I said I’d post an update when this happened, and I’m probably a little late on doing so, but nonetheless, As Far as the East is from the West, featuring the choral music of Kurt Sander and Gennadiy Lapaev, is now available for purchase from several outlets, both as a CD and as a download. Buy early, buy often — it’s good stuff.
Posts Tagged 'music as iconography'
Tags: alix ptichka, american orthodox music, anna egan, as far as the east is from the west, chant, ecclesiastical chant, gennadiy lapaev, gennady lapaev, gregg staples, hazards of church music, joseph milos, kurt sander, larissa sander, liturgical music, maria greendyk, music as iconography, new choral music, nicholas androsoff, nicky kotar, northern kentucky university, peter jermihov, pros and cons of kievan common chant, random acts of chant, sacred music, scott wyatt, tim bruno, tim oliver, vadim gan, why do we need beautiful music in churches?, will huffer, zhenya temidis
Tags: alix ptichka, american orthodox music, anna egan, as far as the east is from the west, chant, ecclesiastical chant, gennadiy lapaev, gennady lapaev, gregg staples, hazards of church music, joseph milos, kurt sander, larissa sander, liturgical music, maria greendyk, music as iconography, new choral music, nicholas androsoff, nicky kotar, northern kentucky university, peter jermihov, pros and cons of kievan common chant, random acts of chant, sacred music, scott wyatt, tim bruno, tim oliver, vadim gan, why do we need beautiful music in churches?, will huffer, zhenya temidis
I got home from the Sacred Music Institute at the Antiochian Village on Sunday evening (which will be worthy of its own blog post eventually) to find six copies waiting for me of the CD that represents the fruits of the four days of recording on the Northern Kentucky University campus last August. As Far as the East is from the West is not yet available for purchase — that will probably be in September; keep an eye on this page for details, and I’ll certainly post an update when it happens — but all of us who sang have our copies, as well as a handful of extras to give away.
Since I’m on the recording, I don’t think I can ethically review it, but I will say that having listened to it, much as was the case when I drove home from the sessions, it’s a project of which I’m very grateful to have been a part. The recording sounds very much how I expected it to sound based on the sessions, and my only real disappointment is that the liner notes (written by one Sergey Furmanov) mention that the choir included “church musicians from parishes in New York, Chicago, Cleveland, San Francisco, Montreal, and Philadelphia,” but, alas, leaves off Bloomington. Oh well, you can’t have everything.
In any event, my sincere hope is that this CD helps to kindle a more general interest in both Kurt Sander’s and Gennady Lapaev’s music in this country, and one way or the other it is a document of some wonderful examples of current Orthodox liturgical music, as well as a reminder of treasured memories.
Tags: byzantine chant, cappella romana, chant, ecclesiastical chant, hazards of church music, liturgical music, medieval byzantine chant, music as iconography, random acts of chant, sacred music, why do we need beautiful music in churches?
So, Cappella Romana is singing not one, but two concerts in Greece in September – one at the 11th Annual Sacred Music Festival of Patmos, Greece, and at the 6th-century Church of 100 Doors, Paros. They are hoping to record the Paros concert, and they have set up a Kickstarter project to try to raise the funds quickly. They are a good chunk of the way there, but I encourage you to support them — this is a really exciting opportunity for them, and it would be a fantastic addition to their recorded library.
Tags: byzantine chant, ecclesiastical chant, hazards of church music, liturgical music, music, music as iconography, random acts of chant, sacred music
Byzantine Chant, Authenticity, and Identity: Musicological Historiography Through the Eyes of FolklorePublished 3 April 2011 Academia , General , Media , music , The Orthodox Faith 1 Comment
Tags: alexander lingas, american orthodox music, byzantine chant, ecclesiastical chant, fr. john finley, hazards of church music, john michael boyer, kalevala, liturgical music, liturgical texts and translation, missions, music, music as iconography, random acts of chant, sacred music, simon karas, the byzantine chant narrative of continuity, the byzantine chant narrative of decline
Wanting to keep the blog alive but not yet having time to devote to catching people up on what’s happening, I wanted to share this essay — it was written for my Modern Greek class last spring, and was heavily informed by an ethnomusicology seminar I was auditing on music and sacred experience. I thought about perhaps trying to publish it, and both my Greek instructor as well as the professor teaching the ethno seminar responded positively to it, but neither thought it was sufficiently in their field for it to be publishable in their circles. So, here it is for now. Some of these issues have been discussed here as well.
6 February 2012 — Removed for reasons I’m very happy about. I’ll say more later.
16 May 2012 — You can now find this essay in Greek Orthodox Theological Review, Vol. 55.1-4, pp. 181-98. Please contact me at rrbarret AT indiana DOT edu if you do not have access to a library system that has this available.
Tags: byzantine chant, cappella romana, chant, ecclesiastical chant, hazards of church music, liturgical music, medieval byzantine chant, music as iconography, new choral music, random acts of chant, sacred music, why do we need beautiful music in churches?
I thought it important to pass on that Cappella Romana is doing a last-minute fundraising push before 30 June, the end of their fiscal year.
You can give to their general operating fund, and/or you can designate gifts toward one of the four recordings they are working on releasing in the near future:
- Byzantine Chant from Mt. Sinai (hopefully to be released in April of 2011 in time for Cappella’s 20th anniversary)
- Tikey Zes Divine Liturgy
- Robert Kyr: A Time for Life
- Arctic Light: Finnish Orthodox Music
For my part, I believe that CR deserves a lot of support; they are pretty much the only ensemble in this country representing the repertoire they sing. Besides that, music was certainly a huge factor, a “gateway drug” if you will, with regard to my eventual conversion to the Orthodox Christian faith, and Cappella Romana was a big part of that in several respects. The evangelical value of what they do should not be underestimated, at least in my view.
Please consider making a gift. You can do so online here, or you can also send a check to Cappella Romana, 3131 NE Glisan St, Portland, OR 97232 USA.
On the difference between καιρός and χρόνος and building a church that makes the difference clear (Part II)Published 30 January 2010 Academia , General , music , The Orthodox Faith 8 Comments
Tags: all saints bloomington, all saints orthodox church, american church architecture, american orthodox architecture, american orthodox music, american orthodoxy, byzantine chant, chant, church architecture, early music institute, ecclesiastical chant, hazards of church music, john michael boyer, liturgical architecture, liturgical music, medieval byzantine chant, militant americanist orthodoxy, modern byzantine architecture, music as iconography, orthodox architecture, orthodox architecture is bloody expensive, random acts of chant, sacred music, this american church life, we need more american saints
Organizing an event is a heck of a lot of work.
