From Memory to Imagination

I am tucking into a fascinating book published last month by Eerdmans, From Memory to Imagination:Reforming the Church's Music by C. Randall Bradley, the director of the church music program at Baylor University.

The book is loaded with subheadings-- in some chapters nearly every paragraph has its own heading. This certainly makes it easy to skim!
Bradley is calling for churches in their response to the current crisis in church music not to retreat to their memory of a simpler time -- rather to dare to imagine the new future for church music and worship. In the process, Bradley has some interesting things to say about singing (emphasis added):

When we sing with a group, we are joining our instrument with those of others; it is an act of intimacy. Our breathing becomes synchronized with the breathing of others, and a physical conformity ensues that is unlike that of any other human activity. The sheer power of dozens or hundreds of human bodies forgoing their own preferred breathing patterns to reconcile with others is a striking picture of community and of the  power of group singing (174).

This gives me a new insight into how congregational singing is a practice that is both the Church's testimony of God's reconciling power and also a practice which requires reconciliation.

Can You Sing With Your Enemies?

Yesterday I had the privilege of preaching at Park Street Brethren Church in Ashland OH. They have two Sunday morning services - the 9:00 in the sanctuary built in the 1920s and the 10:30 service in the gymnasium built in the 1980s. Two very different spaces and different styles of worship music. The second service is set up in the round -- and so I was spinning around like Bono on U2s last tour!

My sermon was really trying to make a theological case for why congregational singing is a constitutive practice of the church -- why singing God's praise together is a profound act that makes us who we are. (The message is streamed over at the Park Street's website). At the heart of what I was saying is that the Church is the community of forgiven sinners and reconciled enemies and that the discipline of singing together testifies to this truth. As the congregation submits itself to this discipline people are taught more about forgiveness and reconciliation and are transformed. I was preaching from Colossians 3:12-17 and was noting the proximity of the instructions to "bear with one another" and to "forgive each other" with the exhortation to "sing psalms hymns and spiritual songs." Congregational singing is the song of the reconciled and the reconcilers. It testifies to this reconciliation because--I claimed--enemies do not sing together.

After one of the services a person came up to me and said they had been estranged from their sibling for over a year (I am being vague here to preserve this person's identity). "We used to sing together. I think I am going to suggest we sing together again . . . we won't talk, we'll just sing." This person heard in my words the notion of singing as a transformative discipline which might open up the possibility of reconciliation.

I have been thinking about this and I was reminded of something the German theologian Dietrich Bonhoeffer wrote about prayer. In his short book Life Together, Bonhoeffer talks about a “happy discovery” he made. “I can no longer condemn or hate a brother for whom I pray no matter how much trouble he causes me. His face, that hitherto may have been strange and intolerable to me, is transformed in intercession into the countenance of a brother for whom Christ died, the face of a forgiven sinner” (Life Together, Fortress Press, 1996, 90–91).

Perhaps, in a similar way, one can no longer hate a brother or sister in Christ with whom one sings God's praises.

Preparing for Eternity

In a workshop I led recently, as we were discussing the future of a church's worship program, a women in her eighties said, "but what about the older people like me - we need to be preparing for eternity"

She was expressing her concern that her church might stop playing the hymns with which she was familiar. She was telling the younger worship leaders present that she needed to be singing the hymns that meant something to her. What was going to prepare her for eternity if not the hymns of her youth? Earlier this woman had told me that she played piano as a girl - she grew up in rural Ohio. "We didn't have a telephone," she told me to emphasize just how rural it had been. "But I had the hymn book and I played all the hymns.  I don't suppose people would do that today." she had said with a smile.

Her comment reveals the connection between congregational singing and pastoral care. I don't know if this woman was simply saying she found comfort in the hymns of her youth or if she was saying something more. But she is right that the images of eternity with God in the Bible certainly involve a lot of singing. And if we are to be reunited in glory with the saints who have gone before, perhaps they will still be singing the songs they learned as children. So getting back into hymn singing shape might be a good way to prepare for eternity.

I suggest "When the roll is called up yonder" might be a good place to start.

Recording a Singing Church

The reason this blog has been a bit quiet over the summer is that I have been concentrating on producing a new Red Team album. After several intense days in the studio recording the instruments, yesterday we recorded the voices. The album is going to be called Singing Church, and like this blog, the idea is that it will be all about congregational singing. I find it odd that much of the recorded music used as a resource by worship leaders is comprised  of songs led by solo vocalists with back-up singers.  For this reason, there will be no solo vocals on the new album -- its a philosophical position which will mean we won't break into the top 40!

When I started the project I thought that we would bring in Red Team's singers and multi-track a couple of passes to give us a full sound, but the more I thought about it the more I wanted to record a larger group made up of regular members of the congregation. If this is about congregational singing then I wanted it to sound like a congregation was singing!

