Today, I'm excited to share with you two video recordings from our recent program, The Art of Song: Musical Pairs! Just to recap, Steve and I chose to perform two settings of "Mondnacht"–one by Schumann and one by Brahms. There are several common musical features that suggest Brahms used Schumann's setting as a model:
1. Meter + perpetual motion. Both composers used 3/8 meter and sustained a sense of perpetual motion (suggested by the text) with constant sixteenth notes in the piano accompaniment.
2. Plagal "Amen" cadence. Both settings include a plagal or "Amen" cadence near the end, underscoring the last two words of the text - "nach Haus" (to home). This implies not only a sense of arrival and resolution but also a sense of rest (perhaps eternal rest, as suggested in the text).
3. Introductions. The introductions in both song settings are the same length (six measures), include a fragmented melody (stated twice), and end on a dominant, unresolved chord. This sense of suspension at the end of the introduction leaves the listener waiting for the vocal line.
Here is our performance of Schumann's setting:
And, for comparison, here is the Brahms setting (minus the final two chords because our camera died–so sorry!)
What do you think? Do you hear the similarities between these two songs? Did Brahms set this text as a tribute to the Schumanns or was he trying to compete with Robert?
I've mentioned the sacred music class I’m taking this semester, but just to recap, we’ve been discussing some of the practicalities of being a church musician: working with the lectionary, ideas for worship planning, and the role of music and liturgy in worship. Last week, we were invited to explore the topic of musical meaning. Is there a sacred semantic for music? This is what I wrote.
We assign music various functions within the worship service in order "to provide a glimpse of heaven, to facilitate prayer, [and] to be a means of witness to the unconverted" (Music, 2007, p. 88). But while function is the role something plays in a greater whole (a role we often assign), meaning is the reason why it exists in the first place. Meaning is an intimate characteristic of the music we create and it adds significance, understanding, and value to the listening experience. In the context of worship, it is the meaning in music that makes the liturgy relevant to the people. Does meaning make music sacred or secular? Is it inherent?
Rick Warren (1995) suggested, "Music is nothing more than an arrangement of notes and rhythms" (p. 281); it is the text that makes a piece sacred. Perhaps this is true. There are no apparent intrinsic qualities that make a particular arrangement of notes and rhythms sacred; rather, it is the various functions we assign to music, combined with our own associations that make the distinction (Music, 2007). However, is this not also true for the text? Words are simply arrangements of letters. Can words be sacred? Or, is it more a matter of sacred significance, based on context and association? Joseph Swain (2000) illustrated that the word "cross" has multiple meanings, each one determined by a different context and set of associations. The word on its own holds no sacred significance or meaning but within the proper context, carries with it a collection of sacred associations, relevant on personal, social, and cultural levels.
Perhaps it is the same with music. Swain (2012) wrote, "Like a word in a natural language, a passage of music has a semantic range. Generally speaking the semantic range of the musical passage - its interpretative potential - is much broader than words in natural language because we rarely ask of music the same kind of specific reference that we routinely expect of language" (p. 182). Words have specific meanings in language, determined by context, while musical patterns of notes and rhythms tend to be more open to interpretation. Meaning in music is made by the individual, based on personal reference and experience, context and association.
However, people evolve. Communities change. New sacred associations are made based on present experiences and the process of creating musical meaning develops over time. Therefore, music has sacred significance and purpose within the liturgy whenever it brings sacred associations to the minds and hearts of the worshipers. Does all music have the potential to acquire sacred meaning? Swain (2012) wrote, "As long as the music is a means of proclaiming the Word and is not the Word itself, it is theoretically possible for any kind of music to acquire a sacred semantic" (p. 196).
In conclusion, there is not a particular set of qualities that make music sacred or secular; rather, it's the meaning we take from the context of the liturgy and make from our own experience. Music with sacred significance informs the worshiper and works to make the liturgy relevant and accessible. Swain (2012) said it best: "In some sense, the best liturgical music deflects attention from itself toward the particular act in the sacred drama. The words sung are essential because they are the prayer, but, paradoxically, the music points not to them but to Whom they are directed. The musical semantic that liturgy requires is transcendence" (pp. 183-184). In the end, the sacred meaning of music is more than praise, prayer, and communion with one another. It is a way for us to transcend the things of this world and draw close to the heart of God.
