American contributions to church music

Filed in Free Lessons on June 11, 2011



I am working on a project for next year that I hope will celebrate American contributions to church music.  As I make decisions on styles and songs, I am finding myself more and more drawn into the historical side of things.

When discussing distinctly American church music, a few genres should definitely be included.

• American folk (including the Sacred Harp singing tradition) and its cousin Southern Gospel
  
• African-American styles (with its jazz influence)
• Gospel songs (so called camp meeting music)
• CCM (contemporary Christian music)
  

In general, those contributions are sneered at by musical elitists and many cases, outright condemned.  There are a number of common complaints.

1) Bach did not write any of it.  I say that tongue-in-cheek, but what I am getting at is that only a small percentage of American music really is designed to model the European classical tradition.  It is rather folk music in that it is designed to appeal to normal people.

2) Isaac Watts did not write the words.  Or, the words are trite and shallow.  This is probably a fair observation.  Most of the music that falls into the categories above is not heavy poetry with deep meaning.  It focuses more on simple truths and emotion. 

3) The music itself is inferior and often immoral.  I will not comment on this one right now except to say I disagree.

To me, the fact that these complaints may have merit does not disqualify the value of the music.  I do not for example believe that all music has to be written like art music with deep words.  It seems to me that "Jesus Loves Me" is a simple song without deep words that has nevertheless been for more influential than the "Hallelujah Chorus" over the past century or so.

And I confess that I get annoyed when I hear the opinion that America has not contributed anything to the development of music itself.  Experts would say that America's biggest influence has been in the area of jazz and that is obviously true.  But even in the folk tradition, I believe American music has been influential in ways are somewhat hard to quantify.

By way of example, we could discuss the Sacred Harp.  My interest in American church music started several years ago as a result of watching a PBS documentary on the Sacred Harp tradition.  That music is sort of a rural folk music  that  like most folk music, is very rooted in pentatonic scales. When you hear it performed, it often feels a bit plodding but it is very happy, emotional music.  Perhaps you have heard the song "Come Thou Fount of Every Blessing" with this chorus:

I am bound for the kingdom,
will you go to glory with me?
Hallelujah, praise the Lord.

When arranging this kind of music, it screams for an upbeat, happy treatment perhaps with a fiddle.  That jubilant feeling is in itself an American contribution that I want to capture on my upcoming project.

If you know of other songs from the Sacred Harp that you really like, please send them my way.  In fact, if you know of any songs that are distinctly American in style that have impacted you, please send me your recommendations.  I really only have about half the songs picked out.

And what are your thoughts about what America has contributed (if anything) to the development of church music?


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An interested reader
6/13/2011 12:31:34 AM

Wow - this is an interesting line of thought, and could really make a great product with lots of variety.

The gospel song - Osbeck calls it America's greatest contribution to hymnology. Ruffin's bio of Fanny Crosby defines it as "a light, informal hymn written in the style of a popular ballad." The congregational songs in many of our churches, I'd guess that 50-75% are gospel songs from the 2nd half of the 19th century. What I find most impressive about this time period is the sheer volume of music that was produced, and how much remains in common usage today.

Looking at your CDs, I'd say you already have the gospel song covered pretty well. Go for it, explore these others!

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Jeremiah
6/22/2011 12:21:03 PM

Well, it seems to me that what Americ has truly brought to Christian music - I should say "Christian" music - is the contemporary aspect. I'm not trying to downplay the great American musicians - Fanny Crosby, Philip Bliss, Ira Sankey, and others like them - but honestly, whenever I think "American Christian music" or "American Gospel" I get mental pictures of drumsets and electric guitars. Now, don't get me wrong - there is absolutely nothing wrong with using an electric guitar or a drumset in church, however, the style associated with these instruments is not one with which any devoted Christian should associate himself. Also, including these articles in a church band can be, and often is, a great stumbling block to newer, weaker Christians. Imagine it being your first time ever coming to a Baptist church and up in the front there is a drumset and guitar ensemble. Then the musicians file into their seats and begin to play, and their playing sounds like something you'd hear at a U2 concert. Sure, it would appeal to you, but as a new Christian, fresh out of the world, you then would tend to think that being a Christian isn't really all that different from the way you lived as an unbeliever, which is completely opposite what God expects of His children. So, Greg, in your quest, keep in mind that we as God's children are to behave like we are God's children, and not be as close to the world as possible to make the service "more appealing to the younger generation." Church, and church music, for that matter, is not about "the younger generation", it's about Christ, so try to keep it that way. Also, make sure you don't let the worldly influence of many of these types of music lure you into making the mistake of lowering your standards - remember, that's exactly what the devil is trying to get you to do, so don't give in to him; stand strong on your convictions, Greg; allow God to control your decisions, and you'll never go wrong. Honor God with your music, and He will most definitely honor you in His own special way, in His own special time. God bless you, Greg, and may He continue to give your talent His grace and through you continue to touch the lives of many throughout this world.

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n b mandel
7/4/2011 2:59:49 PM

I can't speak to the other styles, but I know something about Sacred Harp, and the first thing I'd point out is that there's lots of Isaac Watts in the book -- dozens of songs. Also Charles Wesley, and other strong poetry. The second is that while the sound of Sacred Harp as traditionally created (I don't want to use the word "performed") is certainly energetic and vigorous, it is somewhat simplistic to refer to it as generically "happy." Shapenote songs often reflect on the troubles of life and the pangs of death with a distinct enthusiasm for the latter state.

I don't know what you're looking for in a shapenote tune, and I have lots of favorites (that will differ from the next singer's favorites), but you might take a look at 278t, "Love Shall Never Die," a very beautiful (new) minor tune with a Watts text. There's a YouTube video of it from the 2011 Garden State singing.

Or, for the perverse cheer I alluded to above, how about 436, "Morning Sun"? Lively, major, really fun to sing; the text finishes "Your sparkling eyes and blooming cheeks/ Must wither like the blasted rose; / The coffin, earth, and winding sheet/ Will soon your active limbs enclose."

I'll stop now, but you'll find that Sacred Harp singers love to instruct --

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j t thompson
7/7/2011 3:30:08 PM

I just looked up sacred harp songs on the internet and found an index. I was surprised that I could not find any songs I know. I have heard some shape not singing on NPR before and it sounded interesting. I don't know how it would lend itself for piano instrumental music though. I'm sure you'll work your magic and it will sound great.

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