Why in Heaven's name would anyone want to spend huge amounts of weekly tithing to install a State of the Art (SOTA) sound system into a house of worship? Better yet, why on earth would any house of worship deem it necessary to get into the sound reinforcement/concert business? Is it all just pomp and circumstance, a vanity stemmed from coveting a neighboring congregation's techno wizardry, or is there a higher purpose? Although the icon of holiness presented to the world is still an image of men clothed in robes and sandals, delivering "The Word," while riding bareback upon donkeys; the fact remains that most religious institutions, regardless of their doctrine are taking a much more modern approach to reaching their congregations and prospective new members. Despite the serious business of teaching any religions, there is much evidence that throughout the ages the gathering of the "the flock," to a particular house of worship, and thus a set of beliefs, has not been without its pageantry or sense of entertainment.
From the time of the first temple in Jerusalem, churches and synagogues have all strived to express the magnitude and glory of the non-corporeal world by building massive, ornate structures and filling them with beautiful art and music to celebrate the Creator and the splendor of the creation. Churches such as The Abby of Saint-Denis in France, built between 1140 and 1144, utilized a bold Gothic design. This same design would later become the model for most twelfth -century churches as well as other religious structures, such as the oldest surviving European synagogue, the Alteneuschule Synagogue in Prague (built in 1279). These houses of worship with their towering arches, intricate spires and beautiful stained glass windows were built with the intention to squelch the hubris of man while at the same time paying homage to God.
Much of the early church music was drawn from Syrian and Hebrew influences, and music played an important part of early Greek religious ceremonies. Hymns and Psalms were sung and chanted in early Hebrew temples and during Pope Gregory's reign (590-604) the first chants, now known as Gregorian Chants, were written to be performed in the church. By the Middle Ages, music had become central to the Mass. As time progressed, various composers employed by the Church began to alter and expand upon the basic Gregorian Chant to the point that many singers refused to perform them due to their complex harmonies and rhythms. This led to the church organist having to play the altered music unaccompanied by vocals or orchestra, which then transitioned into the organist being required to improvise and expand upon the theme of the melody. This new musical expression was the creation of liturgical organ music.
Unfortunately, the added counterpoint, the changing rhythms, the appended harmonies and specifically the lack of vocals mystified and alienated many of the parishioners. Therefore it came to pass, at the council of Trent, that church leaders decreed "Music for worship should be simple enough to include all members of the congregation." Shortly after, the composer Palestrina under the direction of Pope Marcellus, simplified the music and brought the lyrics to the forefront of the presentation. By the 17th and 18th exquisite Masses and other sacred music were being composed and performed by some of history's greatest composers including Handel, Mozart, Scarlatti, Monteverdi, Beethoven and Bach.
The Church's need for inspirational music was well known and in 1723 Bach was appointed Kapellmeister and choir leader of Saint Thomas Church in Leipzig where he composed many of his greatest works. He was fast becoming known as a composer, but it was his accomplished musicality as an organist that drew people to the congregation. Imagine how the sound of Bach playing pipe organ in a cathedral might lead to a religious experience, or imagine how a choir performing one of his choral pieces might actually be a transcendent moment. Remember that those awe-inspiring cathedrals with their vertigo-inducing architecture, intricate mosaics, painted ceilings and inspired frescos were also known for their sonorous qualities. These were hallowed halls where art and religion merged and music, being a bit mystical in its own right, was either one of the lures that brought the masses to a particular church or one of the foundations that kept them returning on a regular basis.
Church leaders were not oblivious to the fact that they were offering entertainment as well as redemption to their congregations, nor were they oblivious to having to do business on the corporeal plain as well as the spiritual. As witnessed by the decision at Trent to keep the sacred music accessible to the masses it must be assumed that they were fully aware of the value of sound as a marketing tool. Their composers were the best and most innovative; their musicians were well-trained and of the highest caliber; their singers could mesmerize an audience while the sound of the choir resounding throughout those sacrosanct gothic halls must have been as close to a heavenly manifestation as humanly possible. Envision a time when music was not as accessible as it is in our modern world and then imagine the joy of hearing the famous castrati Farinelli or Caffarelli, with their eerily beautiful voices, singing in the Sistine choir to the music of Monteverdi. Or, if you can, picture a Sunday Mass and the delight of hearing a Bach choral performed in a spectacular cathedral.
The power of music to attract and keep an audience is immeasurable and the allure has not diminished. Over the years church construction has been altered; the music played in the churches has been amended to appeal to modern tastes and our culture has changed drastically. Technology has transformed the way we see and hear the world and during a sermon a minister may be speaking not only to his immediate congregation but to a television and radio audience as well. Sacred music is presented in the form of R&B music, rock music, country and folk music, all the while preserving the message yet delivering it via another medium to a congregation of people who now hear in a new, technologically conscious manner.
Despite all of the technological advances throughout the ages, the balancing act between body and spirit is still a riddle that we try to solve on a daily basis. Much has changed since Medieval times, but the constant which remains is that music and theatrics are still capable of drawing a crowd and selling a product, whether it is beer, fealty or redemption.
The one difference is that this new generation of performers and composers requires 10 mixes of monitors (with stereo side-fills), effects and dynamics, wireless microphones, digital consoles, a line array system, a delay system, acoustical treatment and, in all probability, moving lights to deliver the cleanest, most heavenly sound and image possible. Let us not forget that the best preachers, artists, musicians and perhaps architects are by nature theatrical, and it is their passionate performance that elicits an emotional response from an audience in their pursuit to relay a message or sell an idea. Let us also be aware that while a sound system, in all it's glory, may not be a gothic arch, a Mass by Bach, a Papal sermon nor a Michelangelo masterpiece, it is still a modern marvel that, used correctly, can be an artistic tool in which the divine becomes manifest. In this circumstance, though the medium is not the message, it is certainly the marketing tool with which to deliver it.
E-mail Baker at blee@fohonline.com.
