TOPIC I

CHURCH MUSIC

A. The most dominant problem in Christendom!

The most divisive and pervasive problem is in nearly all denominations and most independant churches.

At a time when many Preachers, Writers, Christian Educators and Christians in general are discussing and even pleading for ways to attain unity, the most divisive item in too many congregations is the question of church music. While the differences are most often internal and between young and old, this problem also divides families, and those those musically inclined or not.

What is the problem that can do so much damage and why is it so successful? The problem is that "I DON'T LIKE THE KIND OF MUSIC USED IN THE CHURCH I ATTEND". And I really don't!!! So what? And I grew up with, "Mairzy dotes, and doesy dotes, and lidlelams edivy". I also choreographed a production number at the University of Kentucky tp "they wiggle when they walk, and they giggle when they talk, doing the Tennessee Wigwalk" (a popular song in 'those days'). How can I complain? In the first two decades of the last century there were two songs that were off-limits in many churches. Now they are treasures for most of us. Amazing Grace and I Come to the Garden Alone. WHAT?? The tempo was the samr as a very sensual dance from France. No-way that the church would allow waltz in a service.

B. What then is the problem?

Putting aside the non-instrumental debate, which has been around too long, let's examine just what is involved that causes me to dislike certain kinds of music.

First, I'm not a music teacher and I cannot play any instrument, like many of you. But I like music in general. Though I do not have voice quality, I sing loud and enjoy it. And for you who may suppose that I am a youg'n with no respect for his elders, I've been singing in church for over seven decades. (19 different churches). I've led the singing in eight. I really appreciate choral music. I sang in my high school chorus ('47-'51), the University of KY Chorus ('52), the Calvary Baptist Radio Choir ('52), the BSU Men's Chorus which won the intramural with Fre Waring's Battle Hymn of the Republic('53), and the SPEBSQSA in Lorraine, Ohio, and Cave City KY. I tell you this, not to convince you that I'm a good singer, but rather to show you that am not a stranger to varios kinds and styles of music, nor am I the captive of any of them.

We complain that "It's too loud. It's monotynous. It's too fast. I just like the old songs better. 'They' change the music even on the old songs." We have a long list of thing we don't want. Do we, however, know what we DO want? Is there anything we can agree on?

We must first identify what we do want and why. Before we can do that, we must define just "What is music?' Also, What is the music that we want to be used in the church service.

C. Scope of the problem

Music is a language. It is made up from words, tempo,s melodies, harmonies, moods or feelings.

Church music must have words to accomplish its goals. These words may be phrases, chants, prayers or requests. We can understanf that these words must have meanings, especially to the ones who are saying them. Now, if I can only speak German, and you can only speak English, the Pulpeteer cannot preach to us at the same time. Some other arrangement must be made and that demands a spacial separation.

Church music must have tempos. Without tempos we cannot start or stop together. We would be in constant discord because some would be on the right pitch at the wrong time. Furthermore, Tempos also have a direct effect in setting moods. Whether it is the marching time of Onward Christian Soldiers or the smooth lilt of Amazing Grace or the constant pounding of the 'Elephant's Heartbeat' which get's the congregation excited, yet a very important sermon can face an inevitable letdown.

Church music must have melodies. Without melodies the song cannot portray the various amount of importance or inter-relations between the words and the resulting teaching or message which they communicate and advocate for Christian activity and standard. Melodies may convey the love of God or the anger of God. The relationships between words and melodies are the tools which separate good music from bad, whether effective or lost in the wind.

Today's music has lost the comradery of harmony, along with it's transitional values. Aside from a tracking third or fifth, it seems to be nonexistent. The effective use of harmony can be used to counter the repetitions which are sometimes unavoidable.

Each of these aspects have the same problem as the words. Each of them may be used written in a different language, to-wit, if you only sing in march time, and I only understand barbershop, we cannot sing together and both of us 'like it'. So you want me to sing in the basement.

Conclusion:

Since there can be such a wide variety in the response to each of these factors in the language of church music, it becomes obvious that there is no simple solution for the estrangement which exists in the song service of the church (which, incidentally, is always the first confrontation in a church service). The music of the campfire and/or the hayride has swept the nation. It is accompanied by a surge of interest in Christianity by the latest generation, which should not be quenched. It is hoped that the younger generation will be able to see that they appear to be telling those who have kept the faith through several generations, "If you don't like it, LEAVE". My conclusion is that the older generation who do not sing the language of the current church music, must separate, either to a separate service or, perhaps a house church. But, while solving the original problem, be careful that in trying to avoid music which you cannot understand or tolerate, that you don't jump into a congregation with doctrinal errors that have not yet made themselves evident in that church.

The obvious problems are predominantly matters of style and harmonic language, not doctrinal. There are, however, at least three items that alarm me and cause me to stop singing. These will be presented later.

Constructive criticism is invited.