relate to this theme. In my younger days I remember singing a song like this: "Love, love, love, the gospel in a word is love. Love your neighbor as your brother, love, love, love". I am familiar with "We shall overcome" as a rallying song of the civil rights movement, but I don't think that I have ever sung it in church. I don't think that the author helps out very much. He lists the words of a few songs that he says hint at the "prophetic voice", but I'm not sure. I do think that the church has an critical role to play in bringing social justice to the community and to the world. I am just a little doubtful about how music in a worship setting can be used to this end. Maybe on occasion, a rallying song would be appropriate in worship. In the chapter summary, the author states "Music is an excellent tool of the prophet". Again, I am doubtful. Can he name any songs that are prophetic and sung regularly in a worship service? His sixfold calling is also unsatisfying to me. I just don't know of any songs that speak to "a holistic gospel that seeks justice and righteousness for the poor and marginalized of the world." I think that this chapter could have been handled in a paragraph. |
Music Response #8March 12, Liesch Chapter 13Chapter 13 in The New Worship is entitled "Resolving Tensions over Musical Style: Paul". In this chapter, the author quotes the Apostle Paul in his letter to the Romans and his first letter to the Corinthians. These quotations contain no mention of music, but they do contain principles on how Christians should maintain harmony in the face of diversity. One principle is that different views are acceptable; variety is welcome. Another principle is that the strong in faith should not exercise their liberty in a way that causes the weak to stumble. A third principle is that no food (music?) is unclean in itself. The author cites two music philosophers, Calvin Johansson and Harold Best. The author sides with Best and to his credit he presents the counter views of Johansson. I think that I would agree mostly with Best and Liesch (no music is unclean in itself). The only caveat is that I would say tempo and rhythm are universal, like a heartbeat. Harmony and melody are no universal, but pounding rhythms affect all people around the world the same. I also think that there is a "universal ear" for sounds of dissonance. Even in non-Western music I can recognize deliberate dissonance. I think that is what underlies the objection of Johansson to rock music in the church. Would any Christian in the world be able to worship God with a frenzied rhythm or a dissonant sound? I like Liesch's points for standards for Church music, especially his first point: "express the gospel in a text and musical language richly understandable by the intended culture" p. 203) I also like his italicized quote: "Don't undertake changes in worship unless there is a certain amount of calm in the church". To his I say "amen", not only to change in music, but to any change. |
Music Response #9March 19, Corbitt Chapter 4Chapter four of The Sound of Harvest is entitled "Music as Proclaimer". The idea here is that music can serve as "persuasive communication". Corbitt counts proclamation as second only to worship as a role for music. He also calls proclamation "public declaration". I think I can relate to this term better. I agree with him that public declaration is an important role for church music, especially when the music is performed among the unchurched. On page 118, Corbitt states that "Music is a pathway to communication". This comment brought to mind a scene from the movie "Close Encounters of the Third Kind". In the final scene we earthlings do not have a clue about how to communicate with these extra-terrestrials sitting aboard their flying saucer. So what we do is play four musical notes that beg a musical response. "Dah - dah? - dah? - dahhhhh?" We earthlings do this a few times. Finally the ETs respond with the same four notes followed by a Bach-like torrent of musical notes. We have communicated with ET through music. That's how powerful music can be! There is one part of the book where I think Corbitt is just wrong. He says that "Music is not inherently bad or good. The value, or aesthetic quality, we place on music is determined by our world view (p 121)" I don't buy this. If I made a recording of me playing the harmonica and singing, every true musician in the world would recognize this as inherently bad music. I think that I can recognize art, even when I cannot appreciate it. I think Corbitt contradicts himself because later he speaks of the "excellence of the musical performance (p 135)". How can we even talk about musical excellence if music has no inherent quality? Truly bad singing is bad singing to whatever pair of ears must suffer through it. |
