Music in the Church

Music is one of the most important parts of a church service. As Aldous Huxley said, “After silence that which comes nearest to expressing the inexpressible is music.”

Music draws its participants and listeners into another realm of sensation. When singing, it seems easier to express emotions, give praise and join together as a community. Whether through solemn chants, expressive gospel songs or modern Christian rock, music has a way of transforming a rote service into something magical and meaningful. As the old saying goes, one song to God equals two prayers.

The History of Music in Church
Music and religious worship have a long, intertwined history, and each has significantly influenced the other since at least the beginning of modern history. For much of the past two millennia, religious worship was the sole use for music. Only in the past several centuries have the two diverged from a common path of evolution.

The relationship between music and religion dates back at least to the days of Old Testament, when David used music and instruments to praise God and the prophets mentioned the presence of sacred music. From the beginning, music played an important role in Jewish temples where the psalms were sung every day. Responsorial singing and antiphonal music, with one group echoing the other, were both used in Jewish worship.

With the development of Christianity, many of the same music practices were carried over from Jewish traditions. The plainchant, many arranged by and often named for Gregory the Great, was the main form of music for worship until the ninth century. The chants used some music of Greek and Hebrew origin and the texts consisted of psalms, verses from the Bible and original lyrics.

Early Christians did not use instruments for accompaniment, most likely because of their association with pagan traditions. It was in the 10th century that worshippers began using an early version of the organ to accompany songs. By the 15th century, a variety of instruments was used as accompaniment in churches. During and after the Reformation, Protestant churches in England and elsewhere no longer featured organs or organ music because the instrument was seen as a relic of the old Roman Church. However, the 17th and 18th centuries became a time of great renewal in ecclesiastical music. Great composers like Handel, Mozart and Bach — who wrote a mass in each of the 24 keys — added diverse and complex selections for church use. At this time, instrumental music gained appreciation and was also prominent in services.

The rise of secular music, especially in the 18th and 19th centuries, influenced its religious counterpart. Ecclesiastical text was added to popular music, an example being Beethoven’s Ninth Symphony. Now, in the 20th and 21st centuries, the development has been in diversification — in styles, rhythms, instruments and traditions.

Diversity in the Diocese
The New York area is arguably one of the most ethnically diverse in the world, which is quite evident in the parishes of the Episcopal Diocese of New York. With parishioners from such diverse backgrounds, the music at the services throughout the Diocese can only be equally rich in texture and content. The entire gamut of musical possibilities is available to churchgoers.

At the Haitian Congregation of the Good Samaritan in the Bronx, the music is an eclectic mix of traditional and contemporary. The congregation has an organist and music director and a large choir. For special services, a band with a drummer and bass, guitar and keyboard players is added. The service features a number of traditional hymns and contemporary Gospel songs in French as well as traditional Haitian songs in Creole, such as “Men Mwen Granmèt” and “Bay Bon Nouvel La.” Solemn hymns are followed by toe-tapping rhythmic pieces, followed by awe-inspiring soloist performances accompanied by the band.

Holy Cross, Kingston, is another congregation that uses the wide variety of available church music to present a memorable service. Fittingly, the church has near-perfect acoustics.

Steve Kitsakos, a professor of drama at the State University at New Paltz, has been the minister of music at Holy Cross for nine years. Kitsakos presents a blend of music styles, emphasizing energy and rhythm. Since many members of Holy Cross are not cradle Episcopalians and “don’t have a grounding in traditional Anglican music,” Kitsakos said, blended music is important because “it is one way to attract and retain new members.” Kitsakos uses everything from woodwind and brass instruments to the pipe organ and cello for accompaniment. The musicians are a combination of paid professionals and volunteers, while all cantors and choir members are volunteers. More stately and traditional Anglican music is used for high holy days, with more modern Evangelical settings and praise choruses at other times.

Christ Church New Brighton on Staten Island has a long history of exceptional music. On the wall of the choir room hangs a huge picture of the all-male choir from seven decades ago. The church also had an all-boys choir and paid its members a small sum of money each week for their work, enough for candy and other little extras. The rector, the Rev. E. Michael Allen, explained, “We have quite a tradition of strong music. Everyone speaks more lovingly of the church’s choir directors and organists than the rectors,” he quipped. Today, the all-volunteer choir has over 20 members that sing at all of the principal services, except for during the summer. One member has been singing in Christ Church’s choir for 70 years, having started at the age of 7. Church services feature a solemn Eucharist and traditional choir music, making the liturgy “quite transcendent,” Allen explained.

Enriching the Musicians
There have been a number of opportunities for those who make music in the Diocese to learn more for their work in the parish. Two parishioners involved in their church music programs, Wayne Downing of St. John’s, Monticello, and Susan Treanor of St. James’, Callicoon, have been attending the Leadership Program for Musicians Serving Small Congregations held at Mercer School of Theology. The parishioners’ congregations and the Mid-Hudson Region Executive Committee cover tuition and book costs. The program, located in Garden City, NY, sponsored by the Lutheran Synod and the Episcopal Dioceses of Long Island and New York, includes a daylong session on one Saturday per month during the school year. The classes focus on liturgy, congregational singing, philosophy of music and hymnody.