Sources: Music, D. W. (2007). "Church Music: 'Anything Goes' or 'Certain Restrictions Apply'?" The American Organist (41), 88-91. Swain, J. P. (2000). "The Semantics of Sacred Music," The American Organist (34), 80-86. Swain, J. P. (2012). Sacred Treasure: Understanding Catholic Liturgical Music. Liturgical Press: Collegeville, MN, 175-198. Warren, R. (1995). The Purpose Driven Church: Growth Without Compromising Your Message & Mission. Zondervan: Grand Rapids, MI.
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Previously:
On Liturgy and Culture
On Musical Value
Have you ever heard of the paper clip test? It measures creativity* by asking a simple question:
How many uses can you think of for a paper clip?
Most people can come up with a list of 10-15 things. How many things do you think a kindergartener could list? Around two hundred.
There is an infinite amount of potential for teaching and learning with this level of creativity. The question is, how can we as teachers create opportunities for divergent thinking and foster creativity in our students?
Here are a few ideas:
Introduce a new rhythm pattern (preparation for a new song, perhaps) and ask the student to create a corresponding movement. I had a student last week suggest elbows and fist pumps. I kid you not.
Sometimes, rhythm syllables and neutral syllables get old. Some other creative ideas include: opera star, baby, howling dog, barking dog, cow, etc.
Build in time for an in-lesson improvisation, based on something familiar to the student.
For instance, I had a student last week who had just gotten back from Zoo Camp. Naturally, I asked him to improvise a song about the animals at the zoo. He chose to include: lions, a tiger, a gazelle, a crocodile, a blue jay, and a mouse. (I know because he added in narration along the way.)
This is a creative challenge for teachers - what do you with a wiggly five-year-old at the end of their lesson when you're just trying to get through "In a Canoe" and they just want to experiment?
You propose a "murky water" improv section (setting the scene for the canoe) + patterns from the song. And you go with it.
I add this to the bottom of the student's assignment sheet. I usually provide a few simple parameters (i.e. use only black keys or only short sounds) and/or a theme or point of inspiration.
Here’s an example for a kindergarten student:
“Create a song about cars and trucks. What do they sound like? Are they driving or stuck in traffic? Be sure to give your improvisation or composition a name!”
Related post: 40 Ideas to Inspire Creativity in Your Piano Students
The Art of Song: Musical Pairs was part of a community concert series at the First Presbyterian Church of Pittsford and we had a great time sharing this program with an enthusiastic audience of over 50 people this past Sunday afternoon.
Our inspiration for this program was the idea of musical pairs, specifically between art songs. An art song is a musical setting of a poem, written for voice and accompaniment, which usually appears as part of a collection of songs. Finding connections between art songs–connections of composer, text, musical features, historical context, among other possibilities–provides insight into the compositional process of how these songs came to be. These songs have stories to tell: stories that help us appreciate the wealth that this genre has to offer.
The concert program included the following:
"There's nae lark" and "The Daisies" (Samuel Barber) Christiana Reader, viola and Derek Remeš, piano
"Mondnacht" (Robert Schumann) and "Mondnacht" (Johannes Brahms) Steve Danyew, saxophone and Ashley Danyew, piano
"Bei dir ist es traut" (Alma Mahler) and "O ihr Zärtlichen" (Peter Lieberson) Caroline O'Dwyer, mezzo-soprano and Heather McEwen Goldman, piano
"Sure On This Shining Night" and "Nocturne" (Samuel Barber) Dr. Jared Chase, trumpet and Dr. James Douthit, piano
In between each duo, Steve and I led the audience in an interactive game of "Musical Memory"* using the board pictured above. This was a fun way for everyone present to discover musical pairs, even across genres! Thanks so much to the First Presbyterian Church of Pittsford for inviting us to share this concert program, to all of our friends who performed, and to all who attended and shared in the experience!
*Musical Memory was first seen at the Westminster Chamber Music Workshop in June 2011
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It's been a few months since I wrote about my goals for 2013 so I thought I'd give y'all a quick update.
// PERSONAL GOALS
1. Run 2-3 times per week and increase circuit to 2 miles once per week Progress: We're at two runs most weeks and we're up to a total of 2.75 miles/week - ahead of schedule!