This threw up a technical problem. We are not making a live recording -- where everyone sings and plays at the same time. We needed to play the already recorded accompaniment for the singers to hear. This is usually done over headphones in the studio but there were not enough headphones and extension cables for a congregation. One option is to play the music at low volume through carefully placed speakers - the trouble is that inevitably some of the backing track bleeds into the vocals. If you want to multitrack the vocals then this is a problem when it comes to mixing.

The transmitter and the frequency

After trawling through the arcane world of sound engineers' chat rooms and blogs, I hit on an unorthodox solution - I could broadcast the tracks in FM stereo and then ask folks to bring their own radios and simply tune in to the accompaniment. I have a little FM transmitter for my car and I found that it had a pretty impressive range, certainly big enough for a church sanctuary.

As the recording day approached I made announcements on the Sunday mornings: please stay behind after Sunday school on September 30 to have a run through of the songs for the recording. I emphasized that this invitation was for everyone. I ran off a bunch of song sheets - Libby whipped up bread and homemade soup for the throng that would descend . . .

Now I don't know if it was because we picked a Sunday when folks had a lot of extra commitments, but getting folks to sing was like trying to milk a horse. I positioned myself at the main door and as folks kept walking I repeatedly heard comments like "Oh, you don't want my voice on a CD."

"Yes I do, I really do!"

Singing church at the ATS Chapel

In the end five righteous souls came to the practice (and one of them was in Red Team!). I continued to ask everyone I met last week to turn up to sing on Saturday morning. "I don't mind that you have never sung some of these songs -- you'll pick them up."

I ran into a new problem: people didn't have radios. It had never occurred to me that the once ubiquitous FM radio was now obsolete! On Friday I remembered that I had been told the university's Rec Center has radios for the gerbils on the tread mills to tune into the TVs. They kindly lent me six new Sony Walkman radios still in their packaging. Now all I had was a knot in my stomach wondering if we would have enough people.

In the end a we had a group of around twenty show up (including two of my colleagues from the Religion Department).

I had chosen the chapel of Ashland Theological Seminary for our recording mainly because it is set in the middle of the campus well away from any roads. When I was checking out different sanctuaries and halls, I had thought the chapel's acoustics seemed live but not too big. It turned out  that the acoustics were better than I had hoped for--the wooden vaulted roof gave a wonderful warm, big sound to our voices.

Getting two or three passes at the twelve songs took longer than I had advertised -- the 'congregation' didn't escape until 2:30.

Five hours of singing and we are still standing (just)!

My sense was that those who came and were part of our little tuned-in congregation found the experience affirming of their own value as singing members of the church. There were a number of amused comments along the lines of "Who would have thought that we would sing on a real recording." As we sang the last song, I had a growing feeling that we had transcended the mechanics of recording and were worshipping God. Before the "congregation" escaped, Pastor Dan Bilkert led us in a prayer which called us to continue glorifying God in song.

With the crowd gone, that left Red Team to dig in and record harmonies -- two hours later there were seven of us still standing (just). Marshall, the engineer, seemed pretty excited about what we had recorded. We will start mixing this week and we'll see what we have.

A Long List of Don'ts

Dean McIntyre, the Director of Music Resources in the Center for Worship Resourcing at the United Methodist General Board of Disciple (quite a title!), has written an interesting piece called Fifty Ways to Guarantee Poor Congregational Singing. It is quite a list but boils down to being mindful of your music choices (fits the liturgy, lectionary etc.) with accompaniment that encourages congregational singing. 
It is almost impossible not to try and keep score as you read down the list. . .  how does your church measure up to McIntyre's suggestion?

Fellow Travellers

I was excited to stumble on Wendell Kimborough's blog called "The Church Music Blog". Wendell is the worship leader at an Anglican church plant in Washington DC. Here is what he says about his blog (and his ministry):

"this blog has been making one sustained argument: that the most important thing music should do in church is get people to sing.  I am trying to paint a picture of corporate worship in which the people in the pews are co-creators of a beautiful sound together"

 So I encourage you to check it out.

Recording a Singing Church

Red Team has just started the process of recording a new album of the songs we sing with the congregation at Ashland First. I am going to try and produce an album which is true to my theological vision of a singing church. This means:

1. All the singing on the congregational hymns/songs will be by a group, not a solo vocal.
2. This group will be representative of the whole congregation - in age, sex and ability. (OK, in the interests of quality I should probably say "somewhat representative")
3. We are going to use the talents we have to hand in the congregation which means we will have an unorthodox mix of instruments. 

I know that I will fight some of my natural producer's instincts on these rules and will probably have a number of compromises -- one I have made already is that I shipped in a drummer which we don't have on a regular Sunday.

It is interesting to consider that most recordings of "church music" are built either around a solo vocal (contemporary praise and worship) or an accomplished choir (classical music). Black gospel music is, of course, built around both. Where are the voices of the congregation?  It makes it difficult for congregations and musicians to imagine what this music would sound like - church music where the voices of the congregation praising God together is the music of the church.