I had originally contacted John Boyer in late fall of 2008; I was looking around for Western notation transcriptions of Byzantine chant in Greek, and my friend Mark Powell said he was the guy with whom to inquire, and that I might also be interested in the curriculum he was developing for Byzantine notation. John was more than generous in providing very useful materials, and I figured, while I was corresponding with him and he was seeming friendly, I may as well ask what it would take to get him out to Bloomington for a workshop. This had been an idea I’d been trying to develop for a couple of years, since we were encouraged at PSALM in 2006 to try to put together local and regional events, but I’d never gotten more than a lukewarm response — “Who?” “Isn’t he too far away and too expensive?” etc. I figured it couldn’t hurt to ask him while I had his attention, however, so I did.
He quoted me a much more reasonable number than I was anticipating. I told him, right, let me check on a couple of things; I was able to convince a private donor to pay John’s fee and travel, Fr. Peter had no problem with it (particularly since it wasn’t being paid for by the parish), and I wrote back and said, let’s do it.
Well, then it took a year to make it work with everybody’s schedules. We decided on this last weekend back in August, and what I will say is that given a host of factors (not the least of which was the decision, made a month later, to bring out Andrew Gould the weekend before John’s visit) I would not have wanted any less time to get everything together. Even with five months’ advance planning, a significant chunk of my choir still couldn’t make the weekend work (although, in all fairness, one of them, Megan’s goddaughter Erin, was busy winning the Met auditions, so I guess that’s an acceptable excuse).
In October, the money from West European Studies happened; this really expanded the scope of what I had originally considered from maybe my choir and a couple of other interested parties to something that could be (well, had to be, given WEST’s terms) open to the public and conceived of as an educational outreach event. John and I finalized the schedule and the repertoire on 23 December; the Friday evening session would be the “lecture” of the series, intended to function as the academic side of the weekend, and then Saturday would be the all-day practical part. I set up a Facebook event and sent out press kits to 30 different churches, chairs, institute directors, community choral ensembles, and local news organs the first week of January, and was astounded at the responses that started rolling in. I heard from School of Music faculty; both an Early Music Institute and a Choral Conducting professor registered, and it came back to me that the Choral faculty member was even telling her entire doctoral seminar to come. I heard from a faculty member at University of Louisville presently teaching a seminar on early notation (although she ultimately decided she couldn’t make it); I heard from choir directors and priests in Indianapolis, Evansville, and Louisville; I heard from a Medieval Studies professor at Wabash College; I heard from local people in the community. By the time the registration deadline passed the week before, 45 people were registered; another ten confirmed over the course of the following week, and then still more showed up unannounced.
The last week before the workshop, the event planning was approaching a fulltime job; I had to make sure food got ordered and picked up, I had to track down CD shipments so we could have things to sell over the course of the weekend, I had to bug overworked Cappella Romana executive directors for scores (sorry to have been a nag, Mark, truly), I had to get registration materials printed and assembled, and I had to field phone calls from people who wanted to come but lived a couple of hours away and wanted to make sure it would really be worth their time. The last couple of days I wasn’t quite a one-man army; Megan, God bless her, helped with a lot of the last-minute errands and the putting together of the registration binders. I put together a couple of displays of Andrew’s concept sketch (pictured) so that workshop attendees could see it, at least trying to give a nod to the non-singer-friendliness of our space and indicating that we intend to do something about it.
On the other hand, once John actually got here, my job was significantly easier — I pretty much just got to sit back and enjoy the proceedings.
I must say it was worth it; all in all, throughout the course of the weekend, about 65 different people came. Not bad for an event centered around this obscure, gaudy Eastern repertoire that supposedly we Westerners can’t stand without the edges sanded down.
I picked John up at the airport last Thursday evening; his flight arrived at 10:30, and then between his checked luggage taking forever and my very smooth wrong turn leaving the airport, we didn’t get back to Bloomington until about midnight. Luckily, Megan had a wonderful meal and a good bottle of wine waiting for us when we got home (a Saveur recipe that turns lentils and sausages into a bowl of gold), and we three were up talking until around 2 in the morning.
In what would prove to be a pattern for the weekend, four hours later, it was necessary to be up and about. It was, as I told John, the “showpony” day; he was doing a radio interview for Harmonia in the morning (watch this space for details), a mini-lecture for WEST in the afternoon (no thanks to me; I had both the time and the place wrong, forcing us to rearrange our afternoon a bit), a coaching with Lucas, Megan and me on epistle cantillation, and then the first formal session of the workshop in the evening.
One thing that putting on such an event at All Saints did was push us to the absolute limits of what we’re able to do in our current space. John had a PowerPoint slide deck as part of his lecture; well, we’re a pretty low-tech parish on the whole, so I had to go out and hunt down a projector and a screen. WEST loaned us the projector by way of the Russian and East European Studies Institute; my old employers, the Archives of Traditional Music, were good enough to loan us the screen. Even so, it was difficult to figure out how to set up the presentation in our nave to maximize the size of the slides, minimize keystoning, and be within reach of our power outlets (even with extension cords). We managed, but I’d want to figure out how to do better next time.
We had made the decision to install a comprehensive sound system in the nave as the only real cost-effective solution to our acoustic woes for the time being; we gave the thumbs up to the order on 11 January, and the guys at Stansifer Radio turned it around as quickly as the possibly could, knowing that we hoped to be using it by 22 January, and they got it installed by Vespers on Wednesday, 20 January. John had also wanted to be able to plug his laptop into the sound system; I told Greg at Stansifer what I needed to do, and he told me, “Give me an hour to make you a cable.” An hour and twenty dollars later, I had exactly what I needed, and it worked beautifully.
In the end, where we needed to set up John’s presentation was nowhere near the condenser microphone installed for the homilist, so we still had to give him a handheld mic hooked up to Fr. Peter’s old amplifier so he wouldn’t kill his voice. (Why, you might ask, did we not plug the handheld into the nice sound system? Well, the mixer is back in a closet in the sanctuary, roughly 30 feet away from where John was standing. We had a long enough cable, but plugging it into the mixer produced no result. “Oh, right,” Fr. Peter said, stroking his chin. “I forgot — the long cable is dead.” Like I said — we’re kind of a low-tech community. Note to self: replace long cable before next such event.)
Nonetheless, John was a hit, a big one, and something that I heard from more than one person at the end of the session was, “You know, I was only going to come for tonight, but I need to rearrange my day tomorrow so I can come here.”
Following the lecture session, in lieu of a formal reception (which I’ll have to remember to set up for next time), a number of us tried to go to Finch’s for dinner, it being one of the nicer places in Bloomington. Alas, we got there just as the kitchen was closing, and so we relocated to Nick’s. It was a bit louder than we we might have liked otherwise, and they didn’t quite know how to make a Manhattan properly, but perhaps not an inappropriate venue, given that it was founded by a certain Νικόλαος Χρυσόμαλλος (Nick Hrisomalos).
