Posts Tagged ‘Music’
Only Shades of Gray: A Critique of Moral Relativism in a Monkees Song?
There is a song about the sadness of moral relativism in an unusual place: “The Greatest Hits of the Monkees.” Some who are old enough may remember growing up with the songs of the Monkees. I confess their song “Only Shades of Gray” was not one I remember well from those days. But it is a fascinating song about moral relativism. Some think it’s just a song about growing up. But to most it speaks of a time when things were more certain and compares it to these more modern times when it seems everything is disputed and up for grabs, no more black and white, only shades of gray. It is all the more poignant that the song was written in the turbulent 60s and perhaps represented the anxiety generated by those times when just about everything was being thrown overboard.
Now I know that it is wrong to point any particular age as the “golden age.” Scripture itself warns against this: Do not say: How is it that former times were better than these? For it is not in wisdom that you speak this (Ecclesiastes 7:10). I am also aware that not everyone feels the same about the “good old days.” For some they were not all that good. We should not forget the terrible wars of the early half of the 20th Century. Further, I serve in a parish that is predominantly African American and for many of my parishioners previous days featured “Jim Crow” laws, disenfranchisement, lynching and enforced segregation.
And yet, it remains also true that some fifty years ago we had a much wider consensus on basic moral teachings and appropriate behaviors. Pre-marital sex was considered gravely wrong and guarded against. Remember chaperons and separate dormitory facilities? Easy divorce and remarriage was considered wrong. Abortion was illegal, it never even entered our minds to give children contraceptives. There was also strong consensus against homosexual activity. Families were larger and most were intact. There was also a general appreciation of the role of faith and prayer in American life. I could go on but perhaps this is enough.
Here too I can hear the objections: “We might have had those standards but we didn’t live them well….Things went on behind the scenes, families weren’t perfect, many kids still had sex etc. etc….” But I will respond by saying, At least we had those standards and saw them as truths to be respected. It is an extreme measure, a kind of nihilism, to say that since we do not live up to our standards perfectly we should not have them at all.
And I also know we were more wrong about some things in the past. We were more racist and less open to legitimate diversity, less concerned about pollution. But here too it is extreme to say that because we were wrong about some things in the past the whole thing should be thrown out. Why not keep the best and purify what is needed?
So here we are today, is a radically relativistic time where there is less and less agreement about the most basic of moral issues. And, without a common basis for discussion, such as Natural Law, or the Judeo-Christian worldview we are left to a battle of wills, an increasing power struggle where the one who shouts the loudest, has the most money, wins an election or has the most access wins, at least for the moment. Reason and principles increasingly do not transcend political, economic and social distinctions. There are fewer and fewer shared values that every one agrees on no matter what their party or background. Whatever our struggles of the past, we used to agree on more. Many of those certainties have been replaced by a wide presumption that everything is just shades of gray.
Listen to the song. Don’t forget my disclaimers. I do not propose a simplistic old=good; new=bad scenario. I just write to provoke thought. Please feel free to comment. I couldn’t find a good video of the Monkees performing the song (I think copyright may be involved) so I have included a group that sings it a lot like the Monkees did. First the words, then the video.
- When the world and I were young,
- Just yesterday.
- Life was such a simple game,
- A child could play.
- It was easy then to tell right from wrong.
- Easy then to tell weak from strong.
- When a man should stand and fight,
- Or just go along.
- Refrain:
- But today there is no day or night
- Today there is no dark or light.
- Today there is no black or white,
- Only shades of gray.
- I remember when the answers seemed so clear
- We had never lived with doubt or tasted fear.
- It was easy then to tell truth from lies
- Selling out from compromise
- What to love and what to hate,
- The foolish from the wise.
- It was easy then to know what was fair
- When to keep and when to share.
- How much to protect your heart
- And how much to care.