Music Response #10March 19, Liesch Chapter 1This first chapter of The New Worship is entitled "Culture, Choruses, and Hymns". In this introductory chapter, Liesh clarifies the current conflict between the use of choruses and the use of hymns in evangelical churches. This is really a struggle for me personally. I enjoy a traditional Baptist service with only hymns, but I recognize that most Gen-Xers (my seminary peers) are hooked on choruses. What's a fellow to do? I agree with Liesh that since the beginning of the reformation our Protestant identity has been based on two books, the bible and the hymnbook. It is difficult for some to leave such a long tradition. (Let me insert this comment at this point. Since the founding of America, Protestant identity has not only been based on the Bible, but specifically on the King James Version of the Bible. Older saints feel double shellshock because as the hymnbook is being replaced by choruses, the KJV is also being replaced by more modern versions. These two battles are going on in parallel: hymns vs. choruses & KJV vs. others) I liked the way Liesch defined and explained the differences, and listed pros and cons for each style. Liesh proposes two solutions to the "choruses vs. hymn battle". First he suggests that churches can hold two services, one contemporary and one traditional. He explains how this may work, but he adds that this is the lesser option. His better option is a "blended service" that involves both choruses and hymns. Maybe this looks good from a person with a contemporary background, but from a hymn-tradition point of view, this is not "blended" but "capitulated". Once the drum set and overhead projector are ensconced in the front of the sanctuary, hymnbooks begin to gather dust. There has been a purposeful decision at Tiburon Baptist Church not to set up drums and overhead. I wonder how much longer we can hang on. |
Music Response #11March 26, Corbitt Chapter 5Chapter five of The Sound of Harvest is entitled "Music as Healer". I have always known that music has a special power over people. Some of this power is cultural specific and some is trans-cultural. Certainly in the Baptist hymnal and in the repertoire of contemporary praise songs there is music that arouses, music that soothes and music that focuses attention to God. I do believe that music can heal. Everybody is a holistic person. For some of us the connection between body and emotion is tighter and for some looser. Just about the time that I think that I am one of the aloof disconnected people, I hear a few chords of familiar music and tears come to my eye. I found the section on Music Therapy to be revealing to me. I did not know that there were so many music therapists, (although I did know that David was a music therapist to Saul). Perhaps Corbitt should have pursued this angle a bit more. In churches our worship/music leaders are therapists like David to a congregation like Saul. Through music they are ministers of healing to a fragile congregation. I agree with the five points made by Corbitt: (1) Music in healing is not a technique but a ministry, (2) Musicians should know their own self, (3) Musicians should know their choir and congregation, (4) Musicians and pastors should meet the needs of the suffering and bereaved, and (5) Musicians need a holistic ministry. In regard to the focus of these points, I find it odd that so few hymns regularly sung in churches and especially praise songs deal with suffering or ministering to the bereaved. There was a 60s rock group called the Byrds who sang "Turn, turn, turn". The words were from Ecclesiastes and apply to music as well as to all aspects of life. We do need music in churches that makes us weep and that makes us laugh, that makes us mourn and makes us dance. |
Music Response #12April 2, Corbitt Chapter 6Chapter six of The Sound of Harvest is entitled "Music as Preacher". In this chapter, the focus is strictly on music lyrics. I was curious when I read "Music as Proclaimer" how this chapter would be different. It seems that "proclaimer" carries the idea of evangelism (the good news for those who have not heard it), while "preacher" carries more of an idea of exhorter or theologian. This distinction is reasonable. I agree with a quote that "Christians who are opposed to creeds sing their creed in their hymns (p 176)". This seems to fit the situation at my Baptist church. Lyrics from our hymnal are often quoted in sermons. I don't anyone in our church who could quote lines of the pastor's sermon, because it is only spoken one time. There are many who can quote whole stanzas of hymns, because of their repetition. The hymnal is indeed a theological compendium. This makes sense to me. Was not the book of Psalms the hymnal of the Jewish people? And wasn't it incorporated as canon scripture by both Jew and Christian? It is an interesting comment that the author makes on page 185: "spiritual disciplined lifestyle gives authenticity to his music." I am not sure of this. Perhaps the music speaks for itself and perhaps the lifestyle speaks for itself. I heard that some Christian song writers are not Christian at all. "On the Wings of a Dove" was written for commercial and not convictional reasons. My wife's favorite praise lyric of the 70's was "Come to the water, stand by my side. I know you are thirsty. You won't be denied. I felt every teardrop as in darkness you cried, and I strove to remind you that for those tears I died". She was disappointed when I showed her an article written last year about this lyricist entitled "born again lesbian". Alas. I just don't know what we do with these facts. Can an imperfect messenger deliver a perfect message? |
