Time and Rhythm (b)
What are we to make of this knowledge?
Consistency of beats (steady tempo) should be dealt with in the earlier stages of music education. This is critical to the beginner and the building block for a sound music education. Musicians should be trained to a level where they possess a clock-work precision within them, without needing an instrument or object to help them keep a steady beat. Sadly, this is one of the many topics, which is seldom cultivated to a level of proficiency.
This deficiency, if not treated, would be damaging to the choir made up by a collage of singers and musicians of various musical background and level of training. Already the negative effects can be seen and it has been tolerated and considered as normal – sort of like tolerating “sand in the shoe”.
When there are many musicians and singers playing at same time (though all are consistent in their beats) they need a unifying factor to established the main beats (tempo) or else all would be playing in different tempos. The unifying factor should be the conductor. I am sure those who are reading this would agree, but I am afraid that my contemporaries here would not.
Many would prefer to rely on rhythmic instruments to help keep time. The commonest choices are:
1) Modern drum kit
2) Rhythm guitars
3) Electric guitars (Bass and Stratocaster)
I am not opposing these instruments or those who play them. In fact, these instruments are great inventions and have positively changed the world of music, especially modern secular music. They were vital in the development of new musical styles and continue to contribute to an ever increasing kaleidoscope of musical colours and sounds.
Can you imagine what the Beatles, Elvis Presley and the many great jazz and big bands as well as rock musicians would do without these two instruments? And I have not even mentioned modern ballads and metal yet!
I do understand and empathize with those who have the tendency to use them for liturgical worship because they grew up in an age where such music was very much prevalent in their modernistic and urban culture. During the times, after the close of the Second Vatican Council, there was a spike in a new “awareness” of “freedom” and “liberalization” and these ideologies were often expressed in and through art – in our case, the art of music. Secularism was steadily increasing (though not a bad thing in itself), and was presented by the majority as the way of the future and a natural progression towards a more liberal and intellectual era. Intellectual in the sense that one ought to do the thinking for oneself, independent from authority as if passivity and submission is a sign of weakness. The propulsion towards this new future absolutely blurred the lines between the sacred and the profane.
According to many church musicians of my generation, there is a somewhat “typological” twofold purpose for these instruments to be admitted for liturgical worship. On the surface, it seams reasonable.
1) To keep time and to give rhythm
2) The music sounds good with them
Let us examine these two purposes in detail although I would not attempt to give an exhaustive explanation.
TO KEEP TIME AND GIVE RHYTHM
Above, I have mentioned that these instruments were employed to keep time. There is no need for time keeping if the singers have consistency of beats and if the conductor conducts.
Instead of cultivating consistency of beats, we find ourselves totally dependent on these instruments for tempo. Dependency would lead to the diminishing role of the conductor and cripple the singers and the organist from developing consistency of beats.
This would “progress” to a dominantly instrumental and rhythmical form of music. The singing diminishes and the whole equilibrium of the mechanism and economy (from the Greek word oikonomia) of church music based highly on choral singing shifts to a more or less, band or karaoke style singing – very much resembling modern secular music.
It is no wonder that there is so little emphasis on the need for a conductor these days. The conductor’s role is not just to establish the tempo but to direct the music from an interpretative point of view like phrasing for example. Phrasing is like punctuation in literature. As such, the art of phrasing is similar to the art of enunciation and this aspect of music is largely associated to choral singing. [1] Incidentally, sacred music for liturgy is choral based, thus keeping with church tradition as reaffirmed in post conciliar documents and teachings. We direct our singing to and about God, the object/subject of worship. [2]
“The Christian faithful who gather together as one to await the Lord’s coming are instructed by the Apostle Paul to sing together psalms, hymns and spiritual songs (cf. Col 3:16). Singing is the sign of the heart’s joy (cf. Acts 2:46). Thus Saint Augustine says rightly, “Singing is for one who loves.” There is also the ancient proverb: “One who sings well prays twice” [3]
“Great importance should therefore be attached to the use of singing in the celebration of the Mass, with due consideration for the culture of the people and abilities of each liturgical assembly…every care should be taken that singing by the ministers and the people is not absent in celebrations that occur on Sundays and on holy days of obligation……” [4]
“All other things being equal, Gregorian chant holds pride of place because it is proper to the Roman Liturgy. Other types of sacred music, in particular polyphony, are in no way excluded, provided that they correspond to the spirit of the liturgical action and that they foster the participation of all the faithful…..” [5]
Musical instruments are an embellishment to the singing. It should support the singing by means of harmonic accompaniment and not overwhelming or taking over the role from the chorus.
