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Posts Tagged 'fr. john finley'

Reminiscences from PSALM, Chicago, 2-5 August 2006

A comment prompted me to look up a series of e-mail I sent to the members of my choir from the thus far one-and-only PSALM national conference held back in August of 2006. This was back in the days before I had a blog. I sent these to my choir partially because I wanted them to engage some of the things I was hearing while I was there; truth be told, I’m not sure they all understood why they were getting long e-mails from me. Such is life.

Reading through them, it seemed perhaps worthwhile to share some of those notes here. My perception — and someone can correct me if I’m wrong — is that PSALM peaked with this event; I think there was talk back then about trying to set up regional PSALM identities and events and then do a regular national conference every other year, but none of that ever happened, for better or for worse. My experience with the PSALM Yahoo! group in its present form is that the ideals expressed five and a half years ago are by no means universally held these days, or even necessarily approved of. I can’t really say for sure I understand what’s going on there, but there we go.

Anyway, without further ado —

Day 1: Hello from Chicago! Day 1 has been packed with a lot of stuff that hopefully will be useful for all of us in the long run, and the days to come look similarly stuffed. The Indiana representation has been significant: the opening remarks were from Fr. Sergei Glagolev, an Indiana native; Vicki Pappas and Fr. Joseph Morris (from Ss. Constantine & Elena in Indy) were both part of a panel discussion; the Paraklesis service was sung by IU alum Jessica Suchy-Pilalis; and I finally had the occasion to meet Lori Branch, about whom I have heard so much over the years. She sends along her love and best wishes to all who might remember her.

We had a rehearsal for the Divine Liturgy Saturday morning, and about two-thirds of the conference participants are making up the choir–that is, probably somewhere around 100 people. It’s like the Sunday of Orthodoxy choir, only about four times the size. In the enormous nave that St. George in Cicero has, one is bathing in the sound when all of sing. It’s quite something. Mark Bailey, one of the instructors in liturgical music at St. Vladimir’s, is conducting the conference choir–and it might be worth mentioning that, when we looked at the “Lord, have mercy” sections, the first thing he did was tell us to drop the r in the word “Lord” so that it came out “Lohd”. Just so you know that it’s not that I’m crazy. (Well, not just that I’m crazy, anyway.)

The Paraklesis service was lovely–unison women’s chant from Dr. Suchy-Pilalis and one other. Really very beautiful.

I’ll have a full account of all the goings-on later, but there are a number of things panelists and clergy said which I’m chewing on already. Some of them are pretty challenging and clear-cut in terms of communicating a strong point of view and expectation:

“There is no such thing as a quick fix, only hard work… We have to have the ability to change, because when things don’t change, they’re dead.”–Fr. Sergei Glagolev. Fr. Sergei also challenged us to think about what we want to pass on to the next generation in terms of singing in church.

Fr. Joseph stressed the need for the choir to be dignified and sober, and to have a servant mentality–that we come on time, and we are prepared. “If you can’t make it on time, you can’t make it on time,” he said. “Better to sing with the faithful in that case. You’re not a bishop.” He also noted that, in his parish, there is the expectation that the singers treat Vespers, Matins, and Divine Liturgy as one piece–that is, if someone is singing in the choir for Divine Liturgy, he expects them to have been there for Vespers and Matins as well. “My expectation is that my singers are Orthodox in practice as well as name,” he said.