Music Response #13April 2, Liesch Chapter 10Chapter Ten of The New Worship is entitled "Worship: Christ's Action and our Response". In this chapter Liesch proposes that we see Jesus Christ as active in our worship service, both as a high priest (Jesus as fully man) and as the object of our worship (Jesus is fully God). I think that this is a difficult concept, especially as we try to execute it in a church service. His main scriptural underpinning for this proposition is found in Hebrews and in Revelation. In Hebrews, Jesus "always lives to intercede for us". In Revelation, it says of Jesus "You are worthy to take the scroll and to open its seals." Liesch wants to remove the human effort from worship as much as possible. Even to say that "worship is our response to God", puts too much emphasis on "our". We must understand that we cannot even respond to God in Christian worship unless Christ is with us to "intercede" and to "open the seals", because only He alone is worthy to enter into the holy of holies where the Father lives. I think that this attitude toward worship reduces stress on the worship leader, because the true "worship leader" is Christ himself. I liked what Liesch said about "Davidic" worship, which he also terms whole-body worship. His contention is that original worship as practiced by the Hebrews and New Testament Christians was Davidic, whole-bodied, and enthusiastic. It was the early influence of Greek dualism that stifled worship, maintaining worship of the mind which is positive, but rejecting worship of the body such as dancing, clapping, or arm waving. My dad was an old Pentecostal and I remember how he used to trick his more conservative listeners. He would say, "OK, raise you right hand high if you love Jesus". The audience would comply. Then he would say, "Now, keep that hand raised. Lift your left hand high, if you love God". He was able to generate a kind of reluctant Davidic worship! |
Music Response #14April 9, Corbitt Chapter 9Chapter nine of The Sound of Harvest is entitled "The Song". In this chapter, the focus is upon the sound of music. It is probably an overstatement to say that "no three words have caused more confusion to emerging world Christians than psalms, hymns, and spiritual songs (p 258)." A modern exegesis of these words is problematic, but I suggest that an interpretation of these words effects the form more than the substance of worship. Could there be heretics based on these words? I do agree with Corbitt that the center of Christian gravity is shifting to the third world. Musical innovation in the worldwide church is increasingly coming from Latin America, Africa, and Asia. The sections on these parts of the world were therefore appreciated. I studied Figure 9.1 (p 280) for a while. I think that this chart points out the wisdom of balance. We cannot reject wholesale the importation into the church of secular music, but neither can we adopt secular music innovations without question. Corbitt calls the process "critical contextualization" that entails properly incorporating new music into a church. The steps are these: (1) Analyze the music empathetically, (2) Study the Bible regarding music, (3) Judge the music in light of Scripture, and (4) Create new contextualized music. There is one idea that I did not find clearly expressed in this chapter. (Is it coming up later?) In a church congregation setting, is it the music team that effects the song sensibilities of the congregation? Or is it the congregation that directs the music team into a certain singing direction. This is a "chicken and egg" problem, I know. But I can see that in my church -TBC- the music team and the congregation have self-selected each other. I cannot tell which one of these two is taking the lead in this dance. |
Music Response #15April 16, Corbitt Chapter 8Chapter nine of The Sound of Harvest is entitled "The Voice". In this chapter, the focus is upon singing. It is appropriate to think of the human voice as an instrument of music possessed by all human beings. As I read through the Bible, I see many places where OT and NT saints sing with joy. I cannot find a single place where there is a parenthesis saying (except for Chris the son of John who did not have a good voice). I assume that since I see no parenthetical exceptions to the singing that all of us should join in community singing. I like the visualizations that the text provides. For example, Figure 8.1 shows overlapping circles of 1 Bible, 2 Lyric expression, 3 Vocal embellishment, 4 nonverbal, 5 organization and 6 instruments. I was a bit surprised that instruments were at the furthermost layer. However, it probably true that instruments are "secondary musical support and embellishments to a verbal language (p 241)". I did like Corbitt's four principles for a Godly voice. Sacrifice is where it begins. Why did the author write the song? Is this a "sacrifice of praise" to God? Is it a part of a larger ministry? Why do we sing the song? Is it out of commitment to Christ and his church? Intent gets to the idea of whether the song is from our heart or from the mouth. Intent gets at integrity. Does the preaching through public music match the practice of private life. A New Song means that songs always have to be fresh. Even if the hymn is ancient, we must sing it with fresh voices and fresh hearts. Finally, a Godly Ministry refers to the consequence of the music on the hearer. Does the music lead to a closer walk with God or does it push people from God. If all of these principles are met, I must admit that it would be tough for an ungodly voice to sneak into the church. |
