RESONANCE: A MUSIC DIRECTORS

THEOMUSICOLOGICAL STUDY OF PRAISE AND

GLORY IN A SELECTION OF FOUR LITURGICAL
MUSIC EXCERPTS
John Chun-kuo Ong, B.Eng, M.Mus.

Thesis Prepared for the Degree of

MASTER OF ARTS (Research)

QUEENSLAND UNIVERSITY OF TECHNOLOGY

CREATIVE INDUSTRIES FACULTY
SCHOOL OF MUSIC

March 2011

The work contained in this thesis has not been previously submitted to meet
requirements for an award at this or any other higher education institution. To the best
of my knowledge and belief, the thesis contains no material previously published or
written by another person except where due reference is made.

Signature:
Date:

Preface ............................................................................................................................................................6

PART 1: A MUSIC DIRECTORS VIEWPOINT OF CHURCH MUSIC AND

ITS EFFECTS.................................................................................................. 8
Introduction ...................................................................................................................................................8
Chapter 1: Church Music and Religious Ecstasy ....................................................................................9
1.1 Music and Culture within the Local Church
1.2 Relationship between Music and Christianity
1.3 The Experiences of Religious Ecstasy
1.4 Differentiating Religious Ecstasy from a State of Ecstasy
1.5 Sacred Music-making and the Church

9
10
11
13
14

Chapter 2: Role of the Music Director in a Contemporary Evangelical Church.............................15

2.1 My Role as a Contemporary Church Music Director
2.2 Connectivity through Musical Liturgical Systems
2.2.1 Humanistic and Spiritualistic Transaction
2.2.2 Functional Constitution
2.2.3 Organic Individuality
2.2.4 The Contemporary Connectivity: Praise and Worship Session
2.3 Awareness of Contemporary Sacred Music-making

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16
17
18
18
19
20

Part 1: Conclusion ......................................................................................................................................21

PART 2: RELATIONSHIP BETWEEN EMBODIMENT AND MUSICAL

LITURGICAL SYSTEM ................................................................................. 22
Introduction .................................................................................................................................................22
Chapter 4: Embodiment and Disembodiment in relation to the Christian Liturgy ........................23
4.1 A Philosophical and Theological View of the Body
4.2 Philosophical viewpoint of Embodiment
4.2.2 Embodiment in Relation to the Church Liturgy
4.3 Theological Viewpoint of Disembodiment
4.3.1 Disembodiment in relation to the Church Liturgy

23
24
26
26
27

Chapter 5: Music Liturgical Systems and Beliefs in a Shifting Church Paradigm .........................30
5.1 The Ideology of Worship: Emphases and Effects
5.2 Embodiment and the Pentecostal/Charismatic Music movement
5.3 Disembodiment , the Catholic Church Music Movement and Oratorios
5.4 Selection of Sacred Music

30
31
33
38

Part 2: Overview and Outcomes...............................................................................................................39

PART 3: RESEARCH METHODOLOGY: CREATIVE CASE STUDY.......... 41

Introduction .................................................................................................................................................41
Chapter 6: Criterion of Spiritual Pieces for Creative Case Study......................................................42
6.1 Selection of Spiritual Music source
6.2 The Notion of Praise and Glory
6.3 Music Criteria

42
42
44

Chapter 7: Towards a Creative Case Study Methodology...................................................................46

7.1 Defining a Creative Case Study Method

46

7.2 Creative Case Study Toolbox: Theomusicology

7.2.1 Music semiotic Studies
7.2.2 Aural and Visual Music Analytical Study
7.2.3 New musicology and Computational Methods
7.2.4 Observational Case Study
7.2.5 Oral and Sonic Narratives
7.4 Comparative Study

47
48
50
51
54
56
58

Part 3: Conclusion ......................................................................................................................................60

PART 4: CRITIQUE AND RESPONSE ......................................................... 61

Introduction .................................................................................................................................................61
Chapter 8: Creative Case Study ...............................................................................................................62
8.1 Selection of Traditional and Contemporary Sacred Music

62

The Traditional Pieces of Sacred Music....................................................................................................62

8.2.1 Creative Case study 1: Gloria by Giovanni Pierluigi da Palestrina
8.2.1.1 Theomusicological Study: Gloria
8.2.1.2 Music Aural/Visual and Semiotic Study: Gloria
8.2.2 Creative Case study 2: Hallelujah by George Frideric Handel
8.2.2.1 Theomusicological Study: Hallelujah
8.2.2.2 Music Aural/Visual and Semiotic Study: Hallelujah

62
63
66
74
75
76

Contemporary Sacred Music ......................................................................................................................86

8.3.1 Creative Case study 3: Glory by Reuben Morgan
8.3.1.1 Theomusicology Study: Glory
8.3.1.2 Music Aural/Visual and Semiotic Study: Glory
8.3.2 Creative Case study 4: Hallelujah by Rolf Wam Fjell, Matthew Tennikoff & Marty
Sampson
8.3.2.1 Theomusicological Study: Hallelujah
8.3.2.2 Music Aural/Visual and Semiotic Study: Hallelujah
Towards the Notion of Glory and Praise ...................................................................................................99
8.4 Comparative Study of Sonic Narratives
8.4.1 Tonal and Rhythmic Properties Towards Praise
8.4.2 Tonal and Rhythmic Properties Towards Glory
8.5 The Notion of Resonance
8.5.1 Metaphorical
8.5.2 Physical
8.5.3 Mechanical
8.5.3.1 Transferability of Musical Concepts
Conclusion ..................................................................................................................................................117
Bibliography ..............................................................................................................................................119
Bible References ........................................................................................................................................131
Glossary ......................................................................................................................................................134
Appendix A ................................................................................................................................................140
Appendix B.................................................................................................................................................163
Appendix C ................................................................................................................................................165
Appendix D: ...............................................................................................................................................165

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93
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99
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100
102
102
105
109
114

Appendix E: ...............................................................................................................................................167
Appendix F: ...............................................................................................................................................171

Preface
Some of my most powerful spiritual experiences have come from the splendorous and
sublime sounding hymns performed by a choir and church organ at the traditional
Anglican church Ive attended since I was very young. In the later stage of my life,
my pursuit of education in the field of engineering caused me to move to Australia
where I regularly attended a contemporary evangelical church and subsequently
became a music director in the faith community. This environmental and cultural shift
altered my perception and musical experiences of Christian music and led me to
enquire about the relationship between Christian liturgy and church music.
Throughout history church musicians and composers have synthesised the theological,
congregational, cultural and musical aspects of church liturgy. Many great composers
have taken into account the conditions surrounding the process of sacred composition
and arrangement of music to enhance the experience of religious ecstasy they
sought resonances with Christian values and beliefs to draw congregational
participation into the light of praising and glorifying God. As a music director in an
evangelical church this aspiration has become one I share. I hope to identify and
define the qualities of these resonances that have been successful and apply them to
my own practice.
Introduction and Structure of the Thesis
In this study I will examine four purposively selected excerpts of Christian church
vocal music combining theomusicological and semiotic analysis to help identify
guidelines that might be useful in my practice as a church music director. The four
musical excerpts have been selected based upon their sustained musical and
theological impact over time, and their ability to affect ecstatic responses from
congregations. This thesis documents a personal journey through analysis of music
and uses a context that draws upon ethno-musicological, theological and semiotic
tools that lead to a preliminary framework and principles which can then be applied to
the identified qualities of resonance in church music today.

The thesis is comprised of four parts. Part 1 presents a literature study on the
relationship between sacred music, the effects of religious ecstasy and the Christian
church. Multiple lenses on this phenomenon are drawn from the viewpoints of
prominent western church historians, Biblical theologians, and philosophers. The
literature study continues in Part 2, where the role of embodiment is examined from
the current perspective of cognitive learning environments. This study offers a
platform for a critical reflection on two distinctive musical liturgical systems that have
treated differently the notion of embodied understanding amidst a shifting church
paradigm. This allows an in-depth theological and philosophical understanding of the
liturgical conditions around sacred music-making that relates to the monistic and
dualistic body/mind.
Part 3 involves undertaking a theomusicological methodology that utilises creative
case studies of four purposively selected spiritual pieces. A semiotic study focuses on
specific sections of sacred vocal works that express the notions of praise and
glorification, particularly in relation to these effects,which combine an analysis of
theological perspectives around religious ecstasy and particular spiritual themes. Part
4 presents the critiques and findings gathered from the study that incorporate
theoretical and technological means to analyse the purposive selected musical
artefact, particularly with the sonic narratives expressing notions of Praise' and
'Glory. The musical findings are further discussed in relation to the notion of
resonance, and then a conceptual framework for the role of contemporary musicdirector is proposed.
The musical and Christian terminologies used in the thesis are explained in the
glossary, and the appendices includes tables illustrating the musical findings,
conducted surveys, written musical analyses and audio examples of selected sacred
pieces available on the enclosed compact disc.

Part 1: A Music Directors Viewpoint of Church

Music and its Effects
Introduction
Music has always been intimately connected with Christian spirituality. The church
liturgical system viewed music as a structure carrying doctrines across the obstacle of
faith by bridging the realm of spirituality to humanity. Music is both reflexive and
generative (Blacking 1995, 223), and holds a significant role in the church despite
its effects, pleasure and threat which were forewarned by prominent Christian leaders
and theologians (Hanning 1998, 8-12).
The first part of this thesis compares traditional and contemporary Christian liturgical
and musical practice, taking into account the ideologies and context surrounding the
art of music-directing. In my role as a music director serving in an urban church in
Brisbane, Australia, my journey around an extensive musical map, connects
amidst theological obligation, ceremony, culture and musical taste. The skill and form
of practices of a church music director are at times indistinct from explanation. In
particular, the notion of music embodiment is highlighted in view of its essential
connection with the believers spiritual experiences and the instigation of their
experiences of greater intimacy, or religious ecstasy, within the Christian faith.

Chapter 1: Church Music and Religious Ecstasy

1.1
Music and Culture within the Local Church
Due to acoustic noise regulations, the considerable volume level of the drum kit
diminished for a few months from my church worship which had involved
contemporary rock-based Christian music. It was this change in my church music
experience that first made me conscious of the idea of resonance in church music.
Before that, the dynamic presence of the drum kit in the midst of a three hundred seat
capacity auditorium was clear. This change led to occasional discussions around
personal expectations of quality worship that often associated with an elaborate
band setting that regularly contributes to the ecstatic celebration of a church
gathering. These selected participants (from the surveys I conducted) emphasise the
physical, emotional and musical effects associated with the drum kit:
A worship leader sensed that God wanted to call His church to arise as an
army, so while singing We are marching in the light of God, a marching beat
was played on the drums, which enhanced the sense of what God was
communicating with His church (Julia, Survey interview, June 21, 2009).
It does make it easier to praise God more enthusiastically with drums. It also
does make it easier to flow with the worship with a full band compared to just
one or two instruments, depending on the level of skill of the musicians (Cat,
Survey interview, June 21, 2009).
At the right time, singing over a solo drum section brings feelings of joy,
victory, boldness (Peter, Survey interview, June 10, 2009).
Drums can bring majesty to a song. It can bring intensity and lift the
atmosphere. It can also bring vivacity and liveliness. Drums can play an
importance in creating musical moods (Carina, Survey interview, June 21,
2009).
The experience of these effects amidst communal participation emphasises the
relationship between music and Christianity and suggests an intricate spiritual,
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musical and cultural condition worthy of inquiry.