It was a full house at Chez Barrett; besides John, our friend Max Murphy, my counterpart at Ss. Constantine and Elena in Indianapolis, was staying on our other futon for the night so that he wouldn’t have to commute. Once again, we found ourselves up until about two in the morning chatting, and needing to be up by about 6:30 to make sure our houseguests would be sufficiently plied with coffee and eggs, pick up the food for Saturday’s lunch (shout out to Eastland Plaza Jimmy John’s; three 30-piece party platters was a perfect amount of food for a very reasonable price, and they were gracious enough to have somebody there at 8:30am so I could pick it up, since All Saints is waaaaay far out of their delivery area), and get everything at the church set so that the 9am session could start on time.
Well, it didn’t quite. We might say that everybody was inspired enough by the previous evening to recalibrate their clocks to “Greek time,” and we didn’t get started until about 9:30am. Έτσι είναι η ζωή (that’s Greek for c’est la vie, which is itself French for “Life sucks, get a helmet”).
Without giving a blow-by-blow of the whole day, I’ll say that much of the day was dedicated to rehearsing the Divine Liturgy music, but there were a couple of theoretical points made that I’ll note. First, there was the issue of time, which John got at a few different ways. He has a principle, stated many times over the course of the weekend, that “If you think you’re not going fast enough, slow down.” Too often, he says, we just zip through the text like it doesn’t mean anything, which makes it not mean anything. This can be in chanting a hymn, reading the epistle, whatever. We treat hymns and readings like they’re just the next thing to get through so we can be that much closer to getting out the door, rather than adorning them with the beauty that a) they deserve and b) will make us want to be there and take part in the services as though they are gifts from God rather than as burdens to bear. So, again — if you think you’re not going fast enough, slow down.
Another way he stated this was to discuss the difference between χρόνος (chronos) and καιρός (kairos). The former is the world’s time; the latter is the Church’s time. This came up when he was talking about why some hymns are slow and melismatic, and even sometimes will revert to nonsense syllables — in the case of the latter, when this happens, the text has been stated thoroughly in a slow and melismatic fashion, and the hymn is now using “terirem” or some such to provide the opportunity to meditate on the text. Not only that, however; the whole point of the slow, melismatic style has a practical component — to cover a liturgical action, for example — but it also emphasizes the reality that in the liturgy, we are no longer in the world’s time (chronos) but on God’s time (kairos). I was reminded of what Met. Kallistos Ware says about the first time he was in an Orthodox church:
…I had no idea how long I had been inside. It might have been only twenty minutes, it might have been two hours; I could not say. I had been existing on a level at which clock-time was unimportant” (“Strange Yet Familiar: My Journey to the Orthodox Church” in The Inner Kingdom, St. Vladimir’s Seminary Press, 2000, p. 2).
As he acknowledges in the same essay, this itself was a trope (albeit realized after the fact) of what the Kievan emissaries are reported to have said after their visit to Hagia Sophia: “We knew not whether we were in heaven or on earth…”
Another thought came to mind during this discussion — what do we sing in the Cherubic Hymn? “Let us now lay aside all earthly cares.” What do most of us do with the Cherubic Hymn in our parishes? Sing a setting short and fast enough so that we repeat it three times, because we worry that people will get bored otherwise. Isn’t that rather missing the point?
The other theoretical point John made was that there are three textures of singing in our liturgical practice: soloist (priest or deacon or cantor, depending on what’s happening), choir, and congregation. “We need all three,” he said repeatedly. “It’s very much a dance of who sings what when, and if you limit yourself to only one of those textures, you lose something important and beautiful.” As you may recall, the week before, somebody told Andrew Gould that they didn’t come to church for the beauty but for the participation; one wonders how such a perspective would understand what John had to say on this point. My thought is that he’s right, but dances have to be both taught and learned or they become mass confusion.
The services themselves were an adventure, but a good one; at the kliros, the weekend suddenly turned into Byz Chant Boot Camp (or Parents’ Weekend of same, as our friend Laura Willms suggested), and John was the drill sergeant. This Was A Good Thing; he was able to do get away with making certain points in a way I simply can’t, partially because a) he won’t have to see these people next weekend b) we paid him to be here specifically to do that c) he’s Greek. He was not shy about being emphatic in terms of instructing people during services; if you were on the isokratima, for example, and were sleeping on the job and missed his cue for the move, you got an elbow in the ribs. (As John said later, and I absolutely agree with him, “Please tell me a better way to communicate with people who aren’t watching me while I am singing.”) The thing is, coming from him, people ate it up; after the service, a lot of the folks who got the business end of his drill sergeant-ness said only, “Wow — what an amazing teacher.” For me, how this manifested was him pointing to the Byzantine scores he was following and saying, “You’re reading with me, got it?” Up to that point, I hadn’t dared putting enough confidence into what I had learned over the summer to actually use it during services, but much to my own surprise, I managed to keep up. I wasn’t perfect (and when it was just me on my own I fell down and went boom a couple of times), but I kept up.
After Vespers, we were all tired and hungry enough that it seemed best to simply call off the 7-9 session — we had reached enough of a logical stopping point that anything further that evening would be a matter of diminishing returns. It was early enough that Megan, Laura and I were able to take John to Finch’s for dinner after all, and once again we all found ourselves up until 1am or so talking.
Matins and Divine Liturgy the next morning were not without their speed bumps — everybody was just enough out of their element to make sure of that — but everything went quite well regardless. (We even made it successfully through the Cherubic Hymn, which had been a cause of some lack of sleep on my part.) A lot of non-Orthodox workshop attendees came, so we had a very full church. That said, I’m not entirely certain that everybody in the parish knew what was going on or why we were doing what we were doing (despite my plugs for the weekend along the way), and some of the reactions I got from parishioners were worded accordingly (“That was beautiful, Richard, but I will be very happy when we go back to normal” was one example). On the other hand, there was the chorister who told me, “I felt like my musical soul had been fed for the first time in a long time.”
Here’s a comment made by a workshop attendee to which I keep returning — the commenter in question is part of the local UUC congregation and retired English faculty here at IU:
Excellent workshop on Byzantine chant this weekend at All Saints Orthodox church in Bloomington, with John Michael Boyer, cantor and teacher… The whole attitude of the Orthodox faith tradition is very flexible, welcoming, inclusive, and constantly changing–such a welcome change from most of the Western Christian churches… As it happens, I’m not a theist of any variety, but if I were monotheistically inclined, I’d give this church a serious thought. Good people all around… This was my third visit to your church and in every case, I was much welcomed.
