The Power of Making Music in a Group
Yesterday, I was leading music at my church job. I have been a church music director for many years now and am always interested in how the members of the congregation make music.
If asked to join the choir, many of the members of the congregation refuse stating something along the lines of "You wouldn't want my voice in the choir. I'm not a good singer." No matter how many times I reassure them that singing in the choir is not about individual voices but the group as a whole, they appear to worry that their singing will bring the group's musical prowess down. In the many years that I have been the leader of the music at this church, all of the folks outside the choir still focus on the product of our singing rather than the process of singing.
As a music therapist, I focus on the process of music making rather than on the product. Now, that's not to say that I am not excited when my choir members conquer a particular passage or piece, but I am more interested that the members of the choir enjoy their time singing and that the congregation finds their worship experience enriched by the music presented during the service than perfection. If we miss a note or two, that is fine with me. The composers are not present in our worship services so they don't know we are butchering specific passages. Some days we just simply get through our selected piece. I do not believe that this diminishes our participation in the worship setting, but rather enhances it.
I am a big fan of William W. Sears' chapter in Music in Therapy entitled Processes in Music Therapy (Sears, 1968). As an honorary "grand-baby" in music therapy of Gaston and Sears (raised in music therapy by a therapist/professor who learned the profession from both of those men), I have read and reread the introductory chapters of Music In Therapy many times.
The chapter authored by Dr. Sears outlines "theoretical understanding of the function of music in therapy (p.30)." Sears presents three different classifications for music within the domain of therapy: experience within structure; experience in self-organization; and experience in relating to others (p. 33). Under each of these classifications, Sears delineates several functions of music. If you haven't read this chapter, I suggest that you do so. I believe that Sears made an excellent case for the value of music as a therapeutic medium, and all music therapists need to know these functions when placed in situations where we must justify our profession to others.
I'm going to focus one part of the last classification, experience in relating to others. Sears states that "music provides means by which self-expression is socially acceptable (33-34)." My congregation members who refuse to sing in the choir due to their views of their voices and talents can sing within the structure of a hymn in a church. They can bellow, slide, warble, or wobble when they are singing with many other people. The joy of making music their way is greater than their individual hangups about their vocal quality. In the group setting, they feel comfortable singing. In the choir, not so much. There is a bit of anonymity when you are part of a group of 70 people.
As a part of my training as a music therapist, I ensure that members of the congregation have ample opportunities to make music as a group. We sing old, familiar hymns and new praise songs. We use our bodies, our breath, our words to share a common experience - that of worship in our particular faith community. The power of that experience appears to enrich our sense of community as well as enriching our cohesion as a group.
Long story short - sing. One of my favorite songs states it best.
Gaston, E. T. (Ed.). (1968). Music in therapy. New York: Macmillan.
Raposo, J. (1970). Sing [Recorded by Sesame Street Cast Members]. On Sesame Street Episode 0273. New York: Jonico Music, Inc.
Sears, W. W. (1968). Processes in music therapy. In E. T. Gaston (Ed.), Music in therapy. New York: Macmillan.
If asked to join the choir, many of the members of the congregation refuse stating something along the lines of "You wouldn't want my voice in the choir. I'm not a good singer." No matter how many times I reassure them that singing in the choir is not about individual voices but the group as a whole, they appear to worry that their singing will bring the group's musical prowess down. In the many years that I have been the leader of the music at this church, all of the folks outside the choir still focus on the product of our singing rather than the process of singing.
As a music therapist, I focus on the process of music making rather than on the product. Now, that's not to say that I am not excited when my choir members conquer a particular passage or piece, but I am more interested that the members of the choir enjoy their time singing and that the congregation finds their worship experience enriched by the music presented during the service than perfection. If we miss a note or two, that is fine with me. The composers are not present in our worship services so they don't know we are butchering specific passages. Some days we just simply get through our selected piece. I do not believe that this diminishes our participation in the worship setting, but rather enhances it.
I am a big fan of William W. Sears' chapter in Music in Therapy entitled Processes in Music Therapy (Sears, 1968). As an honorary "grand-baby" in music therapy of Gaston and Sears (raised in music therapy by a therapist/professor who learned the profession from both of those men), I have read and reread the introductory chapters of Music In Therapy many times.
The chapter authored by Dr. Sears outlines "theoretical understanding of the function of music in therapy (p.30)." Sears presents three different classifications for music within the domain of therapy: experience within structure; experience in self-organization; and experience in relating to others (p. 33). Under each of these classifications, Sears delineates several functions of music. If you haven't read this chapter, I suggest that you do so. I believe that Sears made an excellent case for the value of music as a therapeutic medium, and all music therapists need to know these functions when placed in situations where we must justify our profession to others.
I'm going to focus one part of the last classification, experience in relating to others. Sears states that "music provides means by which self-expression is socially acceptable (33-34)." My congregation members who refuse to sing in the choir due to their views of their voices and talents can sing within the structure of a hymn in a church. They can bellow, slide, warble, or wobble when they are singing with many other people. The joy of making music their way is greater than their individual hangups about their vocal quality. In the group setting, they feel comfortable singing. In the choir, not so much. There is a bit of anonymity when you are part of a group of 70 people.
As a part of my training as a music therapist, I ensure that members of the congregation have ample opportunities to make music as a group. We sing old, familiar hymns and new praise songs. We use our bodies, our breath, our words to share a common experience - that of worship in our particular faith community. The power of that experience appears to enrich our sense of community as well as enriching our cohesion as a group.
Long story short - sing. One of my favorite songs states it best.
Don't worry that it's not good enough for anyone else to hear.
Just sing, sing a song. (Raposo, 1970).
Gaston, E. T. (Ed.). (1968). Music in therapy. New York: Macmillan.
Raposo, J. (1970). Sing [Recorded by Sesame Street Cast Members]. On Sesame Street Episode 0273. New York: Jonico Music, Inc.
Sears, W. W. (1968). Processes in music therapy. In E. T. Gaston (Ed.), Music in therapy. New York: Macmillan.
Very well stated. My frequent response to people who say they can't sing well enough to be in the church choir is the Bible states to "make a joyful noise" rather than be an expert musician.
ReplyDeleteI use that verse as well. Most of my folks just laugh and say something along the line of "He never heard me sing." Ah, the theoretical and theological issues that that comment brings up!
ReplyDeleteThanks for the comment! mj