Valerie Yova, PSALM president, observed that, in general, there is a lack of effective musical leadership in the Church in this country, and noted the following symptoms/factors:

  • Choirs are shrinking and aging
  • People are living further and further away from where they go to church
  • School music programs are dying
  • Parishes are falling into financial trouble
  • There are an almost impossibly small number of places to be trained as an Orthodox church musician
  • The old chanting masters are dying and not being replaced
  • The musical element of worship is being devalued

The panel discussion (David Drillock, Fr. Joseph, Fr. John Rallis, Fr. Lawrence Margitich, Fr. John Finley, Alice Hughes, Carol Wetmore, Rachel Troy, and Vicki) observed that synergy between choir director, singers, and clergy requires time and regular effort, and e-mail cannot be all there is. To that end, not only are regular rehearsals vital, but clerical involvement in rehearsals on some regular basis is also important. Vicki Pappas made the point that volunteerism cannot be an obstacle to excellence, that church musicians have a sacred role, that of being responsible for leading the people’s worship, and that this should inspire us to better things. Fr. Joseph followed this up by saying, cf. St. John Climacus, “If it is possible for one, it is possible for all.” One priest (Fr. Lawrence Margitich, I think) put it this way: we shouldn’t confuse volunteerism with stewardship. As church singers, we are stewards of God’s talents, not mere volunteers, and we should act and think of ourselves accordingly. David Drillock, choirmaster emeritus at St. Vladimir’s expressed this by saying that being in the choir should be a “high calling”.

Other nuggets from the panel: if we as singers are truly connected to the text we’re singing, it will be communicated to the congregation naturally. Also that the church school should be excellent recruiting ground for the choir. Fr. Joseph also suggested that congregational singing should not drag the Liturgy down; it should appropriately done and led. Dovetailing onto that, Vicki suggested a clear intent with respect to which sections we should encourage the congregation to sing, and those which we intend the choir to sing. Having said that, the panel followed that up by saying that it is foolish to replace something people love unless one knows it’s being replaced with something they’ll love at least as much.

Fr. Thomas Hopko, Dean Emeritus of St. Vladimir’s, minced no words: “I disagree that dead things don’t change. Rather, dead things become more rotten, corrupted and stinky.” He also issued a rather direct challenge: “The Orthodox Church seems to be the only place on earth where you don’t have to be competent to be asked to do something. How does this come about? What happened? Why will people join a community choir, not miss a rehearsal, pay attention to the choir director, and then then not do the same in their parish choir? If we’re not taking church and everything we do in it seriously, then we’re just re-arranging deck chairs on the Titanic. You can’t raise the bar when you still have to convince people that there’s a bar to be raised in the first place.”

In aid of this sentiment, he told the following story: a parish started talking about buying a new chandelier. It came to the parish council, and one person stood up and said, “I am absolutely against this. We don’t need a chandelier, we don’t want a chandelier, and we can’t pay for a chandelier.” The priest asked, well, what do you mean? “It’s too expensive,” the man said, “and we don’t even know where to buy one.” (Scattered laughter from the audience.) He went on: “Plus, there’s nobody in the parish who can play one, and it’s not even part of our tradition anyway.” (More laughter from the audience.) He finished by saying, “I just can’t understand why we’re talking about buying a chandelier when what we really need is more light!” (Peals of laughter from the audience.)

Like I said, all very challenging stuff, but there was a truly remarkable consistency to the message I heard today. It’s going to take me a while to process all of it, but there was one more thing that was stressed today, and I’ll close with that for now–

Fr. Thomas Hopko also said that, as church musicians, in terms of purpose and practice, we must start no other place than Christ crucified and glorified, that it is only by starting there we will end up in the right place. In the same vein, the panel also reminded us of Metropolitan +ANTHONY Bashir’s insistence that, once love is manifested, all things are possible.

All of these things are worth thinking about, and I encourage you all to do so as well.

More to come on Day 2.