1.2
Relationship between Music and Christianity
Music has always played an important role in Christian worship as recorded
throughout the bible; it conveys ideology and structures and facilitates rituals and
religious ceremonies. A personal form of musical and spiritual expression with
emotions of suffering and pleasure are illustrated within the book of Psalms. The
Bible also recorded forms of communal events involving music and spiritual
ministering (1 Chronicles 6:30-32), occasions of celebration (1 Chronicles 15:16-24, 2
Chronicles 5:11-14, Nehemiah 12:26-28), edification and communication (Ephesians
5:18-20, Colossians 3:16). Furthermore the role of communal music-making has an
eternal spiritual significance in the final episode of the Bible, where forms of
exaltation (Revelation 4:11), proclamation (Revelation 5:9-10; 5:12) and celebration
are experienced (Revelation 11:16-18; 12:10-12; 19:1-3; 19:6-8).
The forefathers of the church, St Augustine (Lang 1963, 40-41), St Chrysostom and St
Basil (Portnoy 1973, 2-3), to the contemporary Christian theologians and
musicologists C.S. Lewis (1994, 94-99) and Robert Webber (1994, 195-203), who
stipulated the context of employing music with doctrines to glorify God and edify
humanity. Martin Luther, a reformer and forefather of the Lutheran Church, believed
that there is no art that could be put on the same level with music, since except for
theology, music alone produces what otherwise only theology can do, namely, a calm
and joyful disposition (Luther 2009, 271).
Despite the prevailing consistence of the gospel message, the context and ideology of
music-making within the Western church encountered many tensions throughout
church eras. Such tension was observed in the 16th century, where the Council of
Trent dealt with the issues of polyphonic harmonies and the clarity of the gospel
(Grout & Palisca 1996, 249-256). James Mckinnon, a musicologist most known for
his work in areas of Western liturgical music addresses issues around music and
Christianity at key historical junctures. He states that The antagonism which the
Fathers of the early Church displayed toward instruments has two outstanding
characteristics: vehemence and uniformity. (McKinnon 1998, 69) This significant
issue highlights the adverse function of musical instruments in the ancient cult music

10

and the development of ecclesiastical song in early Christianity, which observed the
absence of instruments from early Christian and medieval church music due to the
classical Greek ethical notions of instruments and the status of instruments in Temple
and Synagogue. The reformation of church led by the Lutherans and Calvinist, despite
their dissimilar ideologies, are purposeful in revolutionising sacred music-making to
facilitate congregation participation (Cusic 2002, 7-9; Basden 1999, 56-57). The saw
the incorporating of musical instruments to the liturgical music. In the 17th century
several genres of sacred music in secular venues such as Grand concerto and Oratorio
(Hanning 1998, 193-195) emerged after the division between Protestant and Catholic
churches.
The production and growth of Christian music has not occurred so much in adversity,
rather it has been shaped by its evolving contexts and values. This kind of syncretism
might be demonstrated in contemporary contexts by observing the escalating genres
of Christian music and worship styles at the Dove Awards (Cusic 2002, 407-442) and
Gospel Grammy Awards (Cusic 2002, 443-454). These developments from the 20th
century to the present-day have had their moments of crisis and have evolved into a
controversial topic surrounding musical, cultural and evangelical preferences amidst a
growing array of Christian music surrounding traditional and contemporary styles in
the church (Basden 1999, 9-10, 26-32). Due to the expanding popular culture
movement, contemporary church communities are no longer influenced by a single
entity of sacred music, but open to a selection of hymns, spiritual and gospel songs
that is fitting to their taste. This creates a monolithic culture within the church
communities, that has a decreasing dominant or common culture (Spencer 1991,
137). In particular, a church experiencing such cultural shifts, observe also an altering
musical liturgical system that is derived from shifting ideologies in sacred musicmaking with the desire to experience religious ecstasy.
1.3
The Experiences of Religious Ecstasy
The effects of ecstasy as a phenomena are described as a state of emotion so intense
that it is beyond rational thought and self-control or an excessive and overmastering
joy or enthusiasm that reaches intense forms of pleasure (Jourdain 1998, 327). The
objective of this chapter has nothing to do with effects of the designer drug,
Methylenedioxymethamphetamine, but instead the transcendent effects of a spiritual
11

experience resulting from religious activities involving music. Ecstatic experience

is scientifically complex to define due to the individual and communal spiritual
encounters that pervade such an inquiry. This chapter aims to examine this
phenomenon through theological insights and collective documented encounters by
prominent Christian leaders.
The experiences of religious ecstasy are discussed in the following literature study. In
relation to the act of praying, the bible records the ecstatic experiences of the Apostle
Peter who fell into a trance while praying on a rooftop, which led him to a spiritual
vision (Acts 10:10-16, 11:5-6). While praying at the temple, the Apostle Paul also fell
into a trace and received divine instructions (Acts 22: 17-21). In relation to music, the
ecstatic-improvisatory characteristics of the Te Deum, observed by St. Augustine
and St. Ambrose on the occasion of St. Augustines baptism were overwhelmed with
solemn ecstasies (Lang 1963, 51). St. Augustine illustrated the ecstatic experience
upon hearing the hymns of St Ambrosian:
How abundantly did I weep to hear those hymns and canticles of Thine,
being touched to the very quick by the voices of Thy sweet church songs!
Those voices flowed into mine ears, and Thy truth pleasing distilled into my
heart, which caused the affections of my devotion to overflow, and my tears to
run over, and happy did I find myself therein (Lang 1963, 48).
Likewise, St. John Chrysostom testified to his experiences of religious ecstasy
through music with these words:

Nothing so uplifts the mind, giving it wings and freeing it from the
earth as modulated melody and the divine chant (St. John
Chrysostom (345-407) c.400 (Strunk 1950, 67).
This intricate experience was described by St. Gregory of Sinai, an early Father of the
church, as the "total elevation of the soul's powers towards the majesty of divine
glory...". The state of religious ecstasy is not attained through personal means,
however it emerges beyond conceptual reasoning when encountering divinity, through

12

a personal expression subjected to the passionate desire known as Eros (Palmer

Ware, 1998).
In a more present context, the experience of religious ecstasy can be seen in
sacramental activities that involve the use of music. These musical and spiritual
experiences are documented in an article which notes the use of intense music to
inflame the spiritual fervour of the congregation attending a contemporary
Pentecostal movement (Eskridge 2006).
Within these collective evidences of religious ecstasy the experience may differ from
person to person, yet they share a common tendency in the reduction of external
awareness towards their surroundings and the expansion of the interior mental and
spiritual awareness. The outcomes of these experiences vary with the receiving of
spiritual visions and words. This leads to an emotional and physical euphoria that is
vital to the individual and communal spiritual well-being of the faith community.
1.4
Differentiating Religious Ecstasy from a State of Ecstasy
This concept of religious ecstasy involves spiritual beliefs and should not be confused
with non-spiritual means of achieving ecstatic experience. The state of a religious
ecstasy is derived from a religious experience, regardless of the characteristics of
ecstasy or the means by which it was induced (Laski 1990, 171). The differentiation
of this experience against a non-religious experience of ecstasy is crucial to establish
a clear indication of the outcomes in this research that deals with only religious
implications. The duration of these experiences were short-lived, phenomenal
experiences, which caused an intense emotional state (Laski 1961, 57). Hence a
plausible implication used to distinguish a state of religious ecstasy from other
experiences of ecstasy is signified through the emotional state, which differed from a
psychological effect that surrounds the body when environmental conditions change
(Young 1973, 750). An environmental condition that arouses the state of emotion can
be devised through the musical tension and expectations, where meanings are created
(Radocy and Boyle 1979, 183) based around the listeners perception and response
(Meyer 1956, 13-32). Furthermore, the accompanying musical experiences are
essential to the creation of meaning or the sense of mutual possession because this
reciprocal relationship between music and the listener increases the experiential value

13

of ones spirituality (Bowman 1998, 277).

1.5
Sacred Music-making and the Church
In this chapter I have briefly summarise the issues, developments and diversity
present in music by discussing viewpoints drawn from Western church literature.
Particularly in the spiritual and social connectivity where the liturgy and Church
sacred music often connects the points of humanity and spirituality, between believers
of the church and the church of believers, church goers and non-church goers in the
endeavour towards religious ecstasy.
The process of sacred music-making often generates concerns around the role of a
church music-director, who needs to know how to interpret the varying musical and
cultural aspects within different church denominations (Strimple 2007). This
knowledge is often learned on the job due to the cultural diversity and often with
little theological and musicological education. In the same way, this job involves a
partnership with the church minister and worship leader and requires the knowledge
of historical western worship forms, global music and the latest forms of electronic
technology (Dearborn & Coil 2004, 9-10), and the judement to choreograph a
musical experience that evokes a purposeful spiritual experience.

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Chapter 2: Role of the Music Director in a Contemporary

Evangelical Church
2.1
My Role as a Contemporary Church Music Director
The role of a contemporary church director requires more than a general knowledge
of musicianship. Knowledge of liturgical and church administrative matters is
necessary to provide a framework amidst the collaborative affiliation between the
church minister and worship leader. Upon receiving direction from the worship leader
who has established a spiritual theme, it becomes the music directors responsibility
to conduct and rehearse a band of musicians. The mutual responsibilities involve
curating, hosting, directing and composing or arranging a musical experience that has
a combination of good performance and the breeding of good participation
(Evans 2006, 15) in accordance with the church liturgy.
The better the band is the more likely you will want to sing to it People like
to sing along to something rather than be the singer. We all sing along to the
radio and, rather than knocking that, we should be thinking this is a good
thing The very best performers are the ones that get you so involved you are
transported. Poor performance leads to people being left out. I work harder
onstage at the front of church than I do at my gigs because all those
techniques of audience connection, being truly yourself and becoming a
magnet of what they want to do, rather than doing something that interferes
with them. (Evans 2006, 15)

These kinds of phenomena are also evidenced in the analysis of the survey
questionnaire (refer to Appendix B, Survey Form: Music and Christian Spirituality),
where participants identified that one of the means of facilitating a good experience
of worship equated to a positive sense of engagement with the music. The participants
generally viewed a quality worship experience to involve the aptitude of genuineness
and an unconscious status of the personal self and surroundings so as to encounter
God intimately. While the maturity of the believer ultimately influences the personal
quality of worship, the extent of a good performance by the band through engaging,
influencing, persuading and directing is essential to create meaningful and appropriate
musical experiences that related to spirituality. This notion of a good performance
surrounds the use of appropriate sounds associated with spirituality, not by means of a