Downing said, “I found the courses very, very helpful.” He was a parishioner, then vestry member, then senior warden at St. John’s when he decided he was interested in learning to play the organ. As a jazz drummer, Downing had experience with music and performing but “had never touched a keyboard before and always wanted to.” After taking lessons, Downing became the church’s organist after his predecessor left for college. With no prior background in church music, Downing has been able to learn a lot from the Mercer program. Using new techniques, he has the choir singing at services once a month, including anthems and other music in four parts. He also has had success in getting the congregation singing. “It works,” Downing said of what he has learned, “and the congregation seems to enjoy it. This has been a wonderful blessing.”

Susan Treanor of St. James’, Callicoon, has similar feelings about the program: “It’s the best thing since sliced bread!” Treanor has been music director at St. James’ for three years, and has found, since taking the Mercer classes, her role in the church deepening. “I am more aware of the liturgical calendar,” she explained. Also, having only been an Episcopalian for the past three years, she wasn’t aware of all that was available. “The 1982 Hymnal — I had not been aware of what a great resource that is,” she said, “and when I go to plan special services, I now have so many resources.”

Another enrichment opportunity is “Voices Found: A Music Workshop for Singing People in the Mid-Hudson Region” this September 12 and 13. The program is sponsored by the Mid-Hudson Region and will be held at St. George’s, Newburgh. The weekend workshop will explore the music of the latest hymnal supplement, Voices Found. This collection of new texts and music celebrates God’s creation and the voices of women. The Hymn Sing, Teaching Workshops & Choir Rehearsals feature Marilyn Haskel, renowned choir director, church musician and Marketing Director of Church Publishing Corporation. For more information, contact the Mid-Hudson Regional office at 845-338-1086.