The Music of the Spheres and a Bach Fugue in the Sky! The Fascinating Connection between Cosmology and Church Music
There are some pretty fascinating connections between cosmology and the music that has predominated in different ages of the Church. Now I said cosmology, not cosmetology. Cosmetology is the art of beautifying women, the beauty shop owner is a cosmetologist. But cosmology is the understanding of the universe (cosmos) in which we live. How do we see andunderstand the universe in which we live and our relation to it? And what does all this have to do with Church music? Hmm… let’s see.
Chant and the Unity of All Things- In the earliest days of Church music plainsong and chant predominated. A melody was sung unaccompanied and with no harmony. In fact there is early Church legislation that frowned on use of harmony seeing it too strongly connected with paganism. There was also a cosmology among early Christians that stressed the unity of all things. That everything, no matter how varied was ultimately from God and was united in God. The Patristic Fathers (eg Ignatius of Antioch et al.) imagined in heaven the angels and saints and yet despite myriads of them singing they all sang as if with one voice. This patristic teaching found its way into the prefaces of the mass sung or recited just before the Holy, Holy. There it is said that we join our voices with that of the angels who with one voice (una voce dicentes) say: Holy Holy, Holy Lord…. Thus unaccompanied, unharmonized chant reflected a cosmology of the day that all things and all people were ultimately one, united in God and sustained by Him. St Augustine imagined that, in the end, when Jesus finally handed over the kingdom to his father that there would be unus Christus amans seipsum (One Christ loving himself). Gregorian Chant exemplified through unison singing the cosmology of the oneness, the unity of all things (cf Quasten: Music in Pagan and Christian Antiquity).
Polyphony and the Music of the Spheres – But moving forward into the middle ages and toward the Renaissance we begin to discover rich and extended harmonies introduced into Church Music. Here too a cosmology is lurking just beneath the surface. As the ancient Greek Philosophers began to be “rediscovered” the ancient cosmology of the “music of the spheres” began to re-emerge. The ancients pondered the planets and stars as they swept through space. Each planet was thought made a perfect circle around earth. As they made this perfect circle they each rang out a different tone or note. These different notes rang out as a beautiful celestial harmony. Now harmony in church music began to be seen as reflective of the celestial harmony. Such cosmology and celestial harmony reached its apex and perfection in Renaissance polyphony (see video below).
Mathematical Baroque and the Ellipse of the Planetary Paths – Another change in cosmology is reflected another form of music. In the 16th Century Copernicus discovered that the planets orbited the sun, not the earth. Studies of the planets by Kepler and others at the same time revealed that planets do not orbit in perfect circles but in elliptical orbits, in a kind of a mathematical progression. This is really the insight of a musical form perfected at the time called the “fugue” A fugue introduces a musical theme and then develops the theme in a kind of mathematical progression. Much music of the Baroque period exhibits a kind of mathematical. If you’ve ever heard the famous Canon in D by Pachelbel you will note that it begins with a simple theme that builds mathematically as the as the half notes become quarter notes, then eighth notes, then sixteenth and even 32nd notes at the high point. Math as music reflecting the mathematical progression of the planets sweeping out their ellipses! So again, music and cosmology inter-relate.
Modern dissonance and relativity - In modern times, the theory of relativity has come to predominate. Most people interpret relativity to mean that truth varies (it does not) and that beauty and perfection are ultimately indefinable (everything is relative). Of course this is not what the scientific theory of relativity really holds but most people have allowed this interpretation of the theory to affect their cosmology, their interpretation of the universe. Thus in modern music dissonance and chaotic rhythm often predominate. The music reflects a kind of uncertainty with the truth and order of things and in an almost iconoclastic way many modern composers radically reinterpret harmony, melody, and rhythm. Much modern art also bespeaks this “relativistic” cosmology.
So there is a quick tour of how cosmology and music are linked. Our Church is very old and we have lived through many shifts in cosmology. Our music reflects this journey. Below are two videos that illustrate the music of the spheres and the art of the fugue.