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natural process of rigid musical arrangements, but a supernatural process that is fluid
in nature. This process relates to a reasonably unscripted and improvisatory musical
arrangement that is inspired by a devoted spiritual and social connection. (Evans
2006, 16).
For this reason, the connection around my practice involves two aspects. Firstly, my
personal refinements that relate to the musical and theological knowledge and skill
development. Secondly, the communal interaction with other practitioners and
members of the community participating in this musical and spiritual connection. This
personal journey brings to actualisation the effects of acquired knowledge and skill;
the aim is to create connectivity between humanity and spirituality through music to
optimistically reach the summit of religious ecstasy.
2.2
Connectivity through Musical Liturgical Systems
The forms of connectivity amongst the islands of humanity deal with individual,
communal and cultural aspects. Surrounding my role as a music director are
considerations pertaining to individual experiences of spirituality and community
roles in diverse social and ethnic settings. A framework around these connections
relates to a liturgical system based upon the church core values (Hope Church
Brisbane 2010) and statement of faith (Hope Church Brisbane 2010). This religious
movement is based upon the Evangelical/ Reformed and Charismatic movement as
illustrated in the converging movements table (Randy and Wayne 1994, 134-40).
(Table 2.1 below)
Liturgical / Sacramental
Theology
Orthodoxy
Universality
Historic Connection
Liturgical worship
Social action
Incarnational
understanding of the
church (based on theology.
History, and sacrament)

Evangelical / Reformed
Biblical foundation
Personal conversion
Evangelism and
mission
Pulpit-centred worship
Personal holiness
Biblical and
reformational
understanding of the
church (pragmatic and
rational)

Charismatic
Five-fold ministry and
government
Power of the Spirit
Spiritual gifts
Charismatic worship
Kingdom
Spiritual, organic, and
functional
understanding of the
church (dynamic and
informal)

Table 2.1: The Convergence Movement

The connections to my role are identified as humanistic and spiritualistic transactions,

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the functional constitution of the church and the organic individuality of a member of
the church.
2.2.1 Humanistic and Spiritualistic Transaction
This preliminary connection involves a bond between the personas of God, one
and another within the spiritual transaction as illustrated in the Bible verse
(Colossians 3:16), and symbolised by the identity of these islands (Refer to picture
2.2). The word of Christ illustrated through the verse is observed to be the element
of connectivity, which requires the act of teaching, admonishing and the singing of
psalms, hymns and spiritual songs. The following verse (Ephesians 5:19) further
illustrates these activities around the use of music as means of connecting these
personas. Focusing on the entities of humanity concerning one and another brings
to awareness their diverse functionality as habitants amongst these islands.

Spirituality
God

Humanity
One

The word of Christ

Humanity
Another

Picture 2.2

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2.2.2 Functional Constitution

The inhabitants are made distinct by their functions within the Church community and
are often involved in single or multiple roles within these islands. These
functionalities as illustrated in the following Bible verses (1 Corinthians 12:26-28)
included apostles, prophets, teachers and workers. The uniqueness of each function
contributes like a cell in a cluster of cells, forming a tissue, which then contributes to
the overall structure known as the body of Christ, or the church of believers
(Romans 12:4-6).
2.2.3 Organic Individuality
The church where I am music director began in August 1993 and its initial public
meetings were held in tutorial rooms at the University of Queensland. Followed by
the gradual growth of attendants and a developing worship music team, the church
relocated to a lecture theatre in 1996. With the continual growth of the church,
another worship center was established at a centre in Mount Gravatt. The following
year, the University of Queensland church was restructured into two congregations,
where locals met in the morning and international students met in the afternoon.
Subsequently, there was a merger between the congregations attending Mount Gravatt
centre and University of Queensland. As the church continued to thrive, in 2004 an
afternoon service was started which catered for the international congregation.
Currently in 2011, the church has a congregation of 750 people with five church
services held in four different locations in Queensland. The demographic structure of
the church is comprised of local Brisbane and foreign Asians and Caucasians who are
students, working professionals and family groups. The following table (Table 2.3
below) provides an overview of the people and age groups attending the three main
weekly services in 2009.

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Church Services
Friday Youth
Service

Sunday Morning
Service
Sunday Afternoon
Service

Time
Profession
6:30pm 9:00pm High-school
students, university
students, Some
working
professionals
10:00am
Working
professionals and
12:30pm
family groups. Some
university students
3:30pm 5:30pm University students,
working
professionals. Some
young family groups

Age group
16 30 years of
age

20 65 years of
age
18 40 years of
age

Table 2.3: Weekly church services 2009.

2.2.4 The Contemporary Connectivity: Praise and Worship Session

In spite of having a multi-faceted demographic, this churchs source of unification ,
draws from a common belief and faith (1 Corinthians 12:11-13) along with one in
spirit and purpose (Philippians 2:1-3). The essences of unification are manifested
through communal activities, such as the notion of Five-fold Ministry and
Charismatic forms of worship (Refer to Table 1). A comparable hallmark of
Charismatic forms of worship is the reliance upon music, which observes the use
of musical instruments in a liturgical activity known as the Praise and Worship
session (Webber 1994, 128-129). The segments in the liturgy, which involve music,
are noted in the following music and liturgy time allocation table (Table 2.4 below).
Time allocation

Liturgical activity

30mins

Praise and worship session: Three to four songs.

10mins

Communion: Reflective and background piano playing.

10mins

Title and Offering: One fast song, usually the chorus of a piece.

10mins

Religious

testimony

and

administrative

announcements:

Reflective and background piano playing.

60mins

Sermon

20mins

Altar Call: Reflective and mediative songs.

Table 2.4: Music and liturgy Time Allocation.

The role of music is significant. As observed in the churchs music and liturgy time

19

allocation table, two thirds of the church service time span involves some form of
music-making. The most significant musical liturgical activity is the Praise and
Worship session, where a selection of four songstwo moderately up-beat and two
with a contemplative mood are used to facilitate congregational singing. Often the
selection consists of songs by composers at Hillsongs church in Sydney.
Symbolically, the two moderately fast songs were observed to invite the church into
the notion of praise as illustrated in the bible passages (Psalm 95: 1-2). Subsequently,
having given the offering of praise, the two moderately slow songs were observed to
engage the church once again into the notion of worship as illustrated in the bible
passages (Psalm 95: 6-7a). These notions are emphasised in the churchs liturgical
theme that aims to evoke acts of divine praise and glory.
2.3
Awareness of Contemporary Sacred Music-making
This section aims to illustrate the role of the music director in a multi-faceted faith
community guided by a musical liturgical framework that promotes forms of spiritual
and social connection. There are implications in the effects of employing music
within the church, as observed by Stapert (2007, 196-199). His arguments based upon
reductionism and mechanism, firstly points out that sacred music has been condensed
to be just a song, thus reducing the traditional belief in the attainable effects of
music to a mere pleasure of music listening. Secondly, he argues and recognises in
relation to theology the superiority bestowed on music to be like all things created by
God. This belief isolated music from the purview of ethical criticism which suggest
the exploitation of music as a sources of human pleasure, resulting in the corrupting
of Gods creation. Thirdly, Stapert argues the relationship between the choice of
music and church growth, where the adoption of music from the ambient culture is
encouraged in view of evangelism and the enrichment of worship. On the contrary, he
suggested that the contextualisation of culture in the gospel could be a risky and
challenging matter that could potentially mislead the believers in their faith.
The awareness of sacred music-making requires the music director to empathise with
the diversity within the present contemporary culture of the faith community. The
discourse suggests not only an evolution in the cultural perception of music, but also a
spiritual evolution of music amongst a generation of churchgoers. Moreover, the
purpose and conception concerning the quality of sacred musicality is diverse

20

amongst these generations, which leads to multiple perceptions of meanings and

implications in music. All in all, this increases the complexity of receptiveness to a
musical language that complements ones viewpoint of music. These arguments steer
my inquisition further into the effects and constituents involved in the process of
sacred music from a music directors perspective.

Part 1: Conclusion
This literature review describes the perspectives and concerns about the exploitation
of music in the Church context by prominent church theologians and musicologists.
The knowledge is reflective of the conditions and approaches surrounding my practice
as a music director in a local Evangelical/Charismatic Church. It underlines the
magnitude of the practitioners function around music to generate a connection for a
community of diverse social, spiritual and cultural forms. Eventually the social,
spiritual and cultural experience around music becomes crucial for a believers state
of religious ecstasy.
Upholding this connectivity is a musical liturgical system embraced by the church
clergy that surrounds a Praise and Worship format. Shaping the development of the
sacred musical format involves shifting ideologies that engage with the notion of
embodiment and musical perceptions. Understanding the relationship between the
embodied self and explicit prominent musical liturgical systems is fundamental to a
practitioners present-day sacred music-making framework.

21

Part 2: Relationship Between Embodiment and

Musical Liturgical System
Introduction
As discussed in chapter 2, the art and knowledge of a music director is constantly
developing around the musical requirements of the church. The development of the
role requires some understanding of present day and traditional musical liturgical
systems. This study focuses on exploring the relationship between embodiment,
liturgy and music within two distinct church eras. The notion of the body is relevant
to the context of my practice, as illustrated by the physical and emotional sensation
associated with the drums (described in Chapter 1) and its relevance to the
philosophical positioning of the body in the church liturgy.
This study considers the cultural and musical changes that have raised queries and
created disputes about the appropriate forms of music in Christian sacred musicmaking (Benedict XVI 1986, 13-22). Furthermore, it will discuss the emphasis on
sacred music-making within prominent church movements by referencing examples
illustrated in the book Experiential Worship (Rognlien 2005, 17-26). The chapter first
describes the process of sacred music-making in relation to the religious and
philosophical notion of embodiment.

22

Chapter 4: Embodiment and Disembodiment in relation to the

Christian Liturgy
4.1

A Philosophical and Theological View of the Body

Language as an important means of communication is limited compared to the

inspiring and intimate expression of music (Otto 1977). A vital characteristic in
musics influence is the necessity for a state of embodiment that surpasses other
human activities (Blacking 1995, 225). Chapter 4 examines the notion of embodied
music cognition amidst a shifting church paradigm that is particularly embedded in
the practices of disregarding and regarding the body in church liturgy.
The notion of embodiment is viewed philosophically as the integration of the
physical or biological body and the phenomenal or experiential body, which
advocates, a seamless though often elusive matrix of body/mind worlds, a web that
integrates thinking, being, doing, and interacting within worlds (Hocking, Haskell
and Linds 2001, 18). In other words, the biological and physical aspects of the human
body functions as a process centre that determines our perception, sensation,
communication, thinking process and social interaction (Macdonald, Hargreaves and
Miel 2002). In view of embodied music cognition, the implications of musical
perception are often related to bodily actions (Leman 2008, 27-49).
Although this notion is significant in the acquisition of information, the body is often
perceived differently by religion and culture. Hinduism regards the body as a means
of liberation from the mind, while Yoga emphasises balance and control of the body
and mind to achieve spiritual freedom (Eliade 1973); likewise in the fundamental
practices of Buddhist traditions (Hanh 2000). In Christianity, the theological
viewpoint in the creation of man suggests three dimensions involving the spirit, soul
and body (1 Thessalonians 5:23). These dimensions are divided into two
representations: the body represents the physical being, while the soul or the mind
represents the spiritual being. In admonishing the body, it is important that believers
offer their bodies as living sacrifices, and be transformed by the renewing of the
mind so as not to concede to sexual, political, and social acts of sin (Romans 12:1-8).
Furthermore, a controversial cultural view observes the scrutinising, ignoring and
23

condemning of the body by western philosophies or religious movements, and is

concerned with the tangible demonstration within cognitive science that the self or
cognising subject is fundamentally fragmented or divided. (Varela, Thompson, Rosch
1993) This view has been challenged by recent studies of cognitive science that
associate physical experiences and reasoning to the spatial awareness, bodily
movement, and the manipulation of objects (Lakoff and Johnson 1999). Moreover, if
embodiment is an existential condition in which the body is the subjective source or
intersubjective ground of experience, then studies under the rubric of embodiment are
not 'about' the body per se. Instead they are about culture and experience insofar as
these can be understood from the standpoint of bodily being-in-the-world (Csordas
1999, 143). This study intends to examine both the philosophical and theological
perspective of this notion to better understand the implications of embodiment in
association with the cultural and social shifts in the church.
4.2