Seems to me that’s successful outreach right there.
John’s flight out was scheduled for 4pm on Sunday. However, as we left All Saints around 12:30pm, he looked at me with deeply exhausted eyes and said, “Would you mind horribly if I changed my ticket and stayed an extra day?”
Well, I told him, I didn’t know for certain where he’d stay, but I’d see what I could do.
Megan and Laura made biscuits and gravy, which I think may have cemented John’s friendship with Bloomington (to say nothing of his arteries). He got a nap, and made a wonderful dinner for us that night — a recipe of his own devising, incorporating pasta, kielbasa, kalamata olives, mushrooms, and green peppers.
(Tellin’ ya — how do we rate all of these friends who ask, “Hey, can I cook in your kitchen while I’m here?”)
And, once again, we looked at the clock while talking, found that the hours had slipped away and it was three in the morning.
On the way out of town the next morning, we had lunch with Vicki Pappas, the chair of the National Forum of Greek Orthodox Church Musicians — also a Bloomington resident and founding member of All Saints (alas, in absentia for years, since she commutes to Holy Trinity in Indy). It was a very interesting conversation for which to be a fly on the wall; the musical situation in GOArch has its own intricacies, complications, and vicissitudes, to say the least.
The drive to the airport (no wrong turns this time, thank God) mostly consisted of us discussing how to get John back here, and soon. Watch this space.
Just to make sure I’ve said it: as with Andrew, I wholeheartedly recommend John if you’re looking for somebody to bring out as a speaker or as a guest instructor with respect to Byzantine chant. He’s knows his stuff inside and out, both in terms of chant and in terms of liturgics in general, he’s a great teacher, and of course he’s a wonderful cantor. He is a very effective speaker and teacher for an academic audience, an Orthodox audience, and a general audience — not something everybody can claim.
All in all, the weekend was a huge success in terms of being outreach, being educational, being of musical interest, and, more personally, building friendships. It’s very true that there’s very little in the way of specifics you can cover in a weekend; notation wasn’t discussed beyond some theoretical ideas, and there was only so much he had time to do with respect to the tuning systems, but I think what it did was threefold: it established that there is in fact interest in this material here in Bloomington, for the School of Music, the greater community, and the parish, it proved that you could talk about this subject from an explicitly confessional standpoint and have it be more informative for non-Orthodox participants than it would have been otherwise, and it stimulated interest in doing more. The School of Music faculty who came were very clear about wanting to participate more directly the next time John is here; people from the parishes of surrounding areas said, “Hey, how can we help with the next one?” and it’s also been expressed to me that there is a desire to figure out what portions of what we did last weekend we can keep as our normal practice. That will likely be a complicated conversation with a complicated outcome, but it’s a better response from the people in question than “That was nice, now let’s never do it again”.
What I will say is this: by virtue of the fact that we were open to the public and not charging admission, our own success made it quite a bit more expensive than we had originally planned. If you participated and would like to help, or would like to help regardless, please contact me (rrbarret [AT] indiana.edu). Our original donor has been very generous, but we had hoped to come away from this event with perhaps some seed money for the next one as well. Looking ahead, I am contemplating starting something which we might call “Friends of Music at All Saints” or some such, specifically to exist as some kind of a booster organization for such things; again, I am pretty much a one-man army here, so if you’re interested in participating, please let me know.
So, we had two visitors two weekends in a row. One told us about beautiful churches, another told us about what we do in those beautiful churches. Now what?
I think, if we want a useful synthesis of Andrew’s and John’s respective messages, it boils down to John’s point about kairos and chronos, and how that relates to the church building being an icon of the Kingdom. As Lucas pointed out to me, the word kairos kicks off the whole Divine Liturgy: Καιρός τοῦ ποιῆσαι τῷ Κυρίῳ — it is the time/moment/opportunity of acting for the Lord. Even better, if we want to read τῷ Κυρίῳ as a dative of the possessor, it is the Lord’s time of action. And what is the priest’s first blessing? Blessed is the Kingdom… The Liturgy is the Lord’s action in His own house on His own time. (I will note that this does not go well with the populist misunderstanding of “liturgy” as “the work of the people”, but it goes much better with the more accurate rendering of it as “public service”. It is the Lord’s public service being offered to His people, in other words.)
So, you have to liturgize in a way that emphasizes the fact that it’s God’s time, and you have to have a worship environment that emphasize’s that it’s God’s house. As Lucas also put it, you have to get across the idea that, no, actually, you don’t have anyplace better to be.
Schmemann, of course, talked about the idea that we should liturgize in a way that takes the Liturgy back out into the world. What I wonder is if we have a problem with the valve running the wrong way — that we bring our busy lives, our distractions, that is to say the world into the Liturgy with us and then expect the Liturgy to be run in a way that accommodates us. As I said with the Cherubic Hymn — we say that we are now laying aside all earthly cares, but do we really approach that text in a way that indicates we believe that that’s what we’re doing?
And when you’ve got a building that, no matter how you cut it, looks like an office building with icons and which traps our psalmody rather than lifting it up to heaven, is it any wonder that that’s our approach? Andrew was absolutely right — we’ve got the saints and the angels, but no City.
We’ve got our work cut out for us. On the other hand, here’s the good news — Fr. Peter told me a couple of days ago, “You know, a comment I got from a few people was that things seemed too slow. But you know what? In a lot of places, by having the choir sing it so slowly, I found that it matched better with the liturgical action, and it made a heck of a lot more sense.” We talked about a lot of this stuff, and it seemed to click with him that we need to figure out, and make a concerted effort reinforcing, the difference between kairos and chronos. It’s not going to be easy, but we’re at a point where it’s what we have to do.
The project that All Saints has ahead of it is not a building project or a musical project. Those are components, yes, but what it really is is a spiritual project. We’ve got to be the City on the Hill, the Heavenly City, the New Jerusalem, the Light that is not hid under a bushel. It is desperately needed in this town, in this area, in this world, and we’ve got to convince ourselves that we want to be that, that we want to be an icon of the Kingdom, more than we want to be what we’ve been pretty good at being up until now, which is a little, struggling church in a little, struggling Midwestern town.
If we can do that, then we will have the hard part out of the way. If we can convince ourselves that we believe that and that we can walk in faith, then the temple will just about build itself, $2.5 million or no, and people will stop worrying about whether or not the music is too Byzantine or too slow or not congregational enough or not “American” enough or whatever. (By the way, I found over the course of the weekend that just joining a good English translation with a melody written for the English made things pretty well more “American” on their own. Others may disagree with me, but that was my perception.) If there’s a point that both Andrew and John made, it is that the ethos of the received tradition is not a buffet, not a “meat and three”, not a list of things from which you pick and choose. There are things that we can adapt for local circumstances, but you do that after you’ve received the tradition, and then only in a way that doesn’t obscure what you’ve received. You don’t filter out the parts of the received tradition you don’t like pre-emptively. You may well come to church for participation rather than beauty, but that doesn’t mean that beauty isn’t part of the organic whole.