Day 2: Again, too much to summarize in one e-mail, but a small handful of highlights:

First two presentations this morning were from Fr. Ephrem Lash, who looks and sounds like Gandalf as portrayed by Ian McKellen (and who has a wonderful website, http://www.anastasis.org.uk), who is also a scholar from England (I believe he is a colleague of Bp. KALLISTOS Ware, but I could be mistaken) who has quite a bit to say about translations of the Bible and liturgical texts into English, and Mark Bailey, instructor of liturgical music at St. Vladimir’s. The topic for both was the fittingness of English as a liturgical language, the necessary approach to translating texts, and then how best to set these texts to music so that a) the meaning is communicated and b) the musical tradition is carried on. Both had wonderful things to say about the necessary principles to make these things work. Before the first presentation, we sang “O Heavenly King”, and Fr. Ephrem noted that the setting took the word “impurity” and placed the stress on the last syllable, making it “impuriTEE”. “In the language I speak, English, it’s pronounced ‘imPURity’,” he observed. Mark Bailey had all kinds of fantastic practical examples of good text-setting and bad text-setting, and further suggested, “We’ve gotten our parishioners and singers too used to bad settings, and they’ve become attached to them as a result.” Fr. Thomas Hopko then commented, “Most of our churches are just copying what they’ve heard on recordings. Can we put out new recordings that do it the way you’re talking about?” Something to think about.

The second morning session consisted of presentations from the various heads of jurisdictional sacred music departments as to what they’re up to–Chris Holwey from the Antiochian Archdiocese, David Drillock from the OCA, and Vicki Pappas from the Greek Archdiocese. While interesting, I found it fascinatingly unnecessary to have such redundancy. All three of them are essentially doing the exact same job, providing the exact same resources in exactly the same manner. One fervently hopes that eventually there will be no need for multiple separate departments of sacred music.

The afternoon panel I attended was on the topic, “Educating Liturgical Musicians in the 21st Century.” Vladimir Morosan, a musicologist who specializes in the Russian repertoire, was the moderator. He framed the panel discussion by asking, “How do we explain that the oldest and richest singing tradition in Christendom does so little to formally prepare liturgical musicians? What do we do about it?”

Anne Schoepp, a choir director in the OCA in California, argued passionately that Orthodoxy is a singing culture, and we need to do everything we can at the parish level to start our kids singing and to get them used to singing and loving singing. Fr. John Finley of our own Archdiocese suggested that the model of the Classical School that is starting to pop up in Orthodox circles could be a way to disseminate this kind of curriculum; I suggested that there’s an even more obvious answer, the tradition of the choir school as it still survives in England and even some places here in the US like the St. Thomas Choir School in New York and the Cathedral Choir School at the Cathedral of the Madeleine in Salt Lake City. “Let’s talk,” Fr. John said.

However we do it, the panel continued, people need to be immersed in good liturgy in order to be able to do good liturgy–it must be soaked in, the liturgical aesthetic must be ingrained in us. To this end, one panelist said, the power of the priest cannot be underestimated in terms of cultivating potential–kids as well as adults need to come to events like this, for example.

After the afternoon panel was choir rehearsal; Mark Bailey is very exact, and it’s a real learning experience to watch him conduct. It continues to be something else having a 100-voice choir singing in a church where the acoustics are as favorable as they are here. Then Vespers, where a small ensemble sang the stichera and whatnot, not dissimilar from what usually happens at All Saints.

After dinner was a concert performed by a group called the St. Romanos Cappella (as opposed to Cappella Romana, a completely different ensemble), singing a program entirely of music by modern Orthodox composers–all but one of whom were in the audience. Tikey Zes (who composed our All Saints troparion), Ivan Moody, Kurt Sander (formerly of Indiana University Southeast), James Green (the one not in attendance), Mark Bailey (man, the guy is everywhere), and Fr. Sergei Glagolev. Each one of them brings something different to the table, but it was all wonderful. It would be nice to learn several of these (particularly the Glagolev, Sander, and Bailey material), because it would be a shame to have all of this beautiful music out there representing a living continuation of the tradition and then have it never actually be sung in our churches. It would also be especially nice to finish learning Fr. Sergei’s setting of Psalm 103/104 for Vespers; now having heard what it actually sounds like in a church and not just on a recording, I’m more convinced of this. (And Bp. MARK already approved it back in December, which is handy.) Besides Psalm 103/104, they also sang one of his settings of the Cherubic Hymn, the Anaphora, the Megalynarion, and the Alleluia before the Gospel (including the refrains), and it was made very evident what a treasure trove his liturgical music actually is. He received a standing ovation at the end of it–surely every composer there deserved one, but he was quite appropriately the man of the hour. It was very moving.