2. Find ways to give to others each month Progress: We found a few local charities to support and places where we can donate clothes, food, and household items. We're looking forward to volunteering with a hospitality organization later this spring and serving families in need of food and shelter.
3. Read 6 books in 12 months Progress: I read "The Go-Giver" in two sittings (a first for me!) and I started reading "7" last month.
4. Study the Word actively Progress: Steve and I are reading through The Story this year (2012-2013) and we just started the New Testament. We've also been reading through a few plans on YouVersion (a free app). So far, we've read Galatians, Ephesians, Philippians, and Colossians.
5. Get up at 7:30 a.m. six out of seven days a week Progress: I hit the ground running with this goal and have really made it habit (out of necessity!). I've even had a few days of beating my goal by half an hour!
6. Be intentional with rest Progress: I can always be better with this but things like putting work away at a certain point in the evening, taking time on the weekends to spend with SD, and having a book to read for pleasure help me be more intentional with rest.
7. Make a list of things we are grateful for to display in our home Progress: I created a page to hang in our kitchen as soon as we got back from our holiday traveling. I love having such a tangible way to count our blessings all throughout the year. Print your own Gratitude list here.
8. Focus on inspiring influences; purge negativity Progress: I purged my social media and blog feeds early in the year. What a difference it makes to see positive influences in the time I spend on those sites!
9. Eat more whole foods Progress: We started reading labels in the grocery store and being more intentional with the things we buy. We've tried a few new healthy recipes with whole grains (especially quinoa) and started buying organic butter and whole wheat bread. I also started using substitutes for sugar and oil in recipes.
10. Find ways to add value to others Progress: I have been much more intentional about this these past few months. I am trying to become a better encourager, write more love notes to SD, and make sure I write thank you notes in a timely manner.
// BUSINESS GOALS
1. Get published Progress: I emailed a journal editor about a manuscript I have in progress and am preparing another to submit to a poster session for an upcoming conference.
2. Write a hymn arrangement Progress: No progress on this goal yet but I plan to start this project soon!
3. Spend more time in the practice room Progress: At the beginning of the semester, I blocked off time in my schedule to practice two hours every day. I've been working on keyboard skills such as harmonization, sightreading, sightsinging, improvisation, and transposition and I've successfully learned two songs by ear in all 12 keys ("Happy Birthday" and the "Doxology"). I have to say, I look forward to this time each day to spend away from books and email and paper-writing and get back to actively building musicianship (read more here and here).
4. Create a blog schedule Progress: I began keeping a schedule of posts and a list of blog ideas in my planner. Hopefully that means more regular blogging for all of you readers!
5. Update website Progress: I made a few little updates around my website back in February - what do you think?
How are your goals for 2013 coming along?
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I mentioned the sacred music class I'm taking this semester once before, but just to recap, we've been discussing some of the practicalities of being a church musician: working with the lectionary, ideas for worship planning, and the role of music and liturgy in worship. Last week, we were invited to discuss the musical object and the role of music in worship. This is what I wrote.
Music is intangible. It enlivens the emotions, revives memories, and communicates beyond what words could ever tell. It is an exchange of ideas and emotional thought and the strikingly beautiful, peaceful soundscape that accompanies the experiences of our very souls. The musical object is something we observe–admire almost. It is something we experience from a distance and interpret through listening alone. It is regarded as a work of art–it is its own end goal. It separates those who make music from those who listen, though it unites the two in shared experience. The musical object bears no functional role; rather, it exists solely for itself as a unique form of communication, emotional expression, and aesthetic beauty.
Music of the church is also understood through listening, though, rather than being regarded as a work of art, it is seen as only part of a greater whole, complete only within the context of the liturgy it supports and serves. Unlike the musical object, which stands in between artist and listener, the music of the church emphasizes music-making for all. This music is functional. It connects elements of worship to one another and signals theological insights to those listening. The end goal for music of the church is, in fact, theological rather than musical (Zager, 1988). Listeners recognize the tune melody, recall personal experience, reflect on the text, and relate the theological implications to the present experience.
I believe that musical value is based on context: music in worship has a different function and end goal from music in a concert setting. The purpose of music in the concert hall is to create an experience, move the emotions, and impart a sense of artistic admiration. Musical value is based on the innate qualities of the art form. The purpose of music in worship is to create shared experiences, speak to the emotions present in the liturgy, and impart a sense of deeper theological understanding. Musical value is based on the ability to move beyond the innate qualities of the art form and inform the liturgy.