Philosophical viewpoint of Embodiment

Studies relating to the body are commonly relevant in the field of neuroscience
(Cross1999, 10-39; Peretz 2001, 105-134), the cognitive experience (Varela,
Thompson and Rosch 1993; Nez and Freeman 1999), the phenomenological
(Lakoff and Johnson 1999), cultural (Csordas 1999) and the sociological (Turner
1996). This study considers the viewpoints of philosophers Maurice Merleau-Ponty
and Thomas Clifton, whose interest in this elemental relationship is situated between
science, art and experience.
The human body is a complex living organism with outstanding qualities and
exceptional abilities in perceiving and making sense of the environment when
compared to other life forms in the world. Merleau-Ponty illustrated these qualities in
his words, that it is always near me, always there for me, is to say that it is never
really in front of me, that I cannot array it before my eyes, that it remains marginal to
all my perceptions that it is with me (Bowman 1998, 262). Perception is obtained
when the body alongside the mind is, actively and vigorously acquiring knowledge,
as the world is not what I think, but what I live through (Bowman 1998, 262). This
form of acquiring information from an environment suggests a superior position that
emphasises perception through the body rather than the philosophical ideas of the
mind. In conjunction with an individuals realization of the perceived world
24

(Bowman 1998, 260-261), rationality and valuation of surroundings are attained upon
the bodys ability to connect and orientate.
Merleau-Ponty suggests that a purely objective and universal knowledge is gained
from any or all of our human body at once or over a period of time. This is dissimilar
from a perceptually derived knowledge, which is essentially places knowledge within
the human mind. Clifton further illustrates this point.

Previously, psychologists considered that connectivity of the mind occurred because

of a genetic manipulation through learning and experiences (James 1890; Hebb 1949).
More recently, physiological examination of animals has demonstrated that the
connectivity of the human brain can be manipulated through sensory experiences
(Recanzone, Schreiner and Merzenich 1993, 87-103). In relation to musical
experience, the rationalisation of musical spaces was never strictly based on the
auditory system. Clifton points out that the whole human body is a synergetic
system that reacts to a musical situation tangible through visual and auditory
functions (Bowman 1998, 273). Musical sounds are able to convey meaning and are
perceived through the body that consists of his mind, his feelings, his senses, his
will, and his metabolism (Bowman 1998, 267-268). The geometrical experience in
sound relates to the embodied mind, where meaning and dimensions are constructed
so that the music is perceived for instance as temporal, spatial, and playful
(Bowman 1998, 270-271). This synesthetic processing of the mind identifies the
spatial sound qualities and reflects this highness or lowness, this nearness or
remoteness, this sense of containing or being contained (Bowman 1998, 274).
The insights gathered from the phenomenological study by Merleau-Ponty and
Thomas Clifton highlight the extraordinary process involved in the embodied body
and mind. This process, which involved perceiving, sensing and rationalizing,
suggests a humanistic capability to relate with the experiences of ordinary and
phenomenal spaces, where musical and spiritual meaning are created. In view of
spatialisation, the aesthetic objects are positioned within or assumed to contain a
certain space by means of the tangible visual and aural senses. The formed
experiences of ordinary spaces may derive from the physicality surrounding a space

25

created through a musical experience and the physical or social aspects of church. On
the other hand, the formed experiences of phenomenal spaces perhaps derive from
the spirituality surrounding a space embedded with religious significations. Hence, the
implications of these experiences suggest the association between the bodily senses
and ordinary spaces, whereas the rationalization of the mind is associated with the
phenomenal space. Consequently, this notion of embodiment is significant in the
present-day musical liturgical system.
4.2.2 Embodiment in Relation to the Church Liturgy
In the last few decades, the church has dealt with concerns surrounding human
philosophy, which resulted in the development of New Age movements where new
religious ideas are generated (Webber 1994, 121). The New Age movement saw the
arrival of the holiness-Pentecostal and Charismatic movements, which have become
popular in certain present-day churches (Cox 1995). The renewal and separation from
the traditional musical liturgical system amongst the mainstream Protestant church
has witnessed the intensification of musical physical experiences. Means to evoke
bodily participation during the sacramental activities offer an experiential rather than
a rational encounter, a participatory rather than a representative experience of
spirituality (Webber 2004, 102-115).
The experiences are associated with the use of a multi-sensory environment around
the sacramental activities that involve a collaborative engagement of the mind and
body. The outcome of this concept identifies a more expressive and heartfelt
worship, for the sacred word of a song expresses something cognitively to the
mind, while the music sings straight to the soul (Rognlien 2005, 133) The concepts
draw upon participative experiences based on the Experiential, Participatory, Imagerich and connective (EPIC) model (Hammett and Sweet 2007). These concepts also
involve postmodern hermeneutics, the hard sciences and cognition research (Webber
2004, 112-114), and suggest a considerable role of the embodied body when
investigating specific contemporary musical liturgical systems.
4.3
Theological Viewpoint of Disembodiment
The Christian theological view presents the notion of disembodiment as a means of
separating the conflicting yet coexisting principles of moral and immoral etiquettes

26

(Romans 7:21, Hebrew 5:14). It maintains a dualistic distinction between light from
darkness or opposing powers of good and evil (Luke 11:35, 1 Peter 2:9). In the book
of Romans the apostle Paul writes on morality and describes the dualistic nature of
mind and the body. In addition, his writings reveal the Greek or Hebrew dichotomy
between spiritual and material being.
The concern with and avoidance of carnality suggests this separation disregards the
body. Due to the notion of consecration, the old self was crucified with Him so that
the body of sin might be done away with, that we should no longer be slaves to sin
(Romans 6:6).
This notion was vital to the belief that the consequences of sin or corruption produced
death (Romans 7:5, Romans 8:13). Paul continued to illustrate the entanglements of
sin between the mind and body as, another law at work in the members of his
body, waging war against the law of his mind, and making him a prisoner of the law
of sin at work (Roman 7:23). Tension maintained the law of the covenant and
portrayed a struggle between the morality of the mind and the unmorality of body. It
becomes an unavoidable spiritual obliteration when the mind is set on the flesh; it
is not subjected to the law of God, for it is not even able to do so (Romans 8:7).
Similarly, contemporary Christian counselling supports this view, which articulates
the constant conflicts between bodily desires and the morals of the mind the main
communication centre that affects behaviour (Marshall 1983, 3, 11).
4.3.1 Disembodiment in relation to the Church Liturgy
The adverse qualities of the body were often the focus of doctrinal debates in the
earlier churches. The Gnosticism of early Christian heresy of Docetism went beyond
conventional claims to assert liberation of the spiritual being from the immorality of
the physical body, which correlated to the view that spirituality is the opposite of
physicality (Rognlien 2005, 40). This relates to the Platonic concept of dualism in
the body and the mind, which suggested attaining knowledge through the soul prior to
the body by means of knowledge recollection (Duke et al. 1995). In some respects, a
mental phenomenon is regarded as a non-physical entity (Hart 1996, 265-267), where
the mind is considered different from the brain; it is no more than a physical
substance that holds knowledge (Cottingham, Stoothoff and Murdoch 1984, 1-62).

27

In other words, the dualistic nature concerns a disembodied soul or mind that contains
a divine knowledge, unexplainable by the physical body. Hence, a believers spiritual
wellbeing is concerned with upholding the quality of this divine knowledge. A
preventive measure involves separating the physical carnality from the morality of the
mind. Dualism is emphasised by St. Augustine as he articulated the adverse effects of
music upon the church in these words:
On the one hand, this powerful influence must be harnessed and utilized for
worthy purpose; on the other hand, its sensual, carnal influence must be
combated (Lang 1963, 51).
Conclusion
The discourse on embodiment and disembodiment surrounding the Christian liturgy
exemplifies a changing ideology of the body amidst a shifting church paradigm.
Particularly in the earlier churches, the body was scrutinized and treated with caution
due to religious concerns, so that the purpose of disembodiment in the liturgy
provides means of a moral safeguard to the mind. On the contrary, present-day
churches deem the body to have a significant role in religious activity. The purpose of
embodiment in the liturgy provides a means to edify the mind with spiritual
knowledge.
In their differences, both approaches are seen to uphold the spiritual wellbeing of an
individual or community. Moreover, a shifting emphasis on the body between the
earlier and present-day church musical liturgical system suggests distinctive
theological, musicological and philosophical viewpoints that have not been reduced in
the present-day musical liturgical system. Rather, the triangulation of these
viewpoints within the present-day system aspires to complement the emerging and
shifting musical, social and cultural factors within pre-modern and post-modern
Christian society.
However, embodiment is an unavoidable aspect of ritual activity as Talal Asad
(2006.) points out, the Christian churches used embodiment in its ritual activities to
reinforce doctrine, even while disavowing the body in its discourse. This is an
extremely important nuance for the music director and musician as their activities are

28

played out in the ritual context. Therefore, regardless of theological discourse,

liturgical practice will always be an example of embodiment.
Hence, the music director needs to understand the ideology of worship, which
involves musical sacramental activities that evolved with particular emphasis and
effects within the earlier and present-day musical liturgical systems. More there is a
need to incorporate it with the effects of ritually embodied performances which may
exist despite of the prevailing ideology of worship.