Music Response #16April 30, Corbitt Chapter 11Chapter eleven of The Sound of Harvest is entitled "Musicians". In this chapter, the focus is upon those church people who lead in worship and music. Corbitt lists seven gifts of music that are used in the church. The first is leader of musical groups. This person is a hybrid of leader and musician. This person must have organizational skills and know enough about music to earn the respect of musicians. The second is a maker of singing. This person is the most visible of singers. He or she gets up in front of the church and leads in singing. Sometimes a pastor can also be a maker of singing. The third is maker of songs. This is the person who writes songs. This gift is different and few do this with success. In some cultures and settings there may be new music prepared for every service. This would keep the song maker busy indeed. The fourth gift is singer of songs. This is the most common musical gift. I believe that in most cultures, this gift encompasses 100 percent of the worshiping community. In America, congregants can claim an inability to sing. I find this difficult to believe. When it comes to potluck time, there are few people who claim that they don't have a "gift for eating". It's probably the same for this gift. With practice and patience 99% of people can join in choir singing. The fifth gift is player of instruments. This is a technical skill and requires talent and practice. The sixth gift is teachers of music. Just as a leader of music is a hybrid of leader and musician, so this gift requires both teaching and musical skills. Not everyone who makes music can be a patient teacher of music. The final gift Corbitt calls common singing. I don't see much difference between this gift and singer of songs. I believe that maybe half of our church choir is truly gifted. The difference between the less talented half of the choir and the pew-bound congregation is motivation. |
Music Response #17April 30, Liesch Chapter 14Chapter fourteen of The New Worship is entitled "Volunteer and Staff Relations". I believe that this chapter is aimed especially at pastors to help them get along better with their worship/music leader. This aspect of ministry has been neglected I believe. The paid staff of any church (especially the pastor) must always keep in mind that he is dealing with volunteers. Just as you did not hire them, you cannot fire them. Volunteers are different in many ways from paid employees. They are lead differently and must be motivated differently. In one of my past churches, I counseled a pastor because he was demanding so much energy from members that many left without saying a word. This pastor was a great evangelist and brought many people into his church. I think that his problem was this: he expected these brand new baby Christians to act as mature disciples. I agree with a comment by Liesch that most pastors have different personality types than their music leaders. This is usually a left brain (pastor) clashing with a right brain (musician). I do believe that the pastor and music leader must respect each other and give the other space to express their love for God. I hadn't about it much before, but I do see the appropriateness of compliments that count (p 213). How much better to say "Choir you brought us into the very presence of God today" than "that was fabulous, let's all give them a rousing hand". The first compliment leads to humility, the second to pride. I also thought the discussion of lax discipline for musicians was intriguing. I mentioned above, that a pastor must give a musician space to be himself or herself. Although we can all agree that this encompasses personal morality, does it also include speech and dress? How about the musician who sings very profane songs on weekdays, then sings praises to God on Sundays? |