THE EPISCOPAL NEW YORKER	Music in the Church "Expressing the Inexpressible" From Soup Kitchen to Song Much More than Just for Services A Francophone Anglican Hymnal St. Anne’s, Washingtonville, held Jazz Vespers on Friday, June 6. Pictured at the performance are, from left to right, Alice Nielsen Shane, Music Director at St. Anne’s, Paul Johnson, drummer, the Rev. Mabel Burke Lewis, Interim Pastor at St. Anne’s, Piet Koster, bassist, and Ron Knittle, saxophone. Photo courtesy of JANET DORMAN At the Haitian Congregation of the Good Samaritan, members of the choir sing while musicians play the guitar, bass, drums and keyboard. Photo by MARY BETH DISS The annual Good Friday Blues production at St.Mark’s, Manhattan, succeeded in utilizing an abundance of talent to produce profound insight and inspiration. The production was directed by Bishop Catherine Roskam and Jeanine Otis, featured soloists, the choir, actors and musicians playing guitar, cello, harmonica, sax, clarinet and piano. Fred Alston, above, played the piano during the program. Photo courtesy of BISHOP CATHERINE ROSKAM BACK
Music: "Expressing the Inexpressible" By Mary Beth Diss
Music is one of the most important parts of a church service. As Aldous Huxley said, “After silence that which comes nearest to expressing the inexpressible is music.” Music draws its participants and listeners into another realm of sensation. When singing, it seems easier to express emotions, give praise and join together as a community. Whether through solemn chants, expressive gospel songs or modern Christian rock, music has a way of transforming a rote service into something magical and meaningful. As the old saying goes, one song to God equals two prayers. The History of Music in Church Music and religious worship have a long, intertwined history, and each has significantly influenced the other since at least the beginning of modern history. For much of the past two millennia, religious worship was the sole use for music. Only in the past several centuries have the two diverged from a common path of evolution. The relationship between music and religion dates back at least to the days of Old Testament, when David used music and instruments to praise God and the prophets mentioned the presence of sacred music. From the beginning, music played an important role in Jewish temples where the psalms were sung every day. Responsorial singing and antiphonal music, with one group echoing the other, were both used in Jewish worship. With the development of Christianity, many of the same music practices were carried over from Jewish traditions. The plainchant, many arranged by and often named for Gregory the Great, was the main form of music for worship until the ninth century. The chants used some music of Greek and Hebrew origin and the texts consisted of psalms, verses from the Bible and original lyrics. Early Christians did not use instruments for accompaniment, most likely because of their association with pagan traditions. It was in the 10th century that worshippers began using an early version of the organ to accompany songs. By the 15th century, a variety of instruments was used as accompaniment in churches. During and after the Reformation, Protestant churches in England and elsewhere no longer featured organs or organ music because the instrument was seen as a relic of the old Roman Church. However, the 17th and 18th centuries became a time of great renewal in ecclesiastical music. Great composers like Handel, Mozart and Bach — who wrote a mass in each of the 24 keys — added diverse and complex selections for church use. At this time, instrumental music gained appreciation and was also prominent in services. The rise of secular music, especially in the 18th and 19th centuries, influenced its religious counterpart. Ecclesiastical text was added to popular music, an example being Beethoven’s Ninth Symphony. Now, in the 20th and 21st centuries, the development has been in diversification — in styles, rhythms, instruments and traditions. Diversity in the Diocese The New York area is arguably one of the most ethnically diverse in the world, which is quite evident in the parishes of the Episcopal Diocese of New York. With parishioners from such diverse backgrounds, the music at the services throughout the Diocese can only be equally rich in texture and content. The entire gamut of musical possibilities is available to churchgoers. At the Haitian Congregation of the Good Samaritan in the Bronx, the music is an eclectic mix of traditional and contemporary. The congregation has an organist and music director and a large choir. For special services, a band with a drummer and bass, guitar and keyboard players is added. The service features a number of traditional hymns and contemporary Gospel songs in French as well as traditional Haitian songs in Creole, such as “Men Mwen Granmèt” and “Bay Bon Nouvel La.” Solemn hymns are followed by toe-tapping rhythmic pieces, followed by awe-inspiring soloist performances accompanied by the band. Holy Cross, Kingston, is another congregation that uses the wide variety of available church music to present a memorable service. Fittingly, the church has near-perfect acoustics. Steve Kitsakos, a professor of drama at the State University at New Paltz, has been the minister of music at Holy Cross for nine years. Kitsakos presents a blend of music styles, emphasizing energy and rhythm. Since many members of Holy Cross are not cradle Episcopalians and “don’t have a grounding in traditional Anglican music,” Kitsakos said, blended music is important because “it is one way to attract and retain new members.” Kitsakos uses everything from woodwind and brass instruments to the pipe organ and cello for accompaniment. The musicians are a combination of paid professionals and volunteers, while all cantors and choir members are volunteers. More stately and traditional Anglican music is used for high holy days, with more modern Evangelical settings and praise choruses at other times. Christ Church New Brighton on Staten Island has a long history of exceptional music. On the wall of the choir room hangs a huge picture of the all-male choir from seven decades ago. The church also had an all-boys choir and paid its members a small sum of money each week for their work, enough for candy and other little extras. The rector, the Rev. E. Michael Allen, explained, “We have quite a tradition of strong music. Everyone speaks more lovingly of the church’s choir directors and organists than the rectors,” he quipped. Today, the all-volunteer choir has over 20 members that sing at all of the principal services, except for during the summer. One member has been singing in Christ Church’s choir for 70 years, having started at the age of 7. Church services feature a solemn Eucharist and traditional choir music, making the liturgy “quite transcendent,” Allen explained. Enriching the Musicians There have been a number of opportunities for those who make music in the Diocese to learn more for their work in the parish. Two parishioners involved in their church music programs, Wayne Downing of St. John’s, Monticello, and Susan Treanor of St. James’, Callicoon, have been attending the Leadership Program for Musicians Serving Small Congregations held at Mercer School of Theology. The parishioners’ congregations and the Mid-Hudson Region Executive Committee cover tuition and book costs. The program, located in Garden City, NY, sponsored by the Lutheran Synod and the Episcopal Dioceses of Long Island and New York, includes a daylong session on one Saturday per month during the school year. The classes focus on liturgy, congregational singing, philosophy of music and hymnody. Downing said, “I found the courses very, very helpful.” He was a parishioner, then vestry member, then senior warden at St. John’s when he decided he was interested in learning to play the organ. As a jazz drummer, Downing had experience with music and performing but “had never touched a keyboard before and always wanted to.” After taking lessons, Downing became the church’s organist after his predecessor left for college. With no prior background in church music, Downing has been able to learn a lot from the Mercer program. Using new techniques, he has the choir singing at services once a month, including anthems and other music in four parts. He also has had success in getting the congregation singing. “It works,” Downing said of what he has learned, “and the congregation seems to enjoy it. This has been a wonderful blessing.” Susan Treanor of St. James’, Callicoon, has similar feelings about the program: “It’s the best thing since sliced bread!” Treanor has been music director at St. James’ for three years, and has found, since taking the Mercer classes, her role in the church deepening. “I am more aware of the liturgical calendar,” she explained. Also, having only been an Episcopalian for the past three years, she wasn’t aware of all that was available. “The 1982 Hymnal — I had not been aware of what a great resource that is,” she said, “and when I go to plan special services, I now have so many resources.” Another enrichment opportunity is “Voices Found: A Music Workshop for Singing People in the Mid-Hudson Region” this September 12 and 13. The program is sponsored by the Mid-Hudson Region and will be held at St. George’s, Newburgh. The weekend workshop will explore the music of the latest hymnal supplement, Voices Found. This collection of new texts and music celebrates God’s creation and the voices of women. The Hymn Sing, Teaching Workshops & Choir Rehearsals feature Marilyn Haskel, renowned choir director, church musician and Marketing Director of Church Publishing Corporation. For more information, contact the Mid-Hudson Regional office at 845-338-1086.