29

Chapter 5: Music Liturgical Systems and Beliefs in a Shifting

Church Paradigm
5.1
The Ideology of Worship: Emphases and Effects
An overview of the aspects, emphases and effects observed from four prominent
musical liturgical practices amidst a shifting church paradigm are summarised by
Rognlien (2005, 22-23) (5.1 below). The ideas relate to a philosophical perspective
where the actualisation of meaning in a musical experience involves the body, mind,
feelings, will and metabolism (Bowman 1998, 267-268). Theologically, four
categories are associated with the greatest commandment in the Bible, which
exemplifies metaphorically the attitude of worship as from the heart, soul, mind and
strength (Mark 12:29-31, Luke 10:26-28).
Historical movements

Aspect Emphasized

Effects

Orthodox/Catholic/Anglican

Physical

Specific Actions

Lutheran/Reformed/Bible
Church

Intellectual

Clear Understanding

Methodist/Baptist/Evangelical

Volitional

Concrete decisions

Pentecostal/Charismatic

Emotional

Powerful feelings

Table 5.1 Historical Worship Emphases

My personal observation drawn from attending a traditional Anglican Church and

subsequently Pentecostal/Charismatic Church suggest that the least vigorous bodily
involvement was observed in the Anglican liturgy. Correspondingly, among the style
of worship illustrated in the evolution of church a shifting of bodily involvement is
observed between a contemporary Methodist and traditional Presbyterian movement
(refer to Appendix D, Audio and Video references on DVD, The Evolution of
Church.avi). Comparable to the Anglican liturgy is the Catholic liturgy where the
early church lineage was formed (refer to Table 5.1). To emphasise the relationship
between the characteristics embedded in the sacred art with the embodied and

30

disembodied body, the musical conditions surrounding the Catholic and

Pentecostal/Charismatic movements are purposively selected for this discussion.
Another perspective, which supports this discussion, involves an examination of the
religious art within the places of worship that reflect communal spiritual beliefs and
activities. Mazur (2002, 20) indicates the architectural design should not only be
considered as generic icons of religiosity but rather as particular embodiments of that
cultural impulse, simultaneously unique and representative.
5.2

Embodiment and the Pentecostal/Charismatic Music movement

Christian contemporary pop music (2007) is often used in the music liturgical session
of contemporary Pentecostal and Charismatic church movements. The musical and
liturgical experience of this movement can be experienced when attending the mega
churches such as Hillsongs (2010), Planet Shakers (2010) in Australia, and particular
churches in Brisbane such as Citipointe (2010) and Metro Church (2010). A recent
interview between Metro Church Brisbane and the National News program Sunrise
(2009) compared the music liturgical session at Metro Church to a popular rock
concert.
A musical connection with the body involves strong rhythmic pulses and frequent
dense instrumentation to create a musical landscape that transforms into an absolute
wall of sound close to the audible range of a jet take-off down to the tranquillity of a
lullaby (Eskridge 2006, 18, 3). Moreover, dynamic forms of musical expression are
enabled through the use of modern technology, instrumentation and orchestration
groups contemporary rock bands, gospel choirs or a hybrid of groups (Alford 1988).
The musical attributes and informal settings provide an environment that facilitates a
vigorous spiritual engagement that surrounds not only the notions of spirituality, but
also cultural identity and social inclusiveness (Riss 1994).
Although there are similarities between this movement and the secular genre of
popular music, a distinct divergence between both streams of music lies in the
expression of beliefs through the textual content. The words of the contemporary
Christian songwriter are often vivid and passionate in religious expression. In other
words, the sonic narrative expresses Christian theological beliefs in fashionable,
popular jargon. This is noted in the chorus of the song Worthy is the Lamb (Darlene

31

Zschech 2008) where the word darling (often found in secular love songs) presents a
musical expression of intimacy between divinity and humanity (Appendix D: Worthy
is the Lamb by Darlene Zschech).
Tensions emerged when conservative Christian denominations frowned upon this
trend of music style predominantly associated with the genre of gospel rock and
popular fashion styles (Cusic 2002, 355-364) because the associated themes were
considered antithetical to Christian beliefs (Powell 2002, 10-13). However, the music
liturgical system that surrounds the Pentecostal and Charismatic traditions involves
some of the fastest growing churches in the world (Basden 1999, 87). The resources
used to develop a social and intellectual network shows a noticeable increase in
technological advancements, where the incorporation of enriched media and
technology in the liturgy facilitates forms of participative, interactive and captivating
experiences (Webber 2004, 107-108) in the contemporary church setting.
A mutual and intimate social experience occurs in a contemporary church setting,
where the congregation is positioned around the sacramental activity on the stage. The
arrangement suggests a tangible encirclement of bodies signifying the congregation
assembles in the participation of a spiritual ceremony (diagram 5.2 below).
Choir
Stage
Pulpit
Congregational sitting
front of stage
Congregational sitting in
a semicircle.
Picture 5.2 (Webber. 1994. pg 144 -146)

The following photo from Hillsongs church, a contemporary Pentecostal and

Charismatic movement, provides an example of the employment of enriched media
and a technological backdrop in a musical and liturgical session (refer to picture 5.3).
Significantly through this photo, the sense of a connection between the music band
and the congregation is created visually through video technology, as captured so

32

vividly by the sincere expression of the vocalist.

Picture 5.3 Hillsongs Church

The intimate physical participation mediated by technological means emphasises the

importance of embodiment in relation to this musical liturgical system. Despite
attaining an emotional response through a system as suggested in Rognliens
illustration, closer examinations of the following photos (refer to photos 1 and 2)
renders the physiological involvement in the process of worship that is similar to
the bible illustration. Such physical responses and expressions include clapping hands
(Psalm 47:1, Psalm 98:8, Isaiah 55:12), dancing (Psalm 150:4, Psalm 30:11, 2 Samuel
6:14), tearing (Psalm 126:4-6), kneeling (Psalm 95:5-7) and the raising of hands (1
Kings 8:53-55).

5.3
Disembodiment , the Catholic Church Music Movement and Oratorios
In comparison to the previous movement, the musical liturgy session of the early
Roman Catholic movement in the Renaissance and Baroque periods observed the
customary use of symbolic artefacts to represent significant biblical events through

33

the state of disembodiment. The gospel was conveyed musically in the form of a
Mass that involved the re-enactment of biblical events, and both the knowledge of
the sacred word and the visual act of sacrament (Webber 1994, 95-106). Prominent
pieces known as the Ordinary of the Mass included the Kyrie, Gloria Credo,
Sanctus Agnus Dei and Ite, missa est (Hanning 1998, 20-22), and were utilised in
these instances. The practice often observed an unchanging sacred text treated with a
variety of melodies, consequently producing a selection of sacred music pieces over a
period of time (refer to Appendix D, Audio and Video References on DVD, Audio
Versions of Gloria).
Unlike the Pentecostal/Charismatic movement, the gospel was upheld and performed
by the clergy, while the church congregation participated through observing a
figurative explanation of the gospel (Jungmann and Brunner 1951). Mysticism was
created through illiteracy and the linguistic aspects of this activity (Schmemann
1986), and suggests a state of exclusiveness within the spiritual experience. The state
of exclusiveness is seen in the whole congregation, which assembled as the mystical
body of Christ. Increasing the mystery in the music involved musical ideas based on
the composers discernment and taste, such that melodies were at times
inappropriately used with the sacred text. It was inappropriate in instances where the
sacred text was treated with non-liturgical songs, secular singing and especially
complex polyphonic melodies, which affected the intelligibility of the text in the
delivery of psalmody. Concerns around the imparting of theology and mysticism were
raised and then rectified by the Council of Trent from 1545 to 1564 (Fellerer and
Hadas 1953, 576-594), where conditions were created to restrict the freedom of
musical ideas. There was an inevitable tension and differentiation between sacred and
secular music made by the elders of the church who saw pagan music culture as a sign
of human weakness and strongly opposed its use in the church (Lang 1963, 32). These
forms of music were seen as means to evolve the undesirable bodily responses such as
hand-clapping and dancing (Evans 2006, 25) that were deemed immoral.
The state of exclusiveness of the faith due to minimal bodily participation in
sacramental activity within this musical liturgical system, suggests that the system
employs a disembodied stance in the theological aspect behind the music, while the
liturgical aspect behind the music did not. Disembodiment around the theological
34

restrictions strongly suggests a disengagement of the body from the ritual due to its
association with carnal pleasures (as mentioned in the previous discussion). Hence, in
place of the disembodied stance is a physical emphasis in the liturgy; sacred art is
significantly used as a conditional agent to facilitate the embodying of spirituality.
Significantly, embodiment around the liturgical activity is observed especially in the
highly choreographed nature of the Catholic mass. This is visually evident in the
physical impression of heavenly beings and divinity, and represented across the
interior architectural design inside the following places of worship (refer to pictures
5.4, 5.5, 5.6).

Picture 5.4 St. Marys Roman Catholic Church, Toronto (Cardoso 2006)

35

Picture 5.5 Cathedral Church of St. james, Toronto (Cardoso 2006)

36

Picture 5.6 St Marys Roman Catholic Church, Barinsdale, Victoria, Australia (ONeill 2006)

The dualism between spirituality and humanity is expressed through different aspects
of sacred art. In architectural design, the magnificent colour of ceilings and walls has
provided a Christian perception of the heavens which contrasts to the floors decorated
in earthly colours (refer to picture 5.6). The traditions around the artistry not only
strongly reflect the Christian ideology and belief, but also reveal the physical
37

dimension of the authoritative placement of divinity in contrast to the fragility of

humanity.
Similar to my brief investigation into architectural design, the analysis of a piece of
music represents a critical moment in this movement and provides another lens on the
ideology of Christian worship. The musicological study around Christianity and
music in the Renaissance and Baroque periods requires the study of oratorios.
This style of sacred music serves not only as a comparison between compositional
ideas, but also a musical form that is comparable to the ideology of worship
previously discussed around concepts in the catholic movement and the emotional
state noted in the Pentecostal/Charismatic music movement. Described as a sacred
drama, sacred opera or religious farce by scholars and musicians (Myers 1971, 2527), the unique musical style of the oratorios was born from the deepening fascination
of composers dwelling in the Renaissance and Baroque periods (Wilson-Dickson
2003, 85). Oratorios emulated classical traditions the rhetorical power of music
extolled so much by the ancient Greeks. The emotional effect attributed to the music
was commonly described as the moving of the passion within the mind by means of
appealing to the imaginative contemplation of the listener (Lang 1963, 334). The
oratorios served as a critical example and the success of this musical style in a
religious context and was made evident by the acceptance and extravagant support of
the clerical and secular aristocracy, who attended these performances in events such
as Lent (Lang 1963, 347). Increasingly, oratorios became popular performances not
only in the church during the late seventeenth century, but also in venues such as the
palaces, cardinals, and academies (Hanning 1998, 220).
5.4
Selection of Sacred Music
To examine this phenomenon I have selected examples of sacred pieces that relate to
my practice as a music director and the concept of music-making across the illustrated
shifting church paradigm. Furthermore, the sonic narratives in these pieces are based
upon the spiritual themes of praise and glory which associates with beliefs of
invoking religious ecstasy. This comparative study has been limited to a selection of
four sacred pieces to focus and bind the enquiry within the available timeframe. To
strengthen the approach I will utilise multiple analytical strategies to provide a thick

38

description of the phenomenon so that a synthesis can be further applied to my own

practice.
The two critical pieces that exemplify music-making from the contemporary
Charismatic church movements. The pieces Glory composed by Reuben Morgan
and Hallelujah composed by Rolf Wam Fjell, Matthew Tennikoff and Marty
Sampson, which originate from an Australian contemporary church, Hillsongs. Both
pieces were once utilised in the musical sacramental activity of my local church,
which I music directed in. The two other critical pieces that exemplify music-making
from a Roman Catholic mass and an Oratorio. The pieces Gloria composed by
Giovanni Pierluigi da Palestrina and Hallelujah composed by George Frideric
Handel illustrate the music liturgical circumstances and religious beliefs that
influenced the compositional techniques of that era.
Both church eras conveyed timeless religious beliefs but observed different artistic
forms and clerical approaches, yet the effects of religious ecstasy were noteworthy in
both despite the stained glass dramatic enactment of the traditional Catholic Church
which differs greatly from the theatrical lightings and vibrant multimedia production
of the Pentecostal/Charismatic church. Regardless of the means, the intention of
music alongside liturgy has hardly changed, yet amidst this shifting church paradigm,
different ideologies unfold in relation to cultural and spiritual experiences, which has
generated different musical approaches. These experiences relating to embodiment
and disembodiment need to be considered by the present-day music director. The
director must create the appropriate musical effects within the process of sacred
music-making that are based on a holistic understanding of its impact.