The church building and the liturgy have to reflect the fact that we worship a God who is bigger than we are. God already “met us where we’re at” in the Incarnation; it is up to us to respond to that in faith.
Now, having said all of that, I’m at the head of the line of people who need to figure out chronos and kairos. With these two weekends out of the way, I have a ton of reading to do on Ancient Greek democracy and a couple of weeks’ worth of working out on which I need to catch up. I’m going to be juggling things for a bit yet before I’m really into the rhythm of the semester. Along similar lines, last Wednesday, John texted me at about 8pm my time: “I’ve turned nocturnal. Just woke up. I’m not sure, but I think it’s Bloomington’s fault. ” I guess the gap between chronos and kairos gets us all in the end. Pray for us.
More importantly, however, pray for All Saints. We’ve got a lot of hard work ahead of us. With God’s help and by your prayers, we can do it. If you want to be involved more substantially, I’ve suggested a couple of ways you might be able to do so; contact me if you want more information.
Okay — back to being a student.
Review — Cappella Romana The Divine Liturgy by Peter Michaelides and Ensemble Organum: Chant de l’Eglise de Rome: VIe-XIIIe SieclesPublished 17 December 2009 General , Media , music , The Orthodox Faith 1 Comment
Tags: alexander lingas, american orthodox music, both kinds of music: byzantine and gregorian, byzantine chant, cappella romana, chant, chant de l'eglise de rome vie-xiiie siecles, ecclesiastical chant, ensemble organum, john sakellarides, liturgical music, liturgy, lycourgos angelopoulos, marcel peres, music as iconography, new choral music, old roman chant, our liturgy is older than your liturgy, peter michaelides, random acts of chant, sacred music, the byzantine chant narrative of decline, the divine liturgy by peter michaelides
My copies of The Divine Liturgy by Peter Michaelides and the latest installment of Ensemble Organum’s Chant de l’Eglise de Rome arrived while I was traveling for Thanksgiving, and upon my return I was neck deep in finishing things up for the semester. Now that fall term of 2009/2010 is in the books, time to give these recordings its due attention.
My experience with a lot of the four-part Orthodox liturgical music that’s out there is that, frankly, it’s either terrible or plain mediocre. I have sometimes heard it said that Western ears are too used to harmony to like unison singing, so we have to add parts to chant melodies, and this attitude seems to be borne out in much of what we sing in our churches today. A lot of what I’ve encountered consists of Byzantine melodies harmonized very badly, as though somebody said suddenly, “Oh! I need a four-part arrangement of this hymn for tomorrow!”, proceeded to bang the melody out on some keyboard instruments, and wrote down whatever progression underneath it that was simplest and most tonal (and which also typically produced part-writing errors). A related problem is an overabundance, at least in some scenarios, of simplistic utility music. At the other end of the spectrum is really overblown, self-consciously polyphonic music — I can think of one example (which I decline to name) that seems to essentially ask the question, “What if Palestrina wrote a Divine Liturgy?” There are, of course, exceptions; Fr. Sergei Glagolev’s music is very nice and singable, for example, and I’ve expressed my appreciation for Kurt Sander before.
I am very happy to add Peter Michaelides’ Divine Liturgy to the list of exceptions. Michaelides’ choral music is certainly prayerful, and while it is certainly not an exercise in compositional excess (like, say, Tchaikovsky’s Divine Liturgy), neither is it so restrained as to simply be an unnecessary sheen over the text. The character of the music is evocative enough of the Byzantine tradition that it is identifiably Orthodox music; some of the melodies of Sakellarides are used as a jumping-off point, but then the medium of the mixed choir is used to its advantage, always sounding like a completion of, rather than an addition to, the melody. That is to say, the music actually needs the harmonies — the vertical and horizontal dimensions of the music are complementary rather than one being tacked on. The Cherubic Hymn of the setting is perfect example of this balance; the different voices intertwine and interlock beautifully but never gratuitously.
The recording strikes a very nice aural balance of clarity of text and resonance of the room, and it is a credit to Cappella Romana that they have the flexibility to sing this kind of choral music and the Byzantine repertoire as beautifully as they consistently do. One thing I am very appreciative of is that the setting is presented practically, as a real Divine Liturgy, with the Very Rev. Archpriest George A. Gray III singing the priest’s parts (including the Gospel reading) and Alexander Lingas chanting the Epistle. This is music that should be presented in a liturgical, rather than a concert, setting. As an additional “realistic” detail, parts of the setting are alternated between Greek, English and Arabic — both a nice touch and a nod towards the pastoral reality in many parishes. It is exactly because of this attention to liturgical authenticity, however, that Lingas speaking the Creed and the Lord’s Prayer by himself, rather than these parts being said by the entire choir, comes off as a bit jarring.
It has been said that, in terms of how Orthodox liturgical music might develop in this country, what the Byzantine repertoire has to offer is a richness of melody, and what the Western idiom has to offer is a richness of harmony. Along these lines, while acknowledging that the Sakellarides material does not necessarily represent the best of what the Byzantine tradition has to offer, Michaelides’ music nonetheless suggests what could be a way forward. Rather than haphazardly forcing modal melodies into a tonal box with sloppy part writing that’s little more than a sop to “that guy” in the congregation who instinctively sings parallel thirds to everything, with the result sounding neither like good chant or good four part music, it is possible for these melodies to serve as a springboard into something more carefully crafted and more, dare I say it, iconographic in quality.
Now, what does any of this have to do with Ensemble Organum’s recording? Hang on for a second and I’ll explain.
Over the last twenty years, Ensemble Organum has put out a series of recordings of Western liturgical music off of manuscripts that represent the so-called “Old Roman” repertoire. I’m probably the wrong guy, at least at this stage of the game, to try to go into all the issues surrounding this music; suffice it to say that the liner notes of these recordings present this is as the older, pre-Gregorian chant repertoire of the Roman church.
Now, these recordings are, essentially, reconstructions of what they think the chants sounded like; knowing what notes the signs represent are only half the battle, of course, there are also the questions of rhythm, tuning, ornamentation, and overall vocal approach. Working with Lycourgos Angelopoulos, Ensemble Organum has taken the approach of interpreting these manuscripts more like Byzantine chant than Gregorian chant, complete with isokratema (drone) and very Greek ornamentation. Are they right? I don’t know — it sure sounds convincing enough. On the other hand, I can imagine that there is no shortage of counterarguments. Maybe something like this: how convenient for Byzantine psaltai that the Old Roman repertoire, which may or may not date from before the sixth century, sounds exactly the same as their music (which of course isn’t really Byzantine at all, but Ottoman, per the “narrative of decline” which I’ve discussed earlier). I’m not a musicologist, so I can’t really argue one way or the other for Ensemble Organum’s performance practice, but I do think that seeing the diversity of liturgical practice within the context of a unified Roman Christian identity is a fascinating idea.