After a looooooooooooooooooong, far-reaching conversation with Dn. Kevin Smith, choirmaster at St. Vlad’s, we managed to miss the shuttle back to the hotel and had to get a ride back from a Bulgarian woman named Danielle. And now it’s time for me to fall over and go to sleep. More to come tomorrow.

Day 3: There was a lot of theoretical stuff talked about today. I found it fascinating, but there’s little I can just summarize into an anecdote. Mark Bailey again had interesting things to say on a variety of topics; one issue he described was that of a common faith not necessarily uniting the Orthodox into a common sense of heritage. In terms of what that means musically–well, for many of us who are converts, “all Orthodox music is music for all Orthodox”, but that’s a very unique attitude to some (by no means all) American converts. He noted that in Russia right now there’s an argument over what kind of liturgical music from their various indigenous traditions (common chant, znamenny, etc.) will adequately represent the Russian culture. In this country, we have the opposite problem–we as yet have no indigenous Orthodox musical tradition, and so are trying to determine what bits and pieces from other national practices will best express Orthodoxy as it exists in America. Do we do a little bit of everything and make it a “checklist”-style approach? Do we pick one thing–Byzantine chant, Russian 4-part chant, whatever–and try to make it our own?

Mark Bailey is really big on liturgical singing doing no more and no less than supporting the liturgical action. That is, that liturgical singing either prepares for, accompanies, or is a liturgical action or rite. To do something other than one of these three things is, therefore, not liturgical and therefore spurious as far as this context is concerned. To that end, he says, musical form should elaborate on, and therefore draw the member of the congregation in to, a sacred action. At the same time, David Drillock two days ago reminded us that a large part of what we do is “proclamatory”–the exact opposite of drawing somebody in. I’m coming to the conclusion after hearing all of this discussed for two days that, as is so often the case in Orthodoxy, it cannot be “either/or”–it must be “both/and”. Part of its musical beauty come from the way in which the liturgical event is supported, and part of its ability to support the liturgical event must come from its beauty.

See what I mean about a lot of theoretical stuff?

One really practical thing he said with which I really agree is the idea that we need to not turn antiphons into anthemic pieces–they are a liturgical dialogue, not a big choral moment. What does that mean for us at All Saints? I don’t know yet; as it is we have a soloist sing the verse followed by the choir singing the refrain. What about this–rather than soloist plus choir, maybe it’s something like having the men intone one verse, the choir sings the refrain, the women intone the next verse, choir sings the refrain, etc.? We will play with possibilities at future rehearsals.

The afternoon panel, “Where do we go from here?” was interesting. People talked about a number of things, from PSALM formally getting behind issues like jurisdictional unity and a standardized English translation, to spearheading an English musical setting of the entire Octoechos (using, of course, this as-yet nonexistent “American chant” as the medium), to devising a music curriculum for use in parish schools. I think there are all kinds of things we can accomplish, we just need to think big. One of the issues, of course, is that in the past it has been possible for these issues to be solved in a “top-down” manner; the patriarchate or synod or whatever ruling body standardizes the practice/text/chant/whatever and promulgates it. The reality in this country, however, is that we’re having to solve many of these problems from the grassroots level on up. There’s a lot of “rolling our own” that takes place (as I found out earlier this week when I thought I needed a hierarchical “Before Thy Cross” and couldn’t find one to save my life), simply by necessity, because if we don’t do it, nobody else will.

Vespers was lovely. The large conference choir sang everything, and it was something. Being able to worship together (and commune together, tomorrow morning) is what makes this more than just a conference.

