The Role of Rhythm in Church Music part 2

The Role of Rhythm in Church Music (Part 2)

HOW then shall we address ourselves to the very vital issue of rhythm in the church today? Certainly to try to dismiss or overlook the problem as irrelevant is only a vain attempt to side-step what is becoming an increasingly burning question. Assuredly no one can claim to have all the answers to the complex situation of our present time. But there are a number of approaches that might merit our consideration that at least might stimulate our thinking and provide a base for further study of this problem. . .

-professor of music, Atlantic Union College at the time this article was written

HOW then shall we address ourselves to the very vital issue of rhythm in the church today? Certainly to try to dismiss or overlook the problem as irrelevant is only a vain attempt to side-step what is becoming an increasingly burning question. Assuredly no one can claim to have all the answers to the complex situation of our present time. But there are a number of approaches that might merit our consideration that at least might stimulate our thinking and provide a base for further study of this problem.

Shall we assume as did the church fathers at the various councils of the church through the centuries, that, since rhythm so easily tends to downgrade the music of the church, therefore we should dispense with it and return to the strictly contemplative "unrhythmical" idiom of the chant or plain song? Obviously this is not the answer, for no one in this twentieth century would be so unrealistic as to attempt to turn back the long centuries of musical development, thus denying us the wealth of great church music in metrical rhythm of the past four centuries.

Another approach might be to single out one certain type of rhythmical pattern and pinpoint this as the heart of the problem for example the dotted rhythm. Certainly any church musician recoils at the inappropriateness of the rhythmic figure in the gospel song "Standing on the Promises of God" (which someone has aptly said should read, "Dancing on the Promises of God"). But closer analysis reveals that Handel uses almost the identical rhythmic pattern in the opening bars of his magnificent chorus "Lift Up Your Heads," from The Messiah, with a majestic and inspiring effect. Obviously we must conclude that there are a number of additional factors here involved questions of harmonic progression, balance of unity and variety, integrity to the text, et cetera, that constitute the vast difference.

A third approach would be that suggested by a musician in one of our colleges, namely, that if the music has a "beat" that can be felt it is unfit for sacred purposes. Clearly with the tremendous emphasis on "beat" in the pop music of today it would seem this could be an excellent rule-of-thumb, but here again closer examination reveals that some of the most treasured of Bach's sacred works such as "Sleepers Wake" or even "Jesu, Joy of Man's Desiring" have a distinct tread a fact that has undoubtedly made Bach an easy victim of the current trend of putting distorted beats to classical music under the name of jazz improvisation. Thus we cannot conclude that because a rhythm is palpable it is necessarily unfit for sacred purposes.

Syncopation ah! perhaps we can narrow this rhythmic device down as the bete noire of church music. This argument has a great deal to support it, because certainly jazz itself is rooted in the off-beats and irregular accents of syncopation. But even here we cannot make a sweeping generalization, for immediately there comes to mind fleeting moments in the works of such composers as Handel and Mendelssohn of the very artful use of syncopation to accentuate the meaning of the words, as well illustrated even in such great works as the "Hallelujah Chorus," or "Then Shall the Righteous Shine" from the Elijah.

A Question of Abuse

What shall we conclude then from these observations? It seems that the only reasonable conclusion we can reach is that the question is not basically one of use, but rather the misuse or abuse of something that in itself may not inherently be evil. We must realize also that, important as rhythm is, there are a number of other equally important factors that vitally affect the work as a whole, and therefore there must be an intelligent consideration of all these factors in evaluating the religious or irreligious nature of any given composition. Recently we heard a composition sung in church to the accompaniment of guitar that had no distinct rhythmic feeling whatever. Yet any sensitive intelligent listener would realize that this was music totally unfit for the church not because of its rhythm, but because its harmonious progressions came directly from the cocktail bar. We must always bear in mind also the very vital factors of association and connotation. In this respect jazz, through its long association with the undesirable elements of vaudeville, dance halls, theaters, and night clubs, has become totally unfit for use in the church. It is thus very clear that connotation is a most important factor in this question.

Turning to the Spirit of Prophecy writings, what guidelines might we expect to find that apply to this difficult question? Study reveals that the pen of inspiration is very clear in the ideals set forth for church music. Note the fol lowing significant statements: "Music forms a part of God's worship in the courts above, and we should endeavor, in our songs of praise, to approach as nearly as possible to the harmony of the heavenly choirs." --Patriarchs and Prophets, p. 594.

"Music should have beauty, pathos, and power. Let the voices be lifted in songs of praise and devotion. Call to your aid . . . instrumental music, and let the glorious harmony ascend to God, an acceptable offering." --Testimonies, vol. 4, p. 71.

Numerous statements show concern for proper education and training in music:

"Singing is a part of worship, but in the bungling manner in which it is often conducted, it is no credit to the truth, and no honor to God. . . . Those who sing should make an effort to sing in harmony; they should devote some time to practise, that they may employ this talent to the glory of God." --Review and Herald, July 24, 1883.

Likewise there are frequent and very strong warnings against the misuse of music with references to "frivolous songs," "popular sheet music of the day," "frivolous ditty, fit for the dance hall," "no frivolous waltz . . . nor flippant song; but sacred, solemn psalms of praise." Perhaps the most remarkable of all is the following statement so applicable to our time:

"The things you have described as taking place in Indiana, the Lord has shown me would take place just before the close of probation. Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing. . . . And this is called the moving of the Holy Spirit."--Selected Messages, book 2, p. 36.

Conclusion

With this inspired vision of the high and lofty ideal of church music before us, what should be our attitude as church leaders? A discerning look at the church today reveals on the one hand the older generation clinging largely to the gospel music, much of which has long been outworn, tawdry, and commercialized, while the new generation, in reaching out for something to express the spirit of the age, is being ensnared by the fascinating rhythms of jazz, rock, and folk, attempting to bring this into the church under the guise of a new religious fervor.

Rhythm rightly used can constitute a vital and powerful force in sacred music. However, we must conclude that when these same rhythmic devices become the over powering factor predominating over all other elements as evidenced in jazz, rock, and folk (which is often an updated version of earlier inferior gospel music) then we are witnessing the abuse of rhythm to the point where such compositions are totally unfit for religious purposes regardless of their sacred text. The breezy familiarity and flippant rhythm of much of today's folk music is hardly a fit vehicle to communicate the sense of awe and wonder in the presence of the Divine.

It has been observed that every high moment of spiritual awakening in the church has been accompanied by a revival of song. What a challenge comes to the musicians in our ranks today to combine their talents and skills as did the hymn writers of the great Reformation period with such dedication and devotion as to bring forth sacred music of high artistic merit that would vividly and powerfully communicate to our present confused generation the glorious message we bear. In a time when old values are being rejected and present values are in a state of kaleidoscopic change, do we not need something of en during worth to give stability and purpose to the truth?

Recently at the Kennedy Center for the Performing Arts in Washington, D.C., the National Adventist Choral Society presented a group of early Advent hymns, which we arranged especially for the choir and orchestra. It was gratifying that one of the leading Washington critics devoted practically his entire critical review of the performance to these four simple hymns so deeply impressed was he by their simplicity, beauty, and devotion. What an opportunity this offers to all dedicated Adventist composers and church musicians to create a body of unique Adventist hymnody that combines the finest elements of the contemporary with the dignity and solemnity of earth's last message. Never was there a greater challenge before us. Never were the psalmist's words more fitting, "Sing unto the Lord a new song."


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-professor of music, Atlantic Union College at the time this article was written

July 1974

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