Music Response #18May 7, Corbitt Chapter 7(Brian, I responded to Corbitt chapter 9 on April 9 - Sorry - so I'm doing chapter 7 now) And this is Chapter eleven of The Sound of Harvest is entitled "Music as Teacher". In this chapter, I see two things: (1) How music - mostly lyrics - teach us our opinions and convictions about religion, and (2) How music teachers can teach music to church people. I think that the first idea especially resonated with me. I would suggest this test for a future church music class: Take out one sheet of paper and write on every single verse from the Bible that you have memorized. Next, take out a second piece of paper and write on it every single hymn/praise/gospel lyric that you have memorized. What do you think the proportion would be for the average student? Here is a second experiment: try to recite the ABCs without singing the song. It takes a lot of energy. As a matter of fact, the best way I have today to name the 12 disciples of Jesus is to sing to myself a little ditty that I must learned in 3rd or 4th grade. I think that it is SOOOO important to get good Christian lyrics into the heads of young people (make them into "ear worms" if possible). I also identified with the idea of "musical intelligence". I do believe that music and math have a lot in common. Have you ever noticed how both great musicians and great mathematicians show their prodigy at an incredibly young age? In line with this, I also believe that just like any typical American is smart enough to balance a checkbook (given training), so can he or she be taught how to sing. There's one last story I'd like to share in regard to music providing a theological memory. For sixty years Orthodox religion was forbidden in Russia. Most of the priests were killed and churches destroyed. Yet when Russian emerged from this darkness, many of the Russian faithful were able to pick up the liturgy without missing a beat. The elders had continued to SING the songs and TEACH them to their children through two generations of persecution. |
Music Response #19May 14, Corbitt Chapter 10Chapter ten of The Sound of Harvest is entitled "Instruments". I thought that this chapter was well done. I grew up in the Church of Christ (Disciples). Occasionally we would have a joint service with a church that was also Church of Christ, but with a subtitle of "non-instrumental". I remember thinking how weird it was to sing hymns without someone at the piano or organ. As far as I know, that "non-instrumental" part was the only difference in doctrine or practice between our two churches. By reading this chapter, I get a better understanding of the issues and a better appreciation of how long this division has been going on. It's odd to think that the same Protestant Reformation that could produce someone with the musical instincts of Martin Luther (then J.S. Bach) could also produce an anti-organist like John Calvin. I didn't know what an "organologist" was, and now I know. (However, the word must not be too common since I just noticed that my spell checker put a red squiggle under it.) I liked the listing and explanation of Biblical musical instruments (p 298-299). I should have guessed that a kitchen pot could double as a musical instrument. It still is remarkable to me how soon the early church abandoned musical instruments. The NT is full of bells and flutes, then the early church insists on only voice. I can still see this legacy in the way the Roman Catholic mass is conducted. Corbitt mentions eight ways that instruments directly support the ministry. These were good. As I read them, I thought of the earlier discussion of music's ability to make an end-run around our brain and land directly in our heart. This is what I see music doing. Music - including instruments - has a special way that effects our emotions, that prepares our moods, focuses our hearts. |
Music Response #20May 14, Liesch Chapter 15Chapter fifteen of The New Worship is entitled "Identifying and attracting worship musicians". Most of this chapter was news to me, because of my limited participation in music making. I do believe that Liesch is correct in stating that the role of worship musician is growing in importance. In my early church days, we sang from the church hymnal. I remember that one of two ladies would always accompany the hymns on piano, but they never stuck out as leaders of any kind (maybe accompanists?). Now I think that in 2003, choosing a church home is based in a major way on the style/excellence/spirituality of the worship musician. Two ideas appealed to me in this chapter. When Liesch speaks of the motivation of the worship leader, he says "Spiritual formation appears to be the primary motivating impulse, not musical performance (p 221)." I think that this is the important balance that music leaders must consider in their choices for musical participation. How much should performance be considered versus how much should spiritual formation be considered? The second idea had to do with reading music and improvising. I had never thought of this, but he's right. Baptists are probably in the middle of a continuum that runs from Episcopal music reading to Pentecostal improvising. I will pay closer attention to how much improvising and how much music reading goes on in our worship services. I definitely think that the "free-flowing" style of service requires someone skilled at improvising. I thought that his remarks about "music of adolescence" imprinting the musical taste is generally true. Am I an exception? Although I loved the Beatles in adolescence, now I can only listen to them in small doses. Classical music in my steady diet. Also, on page 227, is Liesch really advocating that small-church pastors visit large churches and poach underutilized worship musicians? Sounds like a plan! |