This first Video represents the “music of the spheres wherein the ancients saw the planets and stars sweeping though the heavens and each sounding a musical tone that added up to a beautiful celestial harmony. This cosmology is beautifully reflected in the Renaissance polyphony of the Church. This piece is Victoria’s O Magnum Mysterium and is translated: “O great mystery and wondrous sacrament that animals would see the birth of Christ. O blessed Virgin whose womb merited to carry Jesus Christ. Alleluia!” Listen and imagine the planets sweeping through the heavens in celestial harmony!
This video is of a Fugue in D Major by JS Bach (BWV 532.2). Notice how the organist announces the main theme in her right hand. The left hand answers, then the feet. The basic theme is then taken through a series of “mathematical” progressions. The fugue reflected the cosmology of the day which saw the planets as sweeping out an ellipse (not a perfect circle) around the sun in a kind of mathematical perfection and progression: a Bach fugue in the sky! If you’ve never seen a fine organist play get ready for an experience. It is said that the organist is the greatest virtuoso and you’ll see why as our lovely and gracious organist shows forth the incredible skill needed to play the great Bach organ works. Her hands and feet will amaze you as they fly through the notes, never missing one!
In celebration of John of the Cross
Today is the feast of St. John of the Cross, a 16th century Spainard, who with Teresa of Avila reformed the Carmelite community. Teresa and John were a powerhouse of a friendship–exlporing the depths of the spiritual life and discovering the rich Catholic expression of contemplative prayer. Like many close firendships, Teresa and John were very different in personality. Teresa was extroverted, funny, and engaging, John was serious and introspective, to the point that Teresa reports, she had to tell him to “lighten up!”
The Dark Night of the Soul
John’s contribution to the spiritual life is the exploration of what we call the “dark night.” Many of us know well the expereince of coming to know God through recognizing his presence in our lives, experiencing moments of grace and knowing they are gifts from God. There is another way we deepen our faith, a way that is part of our maturing in faith and giving ourselves fully over to God’s love–it is the experience of absence. At times we feel the absence of God, we feel abandoned, like Job, we feel that we are being tormented and though crying out to God we hear nothing. Do we believe that indeed God has abandon us or failed us, or do we go on trusting that God is present and that all will be made well in God’s time? John helps us to navigate our way through the dark nights when all seems empty, only to experience a deeper union with our Lord.
The poetry of music and art
Loreena McKennit takes John of the Cross’s famous poem The Dark Night and sets it to the artwork of another famous Catholic, Salvator Dali. it is here for you to enjoy.
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From today’s Morning Prayer, we pray in thanksgiving for all those who are learned and are as radiant as the sky in all its beauty; those who instruct the people in goodness and who will shine like stars for all eternity.
Celebrating the Spirituals: Sober but Serene on Serious Themes
I’ve often been impressed at the capacity of the Old African American Spirituals to treat of serious matters in a clear yet almost joyful way. This is true even of very serious concepts like sin and judgment. Look at some of the creative lines all from different spirituals:
I would not be a sinner, I’ll tell you the reason why. I’m afraid my Lord might call my name and I wouldn’t be ready to die.
Some go to Church for to sing and shout, before six months they’s all turned out!
Everybody talkin’ ’bout heaven aint a goin’ there, Oh my Lord!“
Where shall I be when the first Trumpet sounds, Oh where shall I be when it sounds so loud, when it sounds so loud as to wake up the dead, Oh where shall be when it sounds. How will it be with my poor soul, Oh Where Shall I be?
Better watch my brother how you walk on the cross! Your foot might slip and your soul get lost!
God gave Noah the rainbow sign, no more water but the fire next time!
The last one was a gloss on 2 Peter 3 and all of them are deeply scriptural and serious appeals to the human soul but they do so in a way that is creative. They get you tapping your foot and invite you to a joyful consideration of the need to repent before it’s too late.