Can music with liturgical function become a musical object in another context? An organist may perform a set of chorale preludes by Reger on an organ recital and though they may bring theological events to mind, the purpose of music in this context is to be admired and enjoyed for its own sake so it seems the answer is ‘yes’. Can a musical object serve a function within the liturgy? Take Chausson's "Sérénade Italienne." This romantic, dreamy French art song has all the qualities of a musical object and no apparent connection to worship. Though, when an instrumental transcription of the song is given a liturgical role based on its innate programmatic qualities (i.e. a flowing accompaniment), it brings the story of Jesus walking on water to life (Matthew 14:22-33). The sweet, sweeping melodic line expresses the serenity of drifting out to sea, the fear of the disciples in the night, and the peace that comes at the end of the storm. Does this serve and support the liturgy?
The musical object is not part of a greater whole; rather, it stands on its own. A piece that exists solely for itself does not need context to be appreciated, admired, or understood; thus, it cannot become sacred through liturgical context. It cannot acquire function simply by being situated in between the readings of the day. However, if the programmatic nature of the music supports and serves the liturgy, through title, text, or compositional features; if it can move beyond the glorification of the art form and become theologically meaningful by enhancing and depicting the Scripture readings in musical terms; then I believe it is capable of serving a liturgical function. Of course, not all musical objects are capable of this level of function and purpose. Church musicians should be both thoughtful and discerning in their selection of music for worship by choosing music that informs the liturgy and creates true value in the authentic experience of worship.
Source: Zager, D. (1988). "On the Value of Organ Music in the Worship Service," The Diapason: 18-19.
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Previously: On Liturgy and Culture
Sometimes, you just need to rest.
It's something the go-getters among us and those of us with healthy work ethics sometimes struggle to recognize but really, you can't give and do and be all the time. Sometimes, you need to time to be filled and inspired and refreshed.
Intentional rest is more than just taking time away from work. It's choosing to spend time doing the things that truly fill and revive you. For me, it's a way to clear my head and my heart, focus on what matters, and dream a little.
This weekend, I made time for intentional rest - lunch with SD at a new-to-us restaurant, time outside (our first spring-like weekend!), a trip to the farmer's market (our first time since November!), reading and writing for pleasure (a novelty these days), even coffee and sprinkle cookies on the roof of our building (with coats on...). It's amazing how much of an impact these little things can have on the rest of the week.
What does intentional rest mean to you? Maybe it's taking a leisurely walk around the neighborhood before dinner. Maybe it's meeting a friend for lunch. Maybe it's taking the afternoon to go for a drive with the sun roof open. Maybe it's reading your latest book. Whatever it is, be intentional about it. Make time for it. Those things are as important as anything else you do during the week.
Steve and I were thrilled to be asked to present a recital in our church's concert series this spring. Some of you may recall our previous "Art of Song" recitals - see an overview here and here. This time, we decided to invite a few friends to join us. In "The Art of Song: Musical Pairs," you'll hear from 4-5 duos, each performing a pair of art songs that have something in common. This may be a thematic element, a common text or poet or composer, or something more musical and aesthetic. The repertoire will be chosen by each duo. Each art song pairing will include performance and a brief discussion about the songs, providing insight and context for the listener. Steve and I will be performing and facilitating a fun, interactive activity so that you, too can make musical pairs! If you're in the area, we'd love to have you join us!
Sunday, April 7, 3:00 p.m. First Presbyterian Church of Pittsford Pittsford, New York Suggested Donation: $5 | $10
I'm taking a class this semester called "Perspectives in Sacred Music." In it, we discuss some of the practicalities of being a church musician: working with the lectionary, ideas for worship planning, and the role of music and liturgy in worship. Last week, we were invited to respond to a set of readings on the relationship between liturgy and culture. This is what I wrote.
The relationship between liturgy and culture is one of commonality and of contrasts.
There are certain things that liturgy and culture share in the worship experience: a sense of heritage and tradition, people coming together, and communal singing. There are also things that separate these two worlds: liturgy is timeless, in a way–a classical tradition that remains the same throughout the ages. Culture, though also rooted in tradition is ever-changing and evolving with the people who represent it.
