Sound Theology by Colleen Butcher
Mysterious Mountain
This week I offer you an extended musical work, partly in resonance with the celebration of Earth Day.
American composer Alan Hovhannes grew up in affluent Boston and found musical champions in the burgeoning orchestral world of Boston and New York. His second symphony, titled ‘Mysterious Mountain’ was commissioned by Leopold Stokowski. Composed in 1955, the piece was labeled “accessible” by the critics, a virtual death-knell for composers in the 21st century, but the work’s lush harmonies were a stark contrast to 12-tone and avant garde music of the 1950s and critics seemed relieved to experience music that welcomed them instead of making them work for their pay…and the audiences did too. This symphony has become Hovhannes’ most recorded work. read more…
Notes are Nice, But They’re Not the Main Thing
In the opening book of his Narnia series, C. S. Lewis describes Aslan “singing” creation into being.
“A voice had begun to sing. It was very far away and Digory found it hard to decide from what direction it was coming. Sometimes it seemed to come from all directions at once. Sometimes he almost thought it was coming out of the earth beneath them. Its lower notes were deep enough to be the voice of the Earth herself. There were no words. There was hardly even a tune. But it was, beyond comparison, the most beautiful noise he had ever heard.” read more…
If You Stopped Playing Notes, Music Would Still Exist
Last week, we began the exploration of Victor Wooten’s imaginative book called “The Music Lesson.” This week we build on the foundational metaphor of “groove,” by challenging our understanding of the importance of “notes.”
This extended quote from the book gives you a preview of where we’ll be going in the next few week, and highlights the issue of notes: “Now, we have ten different but equal parts of Music: notes, articulation, technique, feel, dynamics, rhythm, tone, phrasing, space, and listening. We could have made our list one hundred or one thousand elements long, but for now, we will stick with these ten. Is that okay with you?” “They work for me.” “Good. Think about all ten of these elements and tell me this: When most teachers talk about music theory, which element are they usually talking about?” I thought for a few seconds. “Well, ‘notes,’ I guess.” “Good, what else?” I tried, but couldn’t think of anything else. “Notes,” I repeated. “That’s right,” he laughed. “Notes, pitches, and that’s it! All the fuss about learning music theory, and now we see that most teachers only teach you how to use one tenth of the elements on our list! Their music theory only teaches you how to use notes . . .” (page 40)
Are notes really required in order to make music? What combination of notes determines whether there is music? Is it true that if you stopped playing notes, there would still be music? What, exactly is music? And, how narrowly or broadly are you willing to allow your definition of music to roam? Is ‘Grunge’ music? Country? How about ‘12-tone?’ Or ‘rap’? ‘CCM’? ‘Opera?’
What about silence?
In 1952, John Cage produced a composition that embodied the idea that ‘music’ is not just the notes. If you’ve never seen it performed, Cage’s 4’33” is one of the most important, and controversial, musical compositions of the 20th century. In this work, Cage expressed his belief that music is more than notes, and that listening requires intention. 4’33”is not a gimmick; it is a provocative way to ask the question “what is worth listening to?” Or, if you stopped playing notes, would there still be music?
Silence is not the absence of sound: the energy of sound, the vibrations of sound are all around us, all the time. Silence is the practice of focusing one’s attention to hear the music of creation, the sound of the Creator, the groove of the Triune Being.
Your personal musical tastes may be diverse, but does your definition of music include silence? We are often too busy to listen. The relentless treadmill of “notes” drowns out the music that forms the groove for our being. The cultural soundtrack blares from every corner. Are you willing to be intentional about listening for the music that doesn’t require all of those notes?
If you stopped playing notes, music would still exist. If . . . If you stopped playing notes. Notes alone are not enough to make music. There is music. Everywhere. Join the song that is already playing. Hearing that song might mean spending some time in silence.
Simon & Garfunkle, The Sounds of Silence
http://youtu.be/eHlXoxSUPQ0
Miles Davis, Ascent from The Complete “In A Silent Way” Sessions
http://youtu.be/rDLV9A7-ALM
Don’t Lose the Groove to Find a Note
In the grand dance of the Trinity, we have a place because that is how it was designed. We all belong; we each have a part to sing. Joining the dance, entering into the participation, finding the ‘sweet spot’. . . these could also be called the “groove.”
In his book “The Music Lesson,” author, environmentalist, mentor and one of Rolling Stone’s top 10 best bass players *ever* Victor Wooten, describes seven life lessons using the images and metaphors of music. His first lesson is “Don’t loose the groove to find a note.”
When we’re in step, in motion, engaged in the movement of the Spirit, we’re in the midst of something bigger than we are. Bigger than our limited knowing. Bigger and more inclusive than our narrow listening. When we’re in God’s groove, we are able to see and hear and move in ways that are honest to our deep passions, ways that honour the truth of “Christ in us!”
Victor Wooten has given us a metaphor that helps us to trust and live into the groove of the Trinity that surround, holds and enlivens all of creation. Finding ourselves in the groove is our truest way of being. We don’t need to reach for something outside of that groove, or look for that show-off note that will shine the spotlight on us. We shine most when we move to the groove of the Spirit, listening for the tuning fork of Jesus, singing our unique melody of love.