Given all the reticence to discuss the four last things (death, judgment, heaven and hell) songs like these may help to re-open the door to necessary conversations between preacher and congregation, parents and their children. They are a valuable resource. The lines above can be found in the following songs listed in the same order as the quotes.
- Jesus is a Rock in a Weary Land (as well as a number of old spirituals)
- Ezekiel Saw the Wheel
- I Got Shoes
- Where Shall I Be?
- Ezekiel Saw the Wheel
- Didn’t it Rain Children!?
I want to conclude with a creative spiritual about the Last Judgment that is featured in the video below. Note that it is rich in Biblical references, it is joyful, a toe tapper and makes a serious point along with a wish: “In That Great Gettin’ Up Mornin Fare You Well!” First the text (with phonetic Spelling) and then the video:
- I’m Gonna tell ya ’bout da comin’ of da judgment
Der’s a better day a comin’,
Fare thee well, fare thee well
Chorus: In dat great gettin’ up mornin’,
Fare thee well, fare thee well
In dat great gettin’ up mornin’,
Fare thee well, fare thee well
- Oh preacher fold yo’ bible,
For dat last souls converted,
Fare thee well, fare thee well
Blow yo’ trumpet Gabriel,
Lord, how loud shall I blow it?
Blow it right and calm and easy,
Do not alarm all my people,
Tell dem all come to da judgment,
Fare thee well, fare thee wellDo you see dem coffins burstin, do you see dem folks is risin’Do you see dat fork of lightenin’,
Do you hear dat rumblin’ thunder,
Fare thee well, fare thee wellDo you see dem stars a fallin’,
Do you see da world on fire,
Fare thee well, fare thee well
Do you see dem Saints is risin’,
Fare thee well, fare thee well
See ‘em marchin’ home for heaven,
Fare thee well, fare thee well
Fare thee well po’r sinners, fare thee well, fare thee well
Fare thee well po’r sinners, fare thee well, fare thee well!
There are many good version of this out on You tube I have picked this one because the words are easiest to hear. Enjoy!
The Beauty of Music
Laura wrote a post on the beauty of food a few posts below. Her reflection prompts mine also on the magnificence of music.
Where does music come from if not the soul? Animals do not sing. Oh perhaps the birds do sing in an ambling sort of way that sounds more like communication than true song. But only the human person has produced the majesty of music and surely it emerges from the deep mysterious places of our soul. Music can stir, it can call forth tears, it makes us swell with healthy pride and exuberance, it can instill joy, provoke our deepest thoughts and it make us want to dance. Music unites, it also divides, some love what others hate, it can make you mad, it can make you sad, it can make you glad but seldom are we merely neutral as to it’s quality or influence.
The genius and variety of music is astonishingly remarkable: from country to classical, modern to medieval, blues to ballads, solos to symphonies, jazz to jewsharp, renaissance to rap, and polyphony to parade music.
And consider this, music is unique to the human person. In the Bible, only once does it mention that God sings (cf Zeph 3:17) and NO WHERE does it mention that angels sing. But Father, but Father, of course angels sing! Sorry, despite the notions of popular culture the Bible does not describe that angels sing. Even in the classic Christmas scene where we think of the angels singing Glory to God in the Highest and On Earth peace to men of good will, the text does not say they sing this but that they say it! (Look it up at Luke 2:13). So singing is a special trait of human beings and part of our dignity. Angels say, they cry out and declare (cf Rev 5:12) but only humans sing. And to some extent only humans grasp it. I have often marvelled at how unaffected by a great song my pets have been. I can be tapping my toe, be moved to tears, filled with zeal by a song and the dogs and cats I have had just lie there bored. Proof again that music is distinctly human and requires an immortal, God breathed soul to grasp it.
