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Before I forget&
"But this is not our music!" Such is the occasional protestation regarding liturgical music outside of the Western European style. This protest always makes me stop and think. I sympathize with the plea, as far as it goes. But it begs a closer look.
First, a definition of terms: "Liturgical music" here is any music we use within the liturgy. "Music in the Western European style" is commonly considered "traditional" church music, as found in our red Worship hymnal. Organ-based, it offers strong, easy-to-learn melodies and standard major/minor harmonies descended from the classics (such as Bach, Mozart, and Beethoven) without complicated rhythms. Rhythm is not its emphasis: rather, melody and harmony are. True enough, the vast majority of our parish is of Western-European descent. We are right to honor this heritage and the great music of the western Christian faith throughout the centuries. We must keep our particular tradition alive: it is too beautiful and valuable to be lost to future generations.
However, I don't believe we can stop there, for many reasons. First of all, we are not Western-Europeans; we are Americans. We must ask: what tradition are we building here in America? What is American music? Music can be categorized as art music or folk music. Good art music (i.e., classical music), while beautiful and emotionally profound, can require some patience, musical knowledge and intellectual involvement to fully appreciate. Realistically speaking, it tends to have a limited following (to the dismay of many). Folk music, according to my understanding, has many branches. Among them are blues, gospel, pop, rock, jazz, country, reggae and other world music, bluegrass, Latin and even rap. It is grassroots music, "the music of the people", often initially emerging where there is little if any formal music education or knowledge of note-reading. Its nature is improvisational. It can become highly intellectual and complex, as have many forms of jazz, but that is not its origin. One might consider it primarily music of the heart. Folk music tends to be highly accessible, having a visceral nature which I believe is rooted in its rhythmic element. Much folk music has a strong rhythmic base, perhaps because it emerged to provide music for dance throughout the world. I regard rhythm as the factor distinguishing folk music from art music.
The strongest influence on folk music in America is Afro-American. The slaves brought over from Africa a highly developed, complex rhythmic sensibility, which in America merged with Western melody and harmony to create our folk music. It is this rhythm that is so compelling in our modern folk styles of blues, rock, gospel, country, and jazz. These styles have become America's music. America is known as "the melting pot," and so it is with our music. Our native "folk" styles are a result of the mix of our diverse ethnic cultures in America. The Latin-American influence on our music, as well as world music from India, the Orient, and Africa, are other emerging flavors in this constantly evolving, fascinating, delicious stew. In America there can be no such thing as "their" music; it is all our music.
Back to music at St. John's: Liturgy is commonly defined as: the work of the people. If so, what then is the music of the people here at St. John's today? I believe our liturgies need to incorporate the music of not only our European heritage, but also our American culture. I believe that the Holy Spirit speaks through today's music as well as the music of our heritage. It speaks through folk music as well as art music.
Finally, you may notice we are gradually seeing more people of color in our pews at St. John's. If our business is to "open wide the doors to Christ," does not this involve understanding, welcoming, and finally embracing those of other backgrounds and cultures
Cheri Sykes
Director of Music
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