Highly rhythmic music is not suitable for mass as it does not support the weight of the sacred mysteries we celebrate. Here, there is already a hint that secular drumming is not a wise choice for liturgical worship.
THE MUSIC SOUNDS GOOD WITH THEM
In Sacrosantum Concilium, the second Vatican Council warns that usage of any instruments associated with modern secular music should be avoided. The Sacred and the Profane must be well differentiated. What is of the sacred should be reserved for Sacred Worship simply because it (sacramental) communicates sacred things to us. If things of the profane are used for Sacred Worship, then the worship would be “poorer” because there is now a lack of sacred sensibilities.
“In the Latin Church the pipe organ is to be held in high esteem, for it is the traditional musical instrument which adds a wonderful splendor to the Church’s ceremonies and powerfully lifts up man’s mind to God and to higher things. But other instruments also may be admitted for use in divine worship, with the knowledge and consent of the competent territorial authority, as laid down in Art. 22, 52, 37 and 40. This may be done, however, only on condition that the instruments are suitable, or can be made suitable, for sacred use, accord with the dignity of the temple, and truly contribute to the edification of the faithful.”[6]
The Church expounded more fully in the following statements from Musicam Sacram Instruction on Music in the Liturgy.
“…..The use of other instruments may also be admitted in divine worship (besides the pipe organ), given the decision and consent of the competent territorial authority, provided that the instruments are suitable for sacred use, or can be adapted to it, that they are in keeping with the dignity of the temple, and truly contribute to the edification of the faithfull.” [7]
“In permitting and using musical instruments, the culture and traditions of individual peoples must be taken into account. However, those instruments which are, by common opinion and use, suitable for secular music only, are to be altogether prohibited from every liturgical celebration and from popular devotions. Any musical instrument permitted in divine worship should be used in such a way that it meets the needs of liturgical celebration, and is in the interest both of the beauty of worship and the edification of the faithfull.” [8]
The modern secular style may be well played but the question remains: “Is this the type of music suitable for liturgical worship? Can they support the weight of the mysteries celebrated in the Liturgy?
One must learn to differentiate modern sacred music (having the necessary aesthetic, musical and technical elements which grew organically from sacred music of old) suitable for liturgical worship as compared to modern secular music adopted into liturgy.
“Composers, filled with the Christian spirit, should feel that their vocation is to cultivate sacred music and increase its store of treasures. Let them produce compositions which have the qualities proper to genuine sacred music, not confining themselves to works which can be sung only by large choirs, but providing also for the needs of small choirs and for the active participation of the entire assembly of the faithful” [9]
The rhythmic beats that are produced by using these instruments do not effectively reflect the prayerful atmosphere and sense of sacred during mass. Rhythmic beats of the modern secular kind, gives rise to certain emotions and excitement (emotional) inconsistent with that of the solemn nature of the mass.
Emotions are very important. It is a vital element of the human nature – it is what makes us human. Emotions are feelings conjured up by the realities of the inner workings of one’s heart. But it ought to be aligned with reason (intellect) and the will. When emotions are not aligned with reason and will, then it can be destructive, pushing one away from one’s fullest potential. But of course, since because of concupiscence, we always face a form of hindrance in our efforts to align these traits.
Unlike the Blessed Virgin Mary, whose life is above sin and the effect concupiscence, we can see in her, perfect alignment of reason, emotion and will. Because of this, she was able to live to her fullest potential and was perfect in everyway. She had good reasons to feel the way she did and always acted accordingly.
Therefore, this alignment is vital to how we approach music for the liturgy. Music should arouse in us the right emotions so that we can express ourselves better to God in our prayers through the different parts of the liturgy as each part expresses something different and unique. The various parts of the mass, then, are placed in an orderly manner building a climax towards the heavenly banquet through a journey of revelation modeled after the Emmaus incident.
An example can be taken from the GLORIA. The music and the singing should express a heavenly glory directed to the Trinitarian God. Though glorious, we should also take into consideration the solemn context in which this glory is rendered. If you add secular drumming into the music (even if it was a march-like rhythm), then you would have effectively lost or destroyed the solemnity of the glory and likened it to a military parade procession.