Music is the soul’s way to exhale, to express itself beyond words. It bespeaks the soul’s longing, its sighing, its joy and its sorrow, words are optional. Appreciate anew this miracle of human existence, this unique gift to the human person, this flash of beauty and dignity in the soul of every human person.
Here are my two favorite scenes from the movie Amadeus, a movie about my favorite composer, Mozart. In video one, his rival Salieri describes the exquisite and subtle beauty of a Mozart Sonata. In video two Mozart is working to compose part of his Requiem at the words Confutatis maledictis flammis acribus adictitis, Voca me cum benedictis (When the wicked are consigned to woeful flames, call me to be with your blessed ones). Watch as the notes come forth from his very soul, his soul exhales and sighs, the notes! It starts slow then builds.
The Inner Life of the Pipe Organ – King of Instruments!
In my first three years of college I had a summer job working for a Lewis and Hitchcock and company that built and serviced pipe organs. What a great job it was! I went all over the city helping to tune and repair pipe organs in some of the grandest churches of the area, both Catholic and Protestant. When you build and service Pipe Organs you have to know a little of everything: electrical, HVAC, carpentry (for the casework), plumbing (for the pipes and tubing that supply the wind), electrical motor repair (for the blower), even leather work for the air reservoirs and pipe valves. It also helps to know music and architecture to bring it all together. It was a great job it was. I learned so much.
These days, Pipe Organs are still being built but more often Electronic Organs are chosen by churches. Truth be told, with digital sampling, the sound of the newest electronic organs isn’t bad. But nothing beats the sound of a true pipe organ, the king of instruments.
When I was young and in high school I was a rock ‘n’ roll fan. It had to be loud and in your face. Then one day I walked into a large church and the organist was practicing with all the stops pulled. The loud organ shook the building and resonated through my very body. I was hooked! I said, “I have to learn to play that!” And I was off on my adventure. Alas, I am no virtuoso but I can play hymns well and I do all the footwork. I love to play the organ and make the whole build shake with the big 32 Foot in the pedal.
The first video shows you some of the basics of how a pipe organ works. The second video shows you the work of a true virtuoso as he plays Boellmann’s Tocatta from Suite Gothique. This was the piece that I heard that day over 30 years ago that hooked me on the pipe organ as the building shook all around. The greatest virtuoso is the organist and you will see why! Not only does he play all sorts of notes with his hands and feet, he’s also switching back and forth to different keyboards, controlling the volume with the black pedals at the center of his feet and switching stops using the toe buttons above the pedal keyboard. It takes ALOT to be a good organist.
Music as a kind of Onomatopoeia
Do you remember your grammar and the grammatical term Onomatopoeia? An Onomatopoeia is a word that sounds like the object it describes. Words like oink, meow, Wham! Sizzle, and my personal favorite:”Yackety Yak”
There are times too when music takes up a kind of onomatopoetic quality. In the video below Moses Hogan, one of the great modern arrangers of the old African American Spirituals describes his arrangement of “Joshua Fit the Battle of Jericho.” He has the male and female voices in a frenetic dialogue with lots of staccato notes dominating in the male voices. This creates the very sound of an intense battle! The song sounds like what it is describing. It’s a kind of “musical onomatopoeia.” There are other aspects of the same concept, you’ll hear the trumpet in the soprano and the battle reach climax in a moment of dissonance. And wait till you hear the walls fall at the very end in a cascade of notes!
In this three minute video Moses Hogan describes his intent of echoing the sound of a battle and then the song is sung. Enjoy this brilliant and beautiful arrangement of the Spiritual. Admire too the wonderful discipline of the choir that is necessary to execute this spiritual flawlessly.
Dance Time
Every now and then I hear the Old Latin Mass described as a somber affair. Many think only dirges are sung and that everything is quite subdued. Granted a low Mass can be rather quiet as the Priest whispers much of the Mass. But a sung Mass in the Old Rite (Extraordinary Form) can be quite elaborate, especially if the Choir sings in polyphony (harmony). Some of the greatest music in history was composed during the Renaissance in a form known as Renaissance Polyphony. It is a kind of harmonic singing that features four or more independent melodies sung simultaneously in rich harmony. Much of this Church music was written in Dance Time such that you can almost dance to it!