Part 2: Overview and Outcomes

These two chapters highlight a shifting perspective of the body in relation to the
intention of spiritual wellbeing, and outline the effects around two musical liturgical
systems and movements. Since music is inseparable from liturgy, the traditional
Catholic movement ascribed to this intention by means of disembodiment that
provided a stringent process of religious sterilisation within the church. The process
concerned carnality by relinquishing the physicality of sacramental activities from the
congregation to a clerical responsibility where spirituality is conveyed. In contrast, the
39

contemporary Pentecostal/Charismatic movement ascribed to the intention by means

of embodiment that becomes a vigorous process of unifying individual, communal
and cultural divergence within a faith community. This process recognises that
through cognitive learning from participatory sacramental activities, the moods and
relationships within the community are altered so as to provide a delicate tenable
experience of spirituality. At this juncture, a definitive musicological study of the
musical attributes around the Oratorios provides a relevant theoretical comparison to
the intentions and effects associated in the mentioned movements. A comparative
study of purposive selected pieces representing critical moments in these movements
acknowledges the shifting cultural and ideological trends of Christian worship.
Moreover, it provides a conceptual understanding of religious and social implications
associated with particular musical sounds amidst the shifting church paradigm.
Integrating sounds of the ambient culture into a present-day church context is
inevitable, as these factors are much desired in view of church growth (Stapert 2007,
198, 199). Alongside the culture is an apparent notion of embodiment, which plays a
significant role in the existing development of meaningful experiences. The ethical
reservation surrounding this argument risks a fading familiarity with sacred sounds
once recognized by humanity. The compositional ideas from a comparative study seek
to provide a means to identify the uniqueness of sounds associated with these
distinctive movements in order to sustain their relevance in the encounter of music
and spirituality today. The literature study provides a conceptual understanding of this
research methodology.

40

Part 3: Research methodology: Creative Case Study

Introduction
The study aims to investigate the relationship between the musical, social, liturgical,
theological symbols around the Western Christian Church. Part 3 of this thesis
outlines the development of an appropriate methodology to examine these factors
through the multiple lenses of a theomusicological methodology. More so in the
contextual study around Christianity and modern art, which considers Nietzsches
writings on the death of God (Kaufmann 1974) that generated controversy in
philosophical discourse around the idea of a fading state of divinity.
This idea surrounding the death of God meant the death of the spiritual as witnessed
in art forms. Eliade (1985, 81-82) argues that the sacred in religious artistry had not
completely disappeared in the context of modern art; rather it has become
unrecognisable, camouflaged in forms, purposes and meanings which are apparently
profane. It seems to imply that the sacredness in art from the Middle Ages was
more apparent, while the sacredness in contemporary art had become concealed.
This concealment suggests that the use of unconventional musical and religious
expressions caused the sacredness of art to no longer be easily and immediately
recognized. Hence, the methodology develops these approaches based upon
Hammond argument that sacred in art is not lost in the secularisation of the society,
but rather it requires a different focused lens to identify its existence (1985. 4-6).
Chapter 6 proposed criteria for the selection of musical works that engage with the
Christian semantic themes of Praise and Glory. This chapter describes the structure
of a theomusicological methodology that centres around a creative case study which
critically compares music semiotics and theory applied to four selected liturgical
songs.

41

Chapter 6: Criterion of Spiritual Pieces for Creative Case Study

6.1
Selection of Spiritual Music source
The task of selecting four songs for this study was a daunting one due to the large
volume of Christian music composed across centuries of church music. Considering
the objective discussed in Part I of this thesis, an initial criterion for the selection
evolved around a comparative study of traditional and contemporary genres of sacred
music. The selected pieces needed to be created by prominent composers who have
had a continuous impact on Christian liturgy and be representative of critically
acclaimed work for its physiological and psychological effects. The notion of
critically acclaimed work in this context pertains to the ability to sustain criticism and
receive high regard over time. Undertaking a selection for early music led to relatively
obvious choices. Choosing contemporary works required a different selection process
that examined a works popularity as well as its relevance to experiences and personal
practice as a music director in my own church setting. The outcome of this selection
was to establish an ample quantity and quality of creative cases that could support a
comparative study and have the potential for distinctive transferable qualities useful in
a conceptual framework. The basis of this selection was also predicated upon
liturgical themes commonly utilized in my practice and beliefs that relate to
experiences of spiritual intimacy and religious ecstasy.
6.2
The Notion of Praise and Glory
Alan Merriam (1964) describes the study of musical meaning through an
anthropological lens; his ethnomusicology study examines song texts as cultural
beliefs. From a philosophical perspective, Nietzsche and Bloch view music as the
expression of the will, feelings or passions surrounding the composer, performers and
the listeners (Spencer 1991, 37-38). The selection of sacred pieces engages an
anthropological perspective aimed at identifying fundamental Christian beliefs and
spiritual experiences. The beliefs and experiences encountered through the believer
had to exemplify moments of religious ecstasy. This approach focused the basis of
selection criterions around this musicological study, and involved studying lyrical text
from a philosophical perspective, where the cognitive and emotional expressions of
the composer and those participating in the process of a sacred music-making are
42

identified.
An attempt to write a theological anthropology is a bold undertaking, as it is concerned
with the viewing of human experience, with all its complexities and ambiguities,
from a standpoint of the biblical story (Cameron 2005, 53-61). The study of the
human experience in religious ecstasy includes literature relating to the phenomenon,
biblical narratives and interviews with believers of the faith. Praise and glorification
emerge from a variety of Christian theological themes and have become the focal point
of this study: the act or aptitude of praising and glorifying often leads believers of the
faith into heightened religious and emotional states.
C.S Lewis has illustrated these effects, which evolved from the act of divine praise,
all enjoyment spontaneously overflows into praise, as the world rings with praise,
even in an individuals spirituality, as praise is inner health made audible. For
praise not merely expresses but completes the enjoyment; it is its appointed
consummation (Lewis 1986, 80-81). It also suggests a significant emotional
involvement that relates to ecstasy. The connection between the act of praising and
glorifying, and religious ecstasy that forms the Christian belief are seen through
particular individual and communal experiences in the specific bible passages I have
chosen to study.
A reference to an individual spiritual experience around the act of praising and
glorifying is exemplified in the book of Psalms. The following passages illustrate
King David's experiences in circumstances of hardship, where he found resolution
through acts of divine praising and glorifying for his spiritual wellbeing.
29 I am in pain and distress; may your salvation, O God, protect me.
30 I will praise God's name in song and glorify him with thanksgiving.
(Psalm 69:29-31)
Other additional passages illustrate his responses through acts of divine praising and
glorifying when seeking forms of spiritual edification.
11 Teach me your way, O LORD, and I will walk in your truth; give me an
undivided heart, that I may fear your name.
43

12 I will praise you, O Lord my God, with all my heart; I will glorify your
name forever
(Psalm 86:11-13)
Other references to communal experiences of ecstasy relating to the act of praising
observed in the following passages Luke 5:18-26 and Acts 3:8-11. Luke noted the
effect of religious ecstasy upon a crowd of witnesses who responded in acts of praise
to a miraculous event that involved the healing of a paralytic.
26 And overwhelming astonishment and ecstasy seized them all, and they
recognized and praised and thanked God; and they were filled with and
controlled by reverential fear and kept saying, We have seen wonderful and
strange and incredible and unthinkable things today! (Luke 5:26 Amplified
Bible)
Another communal experience noted in the book of Acts surrounded the healing of a
lame man where the effect of religious ecstasy manifested alongside the act of divine
praising.
9 And all the people saw him walking, and praising God.
10 And they knew him, that he it was that sat at alms at the fair gate of the
temple. And they were filled with wondering, and astonishing, in that thing
that befelled to him [And they were full-filled with wonder, and ecstasy, that is
losing of mind and reason, and letting of tongue, in that thing that befell to
him]. (Acts 3:9-10 Wycliffe New Testament Bible)
These notions of praise and glory have transpired through a few participants
encounters with quality moments of worship. As was noted in my survey, one of the
participants mentioned that the content of the song, surrounding Christ-centered,
God-glorifying is also another aspect that helps in encountering religious ecstasy
(Harry, Survey interview, June 21, 2009). Whilst another participants viewpoint of
music relating to quality worship ultimately engaged him in giving God the praise
and adoration He so rightly deserves. (Andy, Survey interview, June 21, 2009).
6.3
Music Criteria
The theological insight gathered from these biblical references on the effect of
religious ecstasy deals with examples of humanistic responses when encountering and

44

reponsing to a divine act. Upon reflecting on the discussed bible passages, the
Christian belief in the human-spiritual connectivity highlights the act of praising and
glorying with the effects of religious ecstasy as a source of spiritual wellbeing for the
believer. This is not to say that other fundamental spiritual acts are not necessary for
this human-spiritual relationship. Considerably in the context of this study, the theme
of praising and glorifying provides a focal point to investigate sonic narratives that
express spiritual beliefs relating to religious ecstasy. Significantly, this contributes to
my practice as a music director that often deals with selected liturgical themes.
Consequently using this selection criteria, the study investigates the qualities of sonic
performances in the four selected sacred pieces, where each of the two pieces
represents examples of both identified church movements. The sonic narratives that
relate to the selected themes include two pieces that articulate the notion of praise
and two pieces which articulate the notion of glory. Both form the basis of this study
in the musical, liturgical and cultural conditions surrounding sacred music making.
In conclusion, the selection criteria of the sacred pieces have revolved around two
basic aspects that support my practice in dealing with liturgical themes. The first
aspect concerns a selection of prominent pieces that represent critical examples
amidst the early and contemporary church; my intention is to explore the
compositional trends surrounding specific theological themes in both eras. The second
aspect analyses pieces of sacred music paying particular attention to the sonic
narrative that expresses the selected spiritual theme. It is hoped that the outcomes of
this study around the sonic narratives and its properties will highlight the concept of
resonance associated with a particular faith community. The awareness of these
techniques will aid my practice as a music director in the process of selecting and
arranging repertoires for the church ritual worship.