Some view liturgy as intercultural: a constant between and across cultural groups. Others see liturgy as subservient to culture: modified and adapted to each community in order to remain relevant and accessible. In exploring this dynamic relationship, there are three elements to consider: language, music, and worship order.
Language is a fundamental component of worship and liturgy. From the reading of Scriptures to the singing of hymns, sermons, and the prayers of the people, language is an important way of voicing our beliefs, affirming our faith, and joining in fellowship with one another. Language is something we share with others in our culture. It is the way we communicate and share experiences.
Robert Louis Wilken (2005), in his article, “The Church’s Way of Speaking” wrote, “Language defines who we are; it molds how people think, how they see the world, how they respond to persons and events, even how they feel. Thinking and understanding, like memory, are not solitary acts; they are social, wedded to the language we share with others.”
Language is an example for many churches of how liturgy has been adapted over time to fit our modern-day culture. We read newer and more modern translations of the Scriptures. We sing revised hymn texts with inclusive language. We pray prayers written in our everyday language. I believe that some of these changes make liturgy more relevant and accessible so that we are able to truly understand more of what is being read and spoken in worship.
Despite this, I believe that some language changes, particularly the revision of certain hymn texts detract from the core of the liturgy and conceal the original message of the words. An example of this is the well-known Advent hymn, “Of the Father’s Love Begotten.”
“Of the Father’s Love Begotten” is a traditional hymn. The simple medieval plainchant melody is paired with beautifully poetic words, translated from Latin to create a strikingly simple and reflective contemplation of the love of God. The New Century Hymnal of 1995 revised the text of this hymn to fit the contemporary demands of our culture: modernism and inclusive language. Here is a comparison of the two texts:
Of the Father's love begotten, Ere the worlds began to be, He is Alpha and Omega, He the source, the ending He, Of the things that are, that have been, And that future years shall see, Evermore and evermore!
Of the Parent's heart begottenWhen the worlds were yet to be,One there was with no beginning, One who is eternally Source and Ending of all things that have been, And all things that are to be, Forever and forever.
Music, a variant form of language, has also seen its share of changes through the years.
Present-day choirs, which often include amateurs who may or may not read music notation, call for simpler music: short, newly-composed anthems and the occasional cantata, most (if not all) of which are in our everyday language. We sing new text settings with familiar tunes, and new tunes with familiar texts. We sing arrangements of Spirituals and hymns as well as music that we find aesthetically pleasing (and yet simple enough to prepare for worship in just a few rehearsals).
Churches that are able to maintain a high standard for musical excellence in worship on a week-to-week basis are not as commonplace in our culture as they once were. Perhaps this is due in part to fewer professionals in our church choirs and perhaps it is the lessening of what was once a largely musically-literate culture. Attention spans are shorter and people are not as accustomed to truly listening to a lengthy classical music performance, no matter how artistic it may be. Regardless, this is another example of liturgy adapting to culture.
Many of the elements in our worship today date back to Justin Martyr’s second century ordo. There is a system, an order that we generally follow in worship, one that is informed by ritual and practice.
Some churches are more flexible than others when it comes to worship order, often accommodating the various ministries in the life of the church. These ministries are culture-based: they are in tune with the needs of the community and they provide ways for people in the church to serve outside of worship. “Mission moments” and special dedications and recognitions are often embedded in worship–cultural elements surrounded by liturgy. Do these things enhance the liturgy and the worship experience or do they take away from it?
In my experience, liturgy maintains its power and relevancy by being informed by culture without conforming to it. There’s an element of discernment involved in worship: a selection of what is and is not appropriate, contemplative, inspiring, challenging, and in accordance with the Scriptures–both liturgically and musically.
Liturgy that conforms to the standards of culture loses the richness of its history, the element of discernment, and the ability to remain constant across cultures. Liturgy that is based on a given culture will only be relevant for that culture and will grow and change with that particular group of people. However, liturgy that is simply informed by culture will be accessible enough to draw people in while still providing an opportunity for them to learn.
As Wilken (2005) noted, the church is its own culture and by holding fast to its history and heritage, invites people in to experience a greater level of understanding and more enriching, meaningful worship.
Source: Wilken, R. L. (2005). "The Church's Way of Speaking." First Things (August/September 2005). Available: http://www.firstthings.com/article/2007/01/the-church8217s-way-of-speaking-24.
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