What I can say is that these recordings sound really beautiful. For that reason alone, whatever their musicological merit might be, I find them quite compelling.
The latest in the series is hymnody from Christmas; the Vigil Mass, the Midnight Mass, the Mass at dawn, and the Mass of the day itself. If you’re used to the Gregorian repertoire, something like “Puer natus est nobis,” the introit for the Mass of Christmas day, is going to be quite foreign to you. It’s over twice as long as presented by EO (almost six minutes, as opposed to the two and a half minutes the Gregorian version typically takes), it’s a much more elaborate melody, it’s in a different mode, and the earthy, rich Byzantine approach is very different from the austerity employed by the typical Gregorian schola.
I suppose the value of a recording like this is that it gets people thinking differently about the context in which the Gregorian repertoire emerged and what that might imply for how it should be approached. It also suggests a way we might aurally frame the united Christendom of the Roman world, and how could have been both alike and different from the modern received chant traditions inherited from that world.
In the case of both of these recordings — told you I’d get to this eventually — you have a suggested musical ethos that draws from both the Christian East and West. Michaelides uses Western harmonic vocabulary to elaborate Eastern melodies and does so in a way that creates something new; Ensemble Organum uses Eastern stylistic practice to interpret Western melodies in order to suggest something very old.
These recordings share a common problem, too — essentially, what is the impact either of these recordings could potentially have on modern parish practice? Is there a Catholic church out there that is going to be rushing out to incorporate the Old Roman repertoire in their Christmas festivities? Despite Cappella Romana’s presentation of the Michaelides setting as music for practical use in worship rather than as a concert piece, is it likely to find a place in a church culture that sees the Liturgy as a sing-along and defines “participation” as “everybody sings everything”? Are people going to hear the recording and say, “Wow, our choir should sing this!” or are they going to say, “Boy, that sounds like it would be too hard for the congregation to be able to sing along with.” One thing about bad part-writing that caters to parts people are improvising anyway — it makes congregational singing very easy, if that’s the goal.
At any rate, I would love for the answer for both recordings to be “yes”. I would love to think that this kind of music could find a place in the venue for which it was written, the church, and not be treated as concert pieces best appreciated at arm’s length. I would love for Catholic and Orthodox churches to be striving for musical excellence, and to be incorporating music like this as a way to pursue that excellence. Time will tell.
In any case, both recordings would make excellent stocking stuffers, and consider them recommended.
Tags: alexander lingas, american orthodox music, byzantine chant, ecclesiastical chant, emily lowe, fr. john finley, fr. sergei glagolev, frederica mathewes-green, great synod of the church, hazards of church music, holy cross linthicum, holy trinity nashville, john michael boyer, kurt sander, leonidas kotsiris, liturgical music, liturgical texts and translation, missions, music, music as iconography, Orthodox choir schools, rachmaninoff vigil, random acts of chant, rightwingprof, sacred music, terry mattingly, the byzantine chant narrative of continuity, the byzantine chant narrative of decline
A few things have come out recently to which I’ve been meaning to respond, and I’m finally able to take a moment to do so.
First of all, the issue of AGAIN which just came out, among other things, reprints Fr. John Finley’s essay, “Authentic Church Music”. This was originally a talk given to the the AOCNA Conference on Missions and Evangelism in 2002, and I have seen it in at least two print publications since then — PSALM‘s newsletter, PSALM Notes, and now AGAIN. It is also, as the link shows, posted on the Antiochian website itself, so clearly Fr. John’s piece has found an audience. Give it a read; I’ll come back to this.
Second, there was this short piece which was run on PBS a couple of weeks ago. I’d love to find a way to embed it, but I haven’t yet, so click on the link, watch it, then come back.
Okay. You got all of that?
I’ve met Fr. John Finley a number of times. I met him at the Antiochian Sacred Music Institute back in 2004, and again at the PSALM National Conference in 2006. I also love his cookbook. He’s a good man, so far as I can tell he’s a good priest, and we know many of the same people. He’s also one of the people to whom I’ve tried talking about the choir school model (an idea which I just seem to have the darndest time communicating in a form that makes sense to anybody but me).
There’s a reason Fr. John’s article has a continuing audience; it is well-written, it expresses a point of view clearly, and it is a point of view which is popular among many American converts to Orthodox Christianity:
Some may negatively assume that such a proposal must necessarily lead to the development of an American Orthodox music, which will sound like Protestant music or the 70′s rock and roll Christian music of the baby boomer generation’s surfer churches. On the contrary, we are hinting at the development of authentic sacred music for the One, Holy, Catholic and Apostolic Church in North America, a music founded on “that which has been delivered to us”, but which is also the result of our interaction as Orthodox Christians with the surrounding American culture. (emphasis mine)
Fully Orthodox and fully American! Orthodox as the Seven Ecumenical Councils and American as apple pie! Isn’t that what we all want?
The trouble that I have with the article, and what I offer as a critique, is that Fr. John unfortunately buys into what Alexander Lingas refers to as “the narrative of decline” with respect to Byzantine music as part of his argument. Specifically, this paragraph is problematic:
Is the Byzantine music that we sing today really Byzantine, i.e. from the Byzantine era of the 4th through the 15th Centuries? Are we not aware that the Church music of the See of Constantinople was heavily influenced by the demands of the Turks after the fall of the empire in 1453 AD? Are we aware that the authentic music of the Byzantine Church lost its diatonic character and accepted enharmonic and chromatic intervals during this period of the Turkish yoke? Are we aware that the music of today’s churches in the Byzantine tradition throughout the entire Mediterranean region of the world is the result of the codification of these oriental elements by Chrysanthus in the 19th Century and is scarcely 200 years old?
Checking his footnotes, his citations are predictable — Strunk (1977) and Tillyard (1923). It’s an appealing narrative for many folks; hey, you know that stuff in Byzantine music that makes you feel uncomfortable as an American because it sounds, well, Eastern? It’s not actually as Orthodox as the Hellenophiles and Arabicists want you to think! It’s a later development which occurred under the Turkish yoke! It’s a narrative which validates the supposed biases of the “Western ear” (whatever that means) and knocks the practices of various national churches down a peg or two all at the same time — it’s a very economical argument in that regard.