The evening panel, on composing liturgical settings for the English language, was made up of Ivan Moody, Fr. John Finley, Fr. Ephrem Lash, Mark Bailey, Fr. Sergei Glagolev, Vladimir Morosan, Tikey Zes, and Nicolas Resanovic. All I can say is–to have all of these people in one room was simply stunning. Not just their brilliance and talent, but their clear love for God and the Church as well. Ivan Moody provided a deft touch of dry, droll Englishness as the moderator. He provided a wonderful quote from St. John Chrysostom: “The tongue is made holy by the words when spoken by a ready and eager mind.”

There was a question where somebody described the situation of somebody coming up to the kliros or into the choir and being told, “Here’s the music for this service. We don’t actually do it that way, but here’s the music.” Big understanding laugh from the audience.

There was a fascinating moment where someone stood up and said, “You know, I’m from the Deep South. The South is a ripe field for Orthodox evangelism–the people there are crying out for the truth. Culturally, however, if we don’t bring it to them in English, their English, they are not going to care what we have to say.” This prompted Mark Bailey to remind us that, in this country, we are a missionary church with a missionary imperative, and that must inform what we do musically.

And then that, as they say, was that.

Day 4: Day 4 was short and sweet. With a 7:30am Matins service, I had to wake up at 6 to check out of the hotel. They did Matins and Liturgy as separate services, as opposed to Matins running right into Liturgy. There was a pause of a few minutes as Mark Bailey got set up to conduct the conference choir, and as the octet (into which I was roped) got into our places.

I may quibble with some (but by no means all) of the settings that were selected (I’ll be honest–the Russian chant in English is very jarring to my ear), but I have to say, having that 150 piece choir singing most of it and getting to sing in the octet that did the rest, in that church, with that conductor, was absolutely something else. I wish you all could have been there to take part, and my hope is that when this happens again, perhaps more of us can go. Fr. John Finley celebrated and homilized; it being the Pre-Feast of the Transfiguration, that was his topic. He started out with the quote from the Gospel reading, “It is good to be here.” It was quite apt. He exhorted us to “embrace the struggle” that we have adopted over the last few days, which was well-taken.

And that was that, more or less. There were some parting remarks at breakfast, and I think a lot of people are coming away from this event feeling like it was something seminal, that there has been good seed sown. Time will tell how God’s hand is in all of this, but one way or the other, it seems that the conference has exceeded everybody’s expectations.

A funny anecdote and a really cool thing: I went up to Fr. Ephrem Lash (the priest who looked and sounded like Ian McKellen’s Gandalf) and asked for a blessing. He sized me up and said (you’ll have to imagine the Ian McKellen-like voice), “Young man, did you receive Holy Communion this morning?”

“Yes, Father.”

“You never ask for the priest’s blessing after receiving Communion. You never ask for a blessing or kiss an icon. You have the Lord inside of you, so what can they possibly add? The Russians and the Arabs have gotten very bad about this.” I took it in stride, because I’m aware that it is an issue where there is not uniformity of practice or opinion. It was funny nonetheless. I then told him that I found his talk very edifying and he said, “Ah, ‘edifying.’ I never mean to edify, my boy; I only wish to make people laugh.”

So there we have it. Thanks for reading my ramblings; I just wanted to make sure that you all knew for sure I was where I said I was going to be, and hadn’t just taken off for Hawaii or something for a few days. If anybody wants to know more about anything I’ve talked about (or anything I haven’t, for that matter), let me know, I’d love to talk about it, particularly now while the memories are all still fresh.

In Christ,

Richard

 

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Byzantine Chant, Authenticity, and Identity: Musicological Historiography Through the Eyes of Folklore

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.

Mediterranean microtonal melismas are not unAmerican: making time for some musical musings

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.

Third, RightWingProf has a couple of posts on music with which I tend to agree. The earlier is here, and a more recent one is here. Go read those, too.

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.


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