45

Chapter 7: Towards a Creative Case Study Methodology

7.1
Defining a Creative Case Study Method
From a secular perspective, music provides a means of natural therapeutic singing
system, while sacred music provides theomusicotherapy through spirituals, gospel
songs, hymns, and anthems that are conveyed to the world through personal
oscillators (Spencer 1991, 45). The idea of personal oscillators leads to queries
around the sonic qualities, particularly of the notion of a non-mechanical means of
energy generated through sacred music, which is known as theomusicotherapy. A
means to examine these relationships requires a systematic hybrid selection of multimodal tools that seek to preserve experience over explanation, so as to allow the sonic
qualities to speak for themselves. The study examines a series of creative case studies,
where evidence is gathered either collectively or individually, and through artistic
means and strategies (Dillon 2006) that lead to comparative analytical studies.
Researchers have applied case study methods across a diversity of disciplines. In the
area of community and social development, researchers have made extensive use of
this qualitative research method to investigate the inherent relationships in modern
real-life situations (Baxter and Jack 2008; Yin 2003). The strategies have been
successful in the area of social inquiry (Shepard and Robert2003). The aim of a case
study method is to discern and pursue understanding of issues intrinsic to the case
itself. However, the case can be chosen and studied because they are thought to be
instrumentally useful in furthering understanding of a particular problem, issue,
concept, and so on (Schwandt 2001). In view of the study concerning musical and
spiritual experiences and other social and cultural aspects, the method provides a
"systematic inquiry into an event or a set of related events which aims to describe and
explain the phenomenon of interest" (Bromley 1990, 299-307). All in all, it provides
an empirical inquiry that investigates a contemporary phenomenon within its real-life
context, when the boundaries between phenomenon and context are not clearly
evident and when multiple sources of data are used (Yin 2003, 83).
The case study methodology provides insights into the actual cause of activities and
conditions and includes accounts highlighting the origins and the changes in
communal behaviour over a comparatively extensive time period (Bromley 1991, 7546

89). Consequently, the process requires the researcher to focus on a segment in the
life of an individual or object of interest. This is comparable to the psychology
(Bromley 1986) and sociology (Creswell 1997; Yin 2003) studies, which require
comprehensive data of the individual and community.
Although case studies are a distinctive form of empirical inquiry, many research
investigators are cautious about the limitations. The approaches to these studies and
subsequent analysis need to be meticulous; disorganised and inaccurate data
collection due to inadequate planning or tedious systematic procedures can generate
unclear evidence and negative deductions to the unaware researcher (Yin 2003). To
help counteract some of the limitations, this study employs media appropriate and
digital processes to enhance the data collection and analytical process.
7.2
Creative Case Study Toolbox: Theomusicology
Keeping in mind Deweys insistence on the value of experience in our understanding
of art (1934), utilising creative case studies preserves experience over explanation,
hence allowing the creative act and product to express itself. The approach in this
creative case study involves theomusicology, which incorporates anthropology,
sociology, psychology and philosophy methods that seek to interpret the
descriptive, normative, and predictive connections concerning sacred music,
meaning and the community (Spencer 1991, 3-4). Alongside the music semiotic and
theoretical processes employed are customised case study tools that are empirical
systematic processes (Bromley 1990) useful in social inquiry (Schwandt 2001) and
which address multiple sources of evidence (Yin 2003, 83). These tools are designed
to identify mutual musical perspectives and experiences and involve understanding
the focus group members within my own church community.

47

Theological Musicological Study

Musicological study
- Semiotic
Study
- Aural and
Visual
Synthesis

Observational Study
- Survey

Oral Narratives
- Theological
Study
- History,
Cultural
studies
- Philosophical
Study

Diagram 7.1: Creative case study diagram.

The scope of the theomusicological study is shown in the Creative Case Study
Diagram (refer to Diagram 7.1). In the following sections I will illustrate particular
aspects of the studies beginning with an explanation of the musicological, semiotic
and Aural and Visual synthesis methods.
7.2.1 Music semiotic Studies
In a community, deriving meaning through language as a medium often involves a
universal understanding and perception. Meaning created through music as a medium
often results in extensive forms of understanding and perception about similar
communities (Kristeva 1989, 309). A music discourse has meaning and mediates on
the physical level between its mental and psychic levels (Mazzola 1990), and
meanings derived from music are often extensive. Despite this, music essentially has
the capacity to signify itself. As a sign and object present a relation of identity, the
musical sign is a pure icon, as advocated by some music aestheticians (Hanslick 1989,
61; Boulez 1986, 32; Cage 1961, 96).
However, this notion in music is not applicable to all forms of musical concepts.
Meaning conveyed through a music discourse is often induced through a trace,
influenced by human activity and perceived in varying ways in relation to culture
(Nattiez 1990, 12). Specifically in Western music culture we need to consider social
structures and emotional substances around the semiotic codes (DeNora 2005, 21).
48

Investigating the semiotic codes within the musical artefact provides not only a
musical meaning, but also a viewpoint in the system of signs that expresses a
communitys religious beliefs and values.
In understanding the system of musical signs, a vital tool in the research toolbox
involves a music semiotics study, which is often used in diverse fields of musicology
by well-known semioticians such as Nattie (1990), Lidov (1987; 1995), and Tarasti
(1996). The study aims to understand the creation of musical and spiritual meaning
and examines the social activities alongside the theological and cultural aspects of the
musical liturgical system. The illustrated semiotic study by Bent and Drabkin (1987,
96) provides a structural and analytical framework for investigation. The first aspect
examines the syntax of music, comprising the harmonising or individual harmonic
qualities synthesised and orchestrated under the direction of a composer to form
continuous passages of sound. The second aspect analyses the religious meanings
associated with the music signifiers. This involved examining the religious
implication encapsulated in the sonic passages which are conditioned by the musical
liturgical system and theological beliefs that surround the sacred music-making of
each work in its era. The following table provides an overview of the process
involving a music semiotic study (refer to table 7.2).

49

Steps

Methods

Analysis of the entire stream of music and divide it into component units,
known as isotopes. This segmentation is guided by the musical and textual
content and structure within the musical piece.

Compare these isotopes to find similarities. These similarities are based on

similar rhythmic, tonal and lyrical structures. When similarities are found
amongst the isotopes, the contexts of each similar occurrence are
examined for identity.

Emerge from this comparative study a list of distinctive and similar

isotopes. Account for the distribution of the isotopes by grouping them
into similar or related isotope families. The families relationships are
based on the theomusicological study of an acknowledgeable theme
relating to the state of religious ecstasy.

Summarise the stream of music in the isotopes in terms of these musical

attributes applying a theoretical analysis of the music attending to the
state of embodiment and the theological meaning that govern them through
theological doctrinal studies.
Table 7.2

7.2.2 Aural and Visual Music Analytical Study

The second tool to complement the music semiotic analysis involves a musicological
study utilising a theoretical analysis of the music (Beard & Gloag 2005, 182), which
is guided by the elements of music as described in Pratts Aural Awareness:
principles and practice (1998, 31-45). The outcome of this study involves
deconstructing music into fundamental elements, where a concept of the musical form
and its articulated ideas and features are comprehended (refer to Appendix F,
Example of an Aural / Visual Analysis). As a music director this provides me with an
aural perception of musical activities required for structuring composition, re-creation
and criticism of newly created musical passages.
The study employed two forms of psychological perceptions throughout the analytical
process. The first involved an aural analysis of obtainable audio recordings or live
performances, while the second involved the visual analysis of obtainable musical

50

notation and scores. This process resulted in a written annotation of specific musical
qualities observed in particular isotopes, which may not be physically notated in a
music score, such as the instrument timbre and the sonic space (See Appendix
attached DVD, Music Analysis A to D). When the data is viewed as isolated segments
and then synthesised to create meaning, it brings greater significance to the entire
study of each piece.
The simple and repetitive process may initially seem straightforward and trivial
compared to other more resourceful and comprehensive studies such as the
Schenkerian analysis. However, the authenticity and vigorousness of the
psychological analysis was crucial because of the likelihood of induced human errors
and misinterpretations (Cook 1987).
It is suggested that the more tedious the analysis, the higher the possibility of human
error due to fatigue and the mundane routine of analysing. The psychological and
awareness state of what one hears is crucial to the interpretation and perception of
music being played (Cook 1987, 67). A personal experience from a previous music
study observed a continuous rediscovering of the piece that was due to the awareness
of new musical objects gained from repeated listening. On the other hand, the
analytical misinterpretations varied with the musical knowledge, experience and
criteria of the analyser, creating results that may perhaps be inaccurate and
inconsistent (Lesaffre Leman, De Baets and Martens 2004, 9-14). This suggests a
diminishing richness in the musical experience due to the lack of descriptive
languages or the complexity in languages, which create further confusion for the
analysis. An option that refined this study involve using phenomenological
reduction (Cook 1987, 67). Other means to enhance the authenticity of this study
involve the collaboration of prescriptive and descriptive annotations of music in forms
of written and recorded media (Blacking 1995, 231).
7.2.3 New musicology and Computational Methods
To address any concern about authenticity and vigorousness of the approach I have
chosen to incorporate computational methods to encapsulate, preserve and express
specific musical experience through self-explanatory visual and aural artefacts.

51

Utilising computational methods as a means of musical analysis is not new, as

successive generations of enthusiasts have predicted that computers would
revolutionize music research. As predicted, they have done so since the late 1950s.
Instances of computational usage in the subject field of harmonic analysis are dated
back to Helmholtz (1877). Subsequent developments in this field of study were
carried out by Freedman (1967; 1968) and Beauchamp (1969, 19-62; 1974, 995-1004;
1975, 778-795) at the University of Illinois. Such projects began with the examination
of sustained-tone instruments and progressed as other applications were created to
analyse, synthesise and perceive musical soundwaves (Von Forester and Beauchamp
1969). Further examples of technological developments involved the use of timevarying analysis and synthesis methods in speech analysis such as Phase vocoder
(Portnoff 1976, 405-410) for music analytical application (Moorer 1978, 42-45;
Dolson 1986, 14-27). Other forms of music analytical applications include software
such as (SNDAN) by Rob Maher and James Beauchamp and (PARSHL) developed
by Smith and Serra (1987, 290-297).
Specific areas in this field of study used such technology to analyse audio recordings
to classify and identify the composer and musical characteristics such as the timbre
and rhythmic features of the piece (Tzanetakis and Cook 2002). Aiding these studies
are computer-aid visual representations, where selective rhythmic properties and
predominant pulses are expressed in a tempo and Inter-Onset-Intervals (IOIs)
histograms (Gouyon and Dixon 2005, 34-54). With the improvement of technological
resources, the option of expressing music through numerical and graphical
representation is achievable, as demonstrated in the analytical software Humdrum
Toolkit. A new dimension and form of innovative assistance has been obtained in the
field of music research (Huron 1997,375-401). However, these approaches require a
complex level of technological competency, which place high demand upon
computational knowledge rather than a rigorous musicological knowledge to conduct
a successful and quality study (Clarke and Cook 2004, 113-122).
The use of technology in musicology is often concerned with studies that deal with
interdisciplinary fields with a wide range of sources and large quantities of data.
Importantly, the outcome of computational methods should not only articulate the

52

musicological evidence through a data-rich discipline, but also preserve the

humanist values within the artefact. To this end, considerations need to be taken to
reduce the complexity of an analytical model, so as to reduce the gap between the
music analysis and the experience (Clarke and Cook 2004, 103, 120). Therefore, in
view of the selection and development of a technological related musicological study,
it is also crucial to consider my personal competency with computational and
musicological methods.
This does not imply an uncomplicated process of study rather it suggests an
innovative methodology that is comprehensible and reliable. Of importance is the
notion that it should obtain the necessary accurate musical evidence that is not
influenced by personal intuitive judgements, but through scientific and objective
genuineness (Cook 1989, 183). These concerns around the study resulted in the
incorporation of the interactive sound analysing software, Raven (2010), a timevarying spectral analytical program that models audio signals into visual
representations such as waveforms and spectrograms (refer to diagram 7.3). The
advantage of having a visual representation of specific music passages reduces the
usage of musical terminologies to help limit the potential ambiguity and error that
may happen in textual representations.