There’s something else it manages to accomplish, too, which is hinted at in the body of the text and made explicit in a footnote:
We should continue the work of transcribing Byzantine notation into modern western linear notation and adopt modern western scale intervals.* We need to simplify the melodies in connection with the texts and encourage congregational participation. We should encourage the harmonization of the melodies. I have heard it said that the great musical contribution of the East is its melodies and the great contribution of the West is its development of harmony. What better place than America to bring these two great traditions together to form something uniquely American in terms of Orthodox Music? This, of course, has already been done in Russia, and will undoubtedly be a powerful influence on what is done in America in this area of musical development.
* This will, given time, effectively conform all Byzantine melodies to a diatonic equal-tempered scale. According to Byzantine Musical theorists, Medieval Byzantine Music was wholly diatonic anyway. So this could be construed as a move back toward a more pure form of Byzantine chant rather than a perversion of it.
So, actually, the more we file the edges and corners off of Byzantine music, the more Byzantine we make it, in fact! Better yet — we also make it more American at the same time. Perfect.
Also present is the fallacy that somehow congregational singing and congregational participation are coterminous. This seems to be one of those assumptions that makes people feel good but for which I have never actually seen any evidence. Don’t take this as me meaning that I’m against congregational singing; I’m not, not at all. What I disagree with is the “everybody sings everything or they’re not participating” model that seems to be the core postulate of many modern liturgists; that makes as much sense to me as saying “everybody paints the icons or they’re not praying with them”.
Now might be a good time to point out that in the last week, thanks to the magic of Inter-Library Loan, I’ve read Towards the Great Council: Introductory Reports of the Inter-Orthodox Commission in Preparation for the Next Great and Holy Council of the Orthodox Church, published in 1971, back when they thought the next Synod would be occurring around 1974 or 1975. I’ll discuss it in more depth later, but Section 2 of this document is called “Fuller participation by the laity in the worship and life of the Church.” It is all of two pages. This section seems relevant to the present discussion:
…the nature of lay participation in the life of the Church is clearly expressed in her dogmatic and canonical teaching; it is not a question causing special concern to the Orthodox Church and, for the time being at any rate, it does not constitute a burning problem for her. In all conscience the Orthodox church believes that there has never been, nor is there now, a spontaneous movement among the laity to acquire greater rights and duties in the Church, different from those which they have had since the Church’s foundation. For they have always participated actively in worship and administration, in the pastoral work and teaching ministry of the Church, according to the rights and duties clearly laid upon them by Holy Tradition and the Canons. Their main rights and duties, as lay people and members of the Church, are to live in the fullness of the gifts and divine grace within our Holy Church and to witness by word and way of life to Christ the Saviour and to His gospel. (p. 23)
Obviously, this being 1971, this need not be the last word on the subject, but let’s keep in mind that this was in the immediate wake of 1970 Roman Missal taking a pair of pinking shears to the Mass in the name of “active participation,” and the Commission which drafted this document appears to be intending to head off any such attempts in the Orthodox world.
I must disagree with Fr. John about Byzantine notation and intervals; on a practical level, I might suggest that we might have an easier time getting the Greeks on board with the mission in America if we would stop treating their music as something we just found on the bottom of our shoe that somehow we have to fix and rescue from itself.
On a technical level, I wholeheartedly disagree about harmonization of Byzantine melodies. They function modally, not tonally; you cannot harmonize them according to conventions of Western functional harmony without eliminating the distinctives of the eight-mode system and reducing it to effectively two modes. This already happens when the well-meaning beginning isocratima thinks that the Second and Fourth Modes are intended to be major in character and mistakenly drones away on ni because it sounds like a tonic. The attempts at harmonizing many of these melodies which I have seen have been well-intentioned but nonetheless unfortunate; part-writing errors abound, to some extent unavoidably because the melodies are simply not conceived in the same way as melodies which follow Western conventions. Unavoidable though they may be, they still look, and sound, like part-writing errors.
On a level of Orthodox spirituality — here’s one idea: how about we immerse ourselves in the received tradition before we start trying to “fix” it? Might not something emerge organically over time if we were to do that? That’s not to say that we can’t try things to see if they work, but my thinking is that we’d be best off doing so in continuity with the tradition, not at variance from. If we want to make Byzantine music conceptually more accessible to Western ears, the first step is recomposing melodies to fit the English texts according to Byzantine conventions, not just sanding off the corners of pre-existing melodies and shoehorning in the English. There are increasingly good models for doing so — we should follow them.
From the standpoint of scholarship — at the very least, I would encourage Fr. John to at least familiarize himself with, and subsequently engage, the scholarship which recasts the narrative into one of continuity rather than decline. A place to start might be Lingas’ essay “Medieval Byzantine chant and the sound of Orthodoxy” in the book Byzantine Orthodoxies, Louth and Casiday, eds.
This brings me to the PBS piece on Emily Lowe at Holy Cross in Linthicum, MD. I am not certain if I’ve met Ms. Lowe; I met several people from Holy Cross at the Antiochian Sacred Music Institute back in ’04, and she looks familiar, but I honestly can’t remember. She has a lovely voice; the church is beautiful, and they’ve got her singing one of the signature hymns of Sunday Matins. It’s also kind of fun seeing people like Kh. Frederica Mathewes-Green and Terry Mattingly in the choir.
The problem is when things like this are said (which I copy here from the transcript):
During the time of the Ottoman Empire, the Greek chants took on sort of a very Middle Eastern character, and that’s when you hear this sort of dissonant, odd sounding things: (singing) Hallelujah, Hallelujah, Hallelujah, glory to thee oh God.” It sounds very foreign to Western ears.
Again, there’s that narrative of decline and cultural captivity with respect to Byzantine music. Granted, there are a lot of people in the Antiochian Archdiocese who teach that, including Fr. John, so it’s not a huge surprise, but my guess is that if the PBS documentarians were to have interviewed somebody like John Michael Boyer, they would have had a different set of quotes.
Ms. Lowe describes herself in one of the comments on the video’s page as “a piano teacher who just loves to sing”. I’m going to guess we have a lot in common; we’re what you might call armchair Byzantine musicologists. We’ve read a lot, we’ve heard a lot of recordings, been to a PSALM event or two and/or the Sacred Music Institute at the Antiochian Village, and we do our best with what we have, which are, as a rule, the Kazan transcriptions. I know I haven’t yet had a chance to actually study with a chant teacher who genuinely knows what they are doing and has direct contact with the received tradition, and my hunch is that neither has Ms. Lowe. The practical reality for me is that there isn’t anybody within a 4-5 hour drive for me to learn from; the closest person about whom I know is protopsaltis at Holy Trinity in Nashville, TN.
