Regional Synod of Canada - Reformed Church in America

Pioneer Christian Monthly

Date - Oct/75

Contributor - Herman Mulder

Title - Church Music: Yesterday, Today and Tomorrow

Topic - Music

"O come, let us sing unto the Lord; let us make a joyful noise to the rock of our salvation. Let us come before His presence with thanksgiving, and make a joyful noise unto Him with psalms." (Ps. 95: 1, 2)

Christians have been making a joyful noise unto God for a long time. Since its earliest beginnings music has been the lifeblood of the Christian Church. Music has been called the language of emotions; for music, like language, aims to communicate meaning. While words convey specific ideas; music suggests elusive states of mind. It is impossible to accurately describe the feeling one gets when singing a rousing hymn with a congregation, or perform a listening to a choir, a well-known anthem, or enjoying the sweet subtle tones of an organ during the offering.

Music functioned in the Christian Church from its earliest days. The apostle Paul exhorted the Ephesians to be filled with the Spirit by "speaking to yourselves i-i psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord". The music of the early Church absorbed Greek, Hebrew. and Syrian influences. The singing of psalms and hymns was based on the Jewish synagogue tradition - sung alternately between soloist and the congregation. The leader sang the first part of the line: "Bless the Lord, 0 my soul", and the congregation responded by singing the remainder of that line: "and forget not all his benefits."

This was known as "responsive" or "antiphonal psalmody" in the Christian liturgy. It became necessary in time to assemble the ever growing body of chants into an organized liturgy. The task extended over several generations, but is traditionally associated with Pope Gregory the Great, who reigned from 590 to 604, thus the term, Gregorian Chant. An excellent example of Gregorian chant, plain chant, or plain song is the lovely hymn, "O Come, 0 Come, Emmanuel".

The dramatic turning point in our church history was when Martin Luther posted his ninety five theses on the church door at Wittenberg in 1517. The most distinctive and important musical contribution of the Reformation was the "kirchenlied" or chorale. The chorales served as the battle hymns of the Reformation. As one 01. the reforms, Martin Luther established that the congregation participate in the service. He suggested that the services be in German rather than Latin, and that the congregational singing be an intricate part of the worship service. "I wish," wrote Luther, "to make German psalms for the people, that is to say sacred hymns, so that the word of God may dwell among the people also by means of song." And that he did, for Martin Luther and his aides created the first chorales. They adapted a number of tunes from Gregorian Chant, others from popular sources, and from secular art music. Appropriate texts and melodies were drawn , too, from Latin hymns and psalms. Originally sung in unison, these hymns soon were written in four part harmony with the melody put in the soprano, where all could hear it and join in the singing.

The famous Dutch composer, Jan Pieter Sweelinck, used translations of the French Psalter and many German chorales to create the Dutch Psalms. Eventually the Psalm came to full flower in the art of Bach.

Johann Sebastian Bach felt that "the aim and final reason of all music should be nothing else but the Glory of God and the refreshment of the spirit", and he always ended his religious works with the inscription, "To God alone be the praise' . George Frederick Handel, no stranger to church goers, did his share in the composing of sacred music for the Protestant service, as did many others.

The pillars of Protestant liturgical music then, are Luther, J. S. Bach, and Handel. Later creators of hymns and choir anthems adhered to the chorale structures as though obsessed, the exception being the gospel hymns and the negro spirituals; although the latter two vary only in rhythmic structure. This brings us to the now" of our church music.

Hymnbooks, constantly in a state of revision, definitely favour the chorales and traditional hymns. Composers of church anthems seem to thrive on sweet harmonies as choirmasters find these most loved by their choirs, thus guaranteeing successful performances. Organists who do not play Bach or Cesar Franck are frowned upon. Youth services and special events often contain ditties composed in modern jargon, set to contemporary chord structures, sung by young people, accompanied on the guitar and drums. These, however, receive nothing but frowns and reserved comments from the general church populace.

At times I envy the Roman Catholic and Anglican services with their beautiful contemporary masses, enhanced by striking organ accompaniments or fitting orchestral settings. Yet why change, you may ask? Are we not comfortable in our pews, contentedly singing our familiar, well-loved hymns?

Perhaps, but the world and its society is rapidly changing around us, and the question is, are we prepared to change with it or are we destined to become like the Orthodox Mennonites - behind the times? Music is the lifeblood of the church liturgy and at times it needs a transfusion. Ultimately it will become necessary to change or update the vocabulary, much like the Bible has been modernized. Harmontes and melodies might change too, as was done in The Netherland's Gezangen Boek. 'Recently the United and Anglican Churches of Canada published a new hymnal; many people were pleased and many were disappointed. CHANGE? Yes, but conservative change please. Even Martin Luther, not wishing a complete break with the Church of Rome, included Latin Gregorian Chants in his new chorales.

Considering that very little change in liturgical music has occurred since the Reformation, what will take place in the future? What will have happened by the year 2000? To quote an old cliche: "Heaven knows". Let us hope, however, that it will be hear in heaven.

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