53

Hallelujah. Hallelujah. Hallelujah.Our God Reign. Hallelujah. Hallelujah. Hallelujah.Our God Reign. Hallelujah

Isotope 1

Isotope 2

Isotope 1

Isotope 2

Diagram 7.3

Moreover, the incorporating of technology in a conventional musicological method

reduces psychological tension experienced in the study. The positive outcome of this
approach potentially provides a sustained vigorousness and authenticity throughout
the study, where the artefacts constantly provide a source of evidence that is archived
and referable against further studies.
7.2.4 Observational Case Study
In the Creative Case Study Diagram (refer to diagram 6.1), is a segment involving
an Observational Study. This study entails an empirical comparison of selected
people representing the faith community; the aim is to expound the relationship
between the source and the effects by examining the procedures or treatments whose
effects it is desired to discover (Cochran 1965. 128, 134-155). The outcome is an
account of the experience or set of experiences in a social setting (Jorgenson 1989).
The method provides close relational proximity between the observer and the
participant, where information of the encounter is obtained first-hand from the
participants (Crabtree and Miller 1999, 293-312). The relationship between the
participant, the source and the effects are vital in providing an improved
understanding to the observer/researcher (Lather 1992, 87-99).

54

This observational study aims to understand the musical and spiritual experiences of a
focus group comprised of four church leaders, four members and two music directors
attending the church. Amid the ten participants, six of them are formally trained
musicians currently serving as church musicians. The participants, ages 18 to 35, were
invited to respond to a survey questionnaire that was conducted between May and
June 2009. The questions were based upon informal discussions with church members
relating to the subject of study. To preserve confidentiality, interviewees identities
were kept anonymous and pseudonyms were used as a reference (See Appendix B,
Survey Form: Survey Information). This study was given a level 1 ethical clearance
for the data collection relating to this research (refer to Appendix C, Ethics Progress
Report - 0700000822). This study was guided by some techniques that involve the
conditions of enquiry and interpreting data obtained from the inquiry (Shank 2006).
The questions addressed in the survey focused on individual and communal
experiences of sacred music-making relating to their viewpoint on worship in
Christianity. The description of quality as it relates music-making and the notion of
worship were discussed in chapter two. The questions and responses gathered from
the questionnaire are found in Appendix B. In the current local church context, the
quality of music may facilitate an atmosphere of spiritual focus and reflectivity and
provide an individual setting that eases spiritual connectivity. However, the quality of
music is not an essential aspect in the experience because of the believers state of
spiritual maturity. By means of a negative case study, Peter who is also a music
director in the church mentions that with (spiritual) maturity, the quality of music
plays a lesser role (Peter, Survey interview, June 10, 2009). While in a communal
setting, music transcends cultural, linguistic and spiritual conditions to foster the
social and spiritual aspects within the faith community to achieve a common spiritual
focus, attitude and direction. The outcome of this survey shows less consideration for
the quality of music in an individual setting compared to a communal setting. This is
illustrated in the following graph (diagram 7.4).

55

Diagram 7.4

7.2.5 Oral and Sonic Narratives

Studying narratives encompasses an extensive collection of human activities in
literature such as stories, interviews, novels and chronicles. The compilation of this
literature communicates vital information such as the experience of a particular
context to the reader. In the field of musicological study, the approaches can expound
from post-structuralist theories such as Jacques Derridas deconstruction or the
principles of Ferdinand de Saussure who discovered an overall system for the
individual interpretation of a text (Bressler 2003). Deconstruction theory and practice
challenges the possibility of determining a single interpretation of a text as many
meanings can be derived from it. Popular examples of these approaches involve the
use of narrative analysis and are noted in humanistic sciences and in areas of
sociolinguistics (Brown and Yule 1983).
Analysing the discourse in this study helps identify the relationship between the
narratives, its intentions and its context. In particular, this study has dealt with a
written discourse known as text linguistics, a spoken discourse, known as
conversational analysis (Richards, Platt and Platt 1992, 111), and includes the sonic
narrative that deals with the signs and symbols embedded in the sounds. The analysis
of text linguistics involves a theological, philosophical and cultural study of literature,

56

where the articles, syntax and context contribute significantly to the outcome of this
study. Specifically, the theological study of text linguistics attempts to identify the
context around a piece of music through selected bible passages so as to discern the
musical syntax used to communicate the literary work and theology. In the study, a
holistic understanding of the context requires interpreting the selected bible passage
based upon the entire chapter of the bible. On the other hand, the scope of a
conversational analysis includes transcribing and reviewing dialogue gathered from
surveys, where findings around the discourse become matters of importance.
The purpose of studying the sonic narrative relates to the appreciation of the semantic
meanings and utterances vocalised in the human voice. Martin Luther describes the
significance of the sonic qualities and aestheticism in the human voice in these words:
Is it not singular and admirable that one can sing a simple tune or tenor (as
the musici call it) while three, four or five other voices, singing along, envelop
this simple tune with exultation, playing and leaping around and embellishing
it wonderfully through craftsmanship as if they were leading a celestial dance,
meeting and embracing each other amiably and cordially. Those who have a
little understanding of this art and are moved by it, must express great
admiration and come to the conclusion that there is hardly a more unusual
thing than such a song adorned with several voice. (Lang 1963, 208).
In the context of church music, the human voice or collective voices provide a
powerful source of expression for spiritual beliefs, directions, identity and cultural
experiences of an individual and community. The sonic narrative predominantly
encompasses a synthesis between two segments, the narratives and the music. The
narrative is the means of communication, reflection, edification and preservation of
significant and meaningful knowledge that signifies the essence of spirituality within
societies. Accompanying the narratives is the music, which embellishes the narratives
with aesthetic musical colours so as to ease the entry of knowledge into the mind and
soul where it manifests and retains. Consequently, investigating the sonic narrative
through a theomusicological study reflects not only a social and spiritual dimension of
the faith community, but also highlights the musical attributes utilized amidst a
shifting church paradigm to convey the essence and knowledge pertaining to the faith.
The data was produced, archived and retrieved through these approaches for purposes
of drawing deeper and further comparative deductions. The awareness of the

57

meanings within the oral narrative study may not necessarily provide a specific
answer, buts it expands existing knowledge within the field of interest. Furthermore,
the crystallisation of data surrounding a specific area, either through testimonies or
literature, provides new insights that directly attains a theomusicological
understanding.
7.4
Comparative Study
The concluding portion of this methodology aims to crystallise the empirical data
gathered from this series of creative case studies that involved multidisciplinary
sources. The outcome of the comparative study is to identify the trend of phenomenal
effects around the lyrical theology of two distinctive musical liturgical systems.
Importantly, the basis of the study is not dependent upon an explanatory theory, but a
common identifiable trend that established a suggestible yardstick that then becomes a
reference point (Cook 1989, 183).
Specifically, the comparative study examines the compositional techniques around the
choral works that relate to the notion of embodiment, which relates to forms of verbal
and aural participation. Significantly in these choral works is the sonic narrative that
is noted to be more intimate in a social setting. Among the visual and vocal forms of
social communication, the vocal volume, pitch and resonance of a singer offers an
implication of the mood through the message (Bowman 1998, 288), where it pushes
back spatial and temporal boundaries to establish a dynamic, flexible field of bodily
engagement (Bowman 1998, 290-292) in a particular setting. In view of the
attribute, the study focuses upon the elements of vocalization, such as the individual
rhythmic and tonal properties surrounding the melody and harmony. The description
of the qualities around the properties is further illustrated in the glossary section of
musical terminology.
A comparative methodology can involve a number of iterations (refer to diagram 7.5).
In this study, the first iteration entails a comparative study of purposively selected
sacred songs, with the objective of gathering theoretical insights of the phenomenon.
The second iteration applies these theoretical insights to practice. The findings from
further iterations would potentially provide an updated perspective of the
phenomenon that contrasts and revises the preceding insights around the concepts. It

58

is hoped that as more creative comparative cycles are undertaken examining past and
present liturgy, culture and music, that a conceptual framework will emerge and be
progressively refined. These kinds of practical outcomes will be useful for the
contemporary church music director.

1st Iteration
Creative
Case
Study 1

Creative
Case
Study 2

Creative
Case
Study 3

Creative
Case
Study 4

Findings

Comparative Analytical Study

(Conceptual Framework)

Established finding

Findings from new case study

2nd Iteration
New Creative Case Study
Implementing established
findings to the practice

Diagram 7.5

59

Part 3: Conclusion
Part II of this thesis has proposed a methodology that analyses selected sacred songs
and their context drawing upon ethno-musicological, theological and semiotic tools to
identify the Christian musical expression of praising and glorifying. This
approach examines music in a shifting musical liturgical system and seeks to begin
the development of a conceptual framework that informs practice and further
empirical study. This is supported by a creative approach to musicology, where the
handling and appreciation of musical artefacts are not diminished in the
comprehensiveness of a traditional hand-written analytical study. Rather, it is both
explicated through literature and presented through a media-rich environment.
Whilst developing an infallible methodology is not possible, inaccuracy due to human
error needs to be considered. The qualities of rigorous and accountable research call
for identifying issues that may potentially influence the outcomes of this research.
Approaching the research with truthfulness and humility are key virtues to offset the
disadvantages with a sense of optimism. The researcher needs to engage with the
process with a sense of respect and concern, which requires confronting manners that
are disimpassioned or self-objective. Other means of maintaining the integrity of this
research process involve the triangulation of multiple data forms over an extended
period of time. A variety of crosschecking and self-checking devices are used to
evaluate the honesty and trustworthiness of data gathered from surveys. From Lincoln
and Guba (1985); Denzin and Lincoln (2005), these devices involved:

Member checking (refer to Appendix E, Example on Member

Checking)

Negative case analysis (refer to Appendix E, Example on Negative

Case Study)
Developing this methodology has provided a point of reflectivity in my personal
course of practice as the knowledge base is enriched and sustained by the experiences
of other renowned practitioners in a Western church context. The following table
summarizes this methodology in ten steps (refer to Appendix A, Table 1: Analytical
process of spiritual pieces).

60

Part 4: Critique and Response

Introduction
The contextual study of two distinct church music and liturgical systems suggests a
shift between the notions of embodiment and disembodiment on sacred musicmaking. This critique studies four, purposively selected sacred vocal music works that
are representative of songs in these church systems. The theomusicological study of
these sacred pieces represents critical moments in the early eras of the Renaissance
and Baroque periods and present day contemporary church music.
Part four of this thesis executes the methodology illustrated in the previous chapter
through a series of case studies involving the music and context of the selected pieces.
The findings gathered from each case aim to develop the conceptual understanding,
wherein a reflective juncture of the practitioners process of sacred music-making is
refined. Through analysing and reflecting on the musical foundation of these pieces
composed by prominent composers, a conceptual framework can be synthesised and
applied by the contemporary practitioner.

61

Chapter 8: Creative Case Study

8.1
Selection of Traditional and Contemporary Sacred Music
This chapter will give an overview of the musical, theological and cultural context of
the selected pieces in a chronological progression. In view of the spiritual-based
criteria illustrated in chapter 7, Gloria composed by Giovanni Pierluigi da Palestrina
in the Renaissance period and Hallelujah by George Frideric Handel in the Baroque
period were selected as examples of critical traditional sacred music-making. Glory
written by Reuben Morgan and Hallelujah written by Rolf Wam Fjell, Matthew
Tennikoff and Marty Sampson were selected as critical examples representing
contemporary sacred music-making, The latter composers belