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The Role of Music ment of mental processing at this stage. involved in the compositional process.
Ambient music that just fills silence would
Most musical composers start with an
fall into this category. This is also the most idea or theme supplemented by a
in Christian Worship abused of musical listening intention as melodic line or rhythmic beat. Harmonies
per the author since the listener just uses
and accompaniments are then added
that as an “escape route” to wander into with various sounds that the composer
dreamland thereby devaluing music into a feels inspired about and congruent to the
mere distractory influence. The author theme. Dynamics, tempos, and embell-
presents that there needs to be a greater ishments are added to the rhythm and
conscious intent even at this stage. At a harmonic sections in a similar manner to
slightly higher level lies the expressive “express” the artist's message. The author
plane. At this stage, the listener employs and composer also presents a classifi-
further mental faculty to surface the cation for composers: the spontaneously
underlying emotion communicated in the inspired, the constructive, the tradition-
musical work by the composer's intri- alist, and the pioneer. In a nutshell, the
cately woven sound design. Music is author presents composers as storytellers
inherently and undeniably expressive. using the medium of music.
Inasmuch can be debated about what the
true meaning of the expression in a Given this understanding, we can look
particular musical piece is, and whether at this framework to infer a relationship
Introduction music: sensuous, expressive, and sheerly the intent of the composer supersedes between an abstract appearance and the
Music at a core level is a melange of musical presented by Aaron Copland in that of the understood expression of the concrete reality embedded in music. The
one or more of melody, rhythm and his 1939 book, What to listen for in music listener, it is important to understand the first two planes, the sensual and express-
harmony. The influence of music on a 1 . In this section, I will then briefly touch necessity of understanding the import- ive, cater to the “feeling” aspect of music
living organism is so profound. In humans, upon linguistic and cultural elements, and ance of keenly engaging with music at an that is an abstract appearance. The
over the ages, music has been found to the added dimension in worship. In the expressive level. At the pinnacle of sheerly musical plane however presents
have even therapeutic effects. Through- second section, I will then present my musical listening experience is the sheerly the objective reality of musical notes,
out history, music has been an integral thoughtful reflections and analysis of how musical plane. Professional musicians their manipulations and interpretations.
part of human lives across different music has been used and evolved through typically listen to music in this plane giving In a gist, Copland calls for musical listeners
civilizations playing a key role in evolving time periods in Christian Worship and a mindful ear to "the notes themselves to engage more consciously with an active
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cultures. It is thus no surprise that music where it stands today. In the final section, and their manipulation" as mentioned in listening process and he puts it this
plays a vital role in “worship” across most I will then present my arguments con-, the book. A caveat here though for way:"a more conscious and aware list-
if not all religions or spiritual beliefs. victions and call as to how every believer, professional musicians is that this de facto ener-not someone who is just listening,
Specific to Christian Worship, it is then especially those anointed with music mode can also become a disservice but someone who is listening for some-
necessary to judiciously perceive and associated gifts, must seek to further robbing them of the ability to enjoy at a thing" 1
interpret the similarities and differences Christian Worship employing the gift. sensual level.
in roles that music plays within it vis-a-vis He also admits that these planes of
outside of it. Musical Framework The compositional process described listening don't function in a mutually
In his 1939 book, What to listen for in in this book also would be meaningful to exclusive manner, more so with a keen
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Within the limited scope of this short music , Aaron Copland discusses three the exploration and understanding of the listener who would constantly switch
research paper, I will be doing a walk levels of listening to music: sensuous, role of music in Christian Worship and I planes through the course of the musical
through three areas and present view expressive, and sheerly musical. The first will refer to this section later in the study. work.
points from a theological (Bible-centred) level is the sensuous level. It is the According to Copland, and observed wid-
understanding as well as personal appreciation of music at the most basic ely, the inspirational aspect of compos- Now how does this musical frame-
experiences. Firstly, I will use the frame- level - to derive pleasure or be enter- ition is sometimes overhyped at the work pertain to our topic? I view Aaron
work of the three levels of listening to tained by it. There is no serious engage- expense of the actual systematic process Copland's well expressed framework as a
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