It is important that musicians understand the difference between emotional music and music which expresses the right kind of emotion(s) suitable for liturgy. There is a place for emotional music – which is the concert hall for artistic performances, for art’s sake and its development or for music which express a personal experience encountered with God. Liturgy is a different “ball game”.
Historically and traditionally, drums were never used for liturgical functions – not even in Jewish temple worship. The only evidence where drums were used was during the middle ages. Even so, drums were used only outside of the church to accompany certain processional ceremonies. The drums (percussion) were also very different from our modern drum kit and as such, the manner of playing is very different entirely – a somewhat timpani style playing. Its function is to provide light percussive tone and colours (not secular rhythm beating), intermittently during the course of the music. (Not to be confused with the actual timpani. Timpani can give a fuller sound (in terms of pitch)to the music, often providing pedal tones or effective at cadences – dominant to tonic)
What about psalm 150 which mentioned the praise of God with drums and cymbals?
Many quote this psalm to justify the need for drums for mass. First of all, you need to understand that this psalm was not written to prescribe the way we should praise God during mass, or then, Jewish temple worship.
Yes, we all praise God all day long with all our talents and with all that is given to us by God. We praise God even as we work and offer up our daily toils as a process of perfection towards holiness. Nobody can call Jesus, Lord, if not for the influence of the Holy Spirit. The Holy Spirit is not achieved nor attained but rather, given by God himself. We praise God always just as St. Paul urged us to pray always. But how I praise God during the course of the day is NOT how I praise God during Holy Mass.
I think it is silly for us to take an excerpt from the psalms and apply it to the perfect sacrificial worship of God in the Holy Sacrifice of the Mass. Back then, God had not established this sacrifice (which we call the mass) until Christ himself revealed it to the apostles.
Secondly, this psalm is metaphorically written – that each instrument symbolizes the different nations, races, civilizations and cultures. This psalm is definitely not a treatise on music for liturgy.
We must ensure that the music we use for liturgy lean towards the traditional sacred music in which the church holds in high esteem because it has the capacity to express the profound depth of the sacred mysteries we celebrate. Conversely, when we lean away from it, the music becomes less effective in expressing these qualities and it becomes easier to slip into banality music and from there onwards, a downward spiral which affects other aspects of liturgy.
To put it very plain and simply: Modern secular drumming and modern secular music of any sort is not appropriate and suitable for mass because of the many reasons stated above. [10]
Saint Cecelia, patron of musicians and all you angels in heaven pray for us and grant that we may learn to chant and sing and play music suitable for Liturgy. We pray that we may one day learn to sing like angels before the throne of God on earth during Holy Mass and that we will be able to develop consistency of beats through diligent training. Mother Mary, intercede for us and be our guiding star to your son through authentic worship of him in the Mass. May we draw inspiration from you in praising God when you, in your perfection and fullness of grace, responded to God by offering him the most beautiful Magnificat. Amen.
[1] Recently, a church musician “passionately” argues that music for liturgy must be void of all phrasing as he thought it would definitely disrupt the worship of the congregation. How mistaken he had been. And the most unfortunate thing is that he managed to convince a few other church musicians to support his “just” cause. Since it is words that we sing, all the more phrasing should be applied when singing.
[2] This is why I used the word economy - to dispense an understanding that the singing reveals the profound mysteries which we celebrate where spoken words alone are insufficient. It is the Word of God and the Word Himself whom we sing to and about.
[3] General Instruction of the Roman Missal No. 39.
[4] General Instruction of the Roman Missal No. 40.
[5] General Instruction of the Roman Missal No. 41.
[6] Sacrosanctum Concilium No. 120.
[7] Musicam Sacram Instruction on Music in the Litugy No. 62.
[8] Musicam Sacram Instruction on Music in the Litugy No. 63.
[9] Sacrosanctum Concilium No. 120.
[10] I am happy to report that after the celebration of the Holy Mass of the Ascension of our Blessed Lord has concluded, the drummer of my parish came up to me and confided that she felt that drums should not be used for liturgy – and most certainly not for the ordinaries of the mass. I believe more and more young people are beginning to understand as well as to think and feel with the church.