Enjoy this brief video of the Angus Dei (try not to tap your toe) and perhaps you’ll see what I mean. The song was recorded at the Oratory of St. Francis De Sales in St. Louis – one of the most beautiful Churches in the Country. (See photo above). The text is Agnus Dei, qui tollis peccata mundi, miserere nobis, dona nobis pacem (Lamb of God who takes away the sins of the world, have mercy on us…grant us peace). Enjoy a beautiful sample of Renaissance Polyphony.
Pentecost Sequence Hymn – Veni Sancte Spiritus
There are several Feasts of the Church wherein a “sequence” hymn may be sung. The sequence hymn is sung Just before the the Alleluia (Gospel acclamation). The feasts with sequence hymns are these:
- Easter – Victimae Paschali Laudes (To the Paschal Victim give praise)
- Pentecost – Veni Sancte Spiritus (Come Holy Spirit)
- Corpus Christi – Lauda Sion (Praise O Sion)
- Our Lady of Sorrows – Stabat Mater (Stood the Mother sad and weeping)
- All Souls – Dies Irae (Day of Wrath)
Since today is Pentecost we ought to sample the sequence hymn for today: Veni Sancte Spiritus. Here is the Latin text and a translation (fairly literal) of my own.
| VENI, Sancte Spiritus, et emitte caelitus lucis tuae radium. |
COME, Holy Spirit, send forth from heaven the rays of thy light |
| Veni, pater pauperum, veni, dator munerum veni, lumen cordium. |
Come, Father of the poor; Come, giver of gifts, Come, light of [our] hearts. |
| Consolator optime, dulcis hospes animae, dulce refrigerium. |
Oh best Comforter, Sweet guest of the soul, Sweet refreshment. |
| In labore requies, in aestu temperies in fletu solatium. |
In Labor rest in the heat, moderation; in tears, solace. |
| O lux beatissima, reple cordis intima tuorum fidelium. |
O most blessed Light fill the inmost heart of thy faithful. |
| Sine tuo numine, nihil est in homine, nihil est innoxium. |
Without your spirit, nothing is in man, nothing that is harmless |
| Lava quod est sordidum, riga quod est aridum, sana quod est saucium. |
Wash that which is sordid water that which is dry, heal that which is wounded. |
| Flecte quod est rigidum, fove quod est frigidum, rege quod est devium. |
Make flexible that which is rigid, warm that which is cold, rule that which is deviant. |
| Da tuis fidelibus, in te confidentibus, sacrum septenarium. |
Give to thy faithful, who trust in thee the sevenfold gifts. |
| Da virtutis meritum, da salutis exitum, da perenne gaudium, Amen, Alleluia. |
Grant to us the merit of virtue, Grant salvation at our going forth, Grant eternal joy. Amen. Alleluia. |
Here is the trational Gregorian Chant of this sequence:
And here is a rather nice modern version of the same text:
Time for a Little Prelude and Fugue
Here is Bach’s Prelude and Fugue in F Major BWV 556. Bach wrote these in a collection of Eight Little Preludes and Fugues. Which was designed for organ students. This one is my favorite in the collection. The footwork of the Prelude is easy but the running triplets in both hands are a challenge to play well and at tempo.
By the way the organ used here is known as a “tracker” It works with an entirely mechanical action of levers and trackers much like the manual typewriters of old. Occasionally in this piece you can hear the mechanical action “clacking” in the background. Trackers usually require stronger fingers and a more certain touch of the fingers and feet, again just like the old manual typewriters required a stronger and more certain touch. (Are you old enough to remember manual typewriters?) OK, enjoy this short sample of the music of the pipe organ.