All of that is to say, if PBS came knocking on my door, I’d tell them I’m the wrong guy, everything I know I know because I read it in a book or have imitated a recording, I’m not an expert, I’m not an authority, and that they need to go talk to somebody like Boyer or Leonidas Kotsiris in Nashville, who have studied with great teachers (who were themselves students of great teachers and who have been singing these services in this idiom since they were blastocytes), and are themselves teaching it and passing it on. I would tell them they need to talk to people, not who are trying synthesize water from hydrogen and oxygen, but who have actually drunk from the well, if not marinated themselves in it.
Don’t get me wrong — I’m absolutely not attacking Ms. Lowe here. I have bags and bags and bags of admiration for her. She’s clearly wonderful, and a huge asset to Holy Cross. She does what she does very well, loves to do it, and offers it humbly in the service of Christ. That should be the big takeaway from this video, and it should be a model which all of us who use our voices in the service of the Church follow. It would be an honor to sing a service with her, anytime, anywhere. The trouble is the editors of the video presenting the content as authoritative and normative when it isn’t.
Finally, for the most part, all I really have to say about RightWingProf’s posts is — right on, brother. I take issue with a lot of the four-part writing which is out there for English translations for many of the same reasons he does. I don’t think it has to be that way; I think passing 7ths and 2nds can work okay, but they can’t be used as a sentimental harmonic trick.
There are a few little points I wish to engage, however.
I tend to disagree that professional choirs are somehow undesirable. Yes, fine, the Rachmaninoff Vigil is going to be too much for a parish choir as a rule. However, if you’ve got a cathedral choir that can pull it off — defined, as far as I’m concerned, as being able to sing it well and prayerfully — I don’t see a problem using it liturgically. My overall discomfort is that we approach a mindset that says, “You’re too good of a musician to serve the Church with the fullness of your gifts.” I can’t imagine telling an architect or an iconographer that, but we seem really comfortable telling singers that. No, it’s not a concert, but there’s a dichotomy between worship and performance which I think approaches being a false dichotomy at some point. My belief has always been, with respect to that dichotomy, if you sacrifice one for the other, you will do neither well. I completely own that I say that as a former Anglican, however, and that this informs my point of view.
I also fundamentally disagree with the blanket assumption, constantly asserted by many, that Slavic music is “more accessible to American ears”. If sung well, in English, with a melody that actually fits the text in terms of stresses and meter, Byzantine music is plenty accessible to American ears. By contrast, Slavic music sung poorly with stresses and meter distributed in such a way as to do violence to the English text is going to be just as inaccessible to the American ear as people so frequently proclaim Byzantine music as being. This is not a slam against Slavic music or Orthodox music in the Slavic idiom; I’m a big fan of Fr. Sergei Glagolev (who was kind enough to inscribe my volume of his music at PSALM in 2006), and the Kurt Sander settings I’ve sung I’ve really liked. All I’m saying is that I think it is an error to say that somehow one national idiom of Orthodox music is fundamentally more accessible than another and to privilege that idiom based on that assertion. There may very well be reasons to privilege particular idioms in particular contexts, but I don’t think this one holds up at all, and I think recent recordings of Byzantine chant in English bear that out.
Along similar lines, and to repeat a point made earlier, not everything needs to be sung along with by the congregation. Yes, it’s church, not a concert; I might reply by saying it’s church, not a campfire singalong. Melisma serves a particular function in the Byzantine idiom — frankly, that of following the rubrics. ἀργὰ καὶ μελὠς, “slowly and melodically”, is sometimes what the rubrics call for. It is not the aberration many would make it, so I can’t agree that it should be absolutely avoided in the parish.
That said, a parish choir needs to fight its weight. Period. If a choir can’t sing it well and prayerfully, they shouldn’t sing it at all. So, from that standpoint, I agree that there is nothing wrong with “keeping it simple,” insofar as what we mean by that is that the music should be no more complicated than what the choir can sing well and prayerfully. In all likelihood, that’s probably going to mean keeping things a lot simpler than we might otherwise like for the time being — heck, we use the Antiochian Village camp music book as the normative setting at All Saints — but it doesn’t necessarily follow that choirs and congregations can’t ultimately grow into certain kinds of repertoire.
If I were helping to start a mission, what I would be very curious to try, if I had 3-4 other singers who were up for it and who could sing it well and prayerfully, plus an acoustic which would complement it at least somewhat, is using the Thyateira translation with the Boyer/Lingas Byzantine arrangements, as found on The Divine Liturgy in English, as the standard music, and setting it up from the get-go in an antiphonal formation. The idea would be to make a particular traditional practice normative from the get-go so that people are used to it from the start, rather than the mission making it up as they go along. I’ve seen what that can look like, and I can’t quite shake the idea that it is self-defeating and ultimately serves to paint missions into corners.
Perhaps it is good that I am not helping to start a mission.
Tags: hazards of church music, music as iconography, paradosis, tradition
My buddy and all-around cool guy Frank Pesci in Boston meditates upon the following:
Leonard Meyer’s 1957 treatise, Emotion and Meaning in Music, sums up, at length, the understanding that tone, pitch, rhythm and harmony in and of themselves do not have “meaning” – as in, they inherently do not present, together or separately, a stimulus to which a behavioral or biological response can be assigned or by which a universal response can be predicted – and observes that “meaning” derived from music is an amalgamation of associations dependent upon the societal traditions, personal upbringing, and learned experience of the individual listener.
[...] But that being said, music does have meaning, based on our connotations that have changed surprisingly little in the last few hundred years. We still use the same tonalities and intervals, the same ordering of pitches, the same basic rhythmic structure, the same use of tension and release. These connotations and the emotional response to them have become – while not standardized or universal – at least common for 21st century Westerners.
I’ll let the rest of his thoughts speak for themselves. What I would like to say about this is that the attitude he describes inherently makes the assumption that the received tradition doesn’t, and can’t, matter.
To some extent, this is the opposite of iconoclasm — where iconoclasm says that there is no way, no how that divine things may be depicted (with wood and paint, for example), so any attempts to do so must be destroyed, this says that divine things may not only be depicted (in notes and rhythms in this case), but that no medium is privileged over another, so that any way you choose to depict divine things will be just as good as any other. So, just go with the flow of whatever the taste may be, because it’s just all about what people like anyway.
There is an alternate view, of course, which suggests that iconography is to be governed by Tradition, and that sung prayer as an aural form of iconography, is to be every bit as much governed by the παράδοσις as visual iconography. This doesn’t mean there’s no room for creative expression; it just means that those who are liturgical artisans are held to a different, and higher, standard.
Otherwise, I find it very difficult to see that somehow we’re not ultimately saying that it boils down to where the most entertaining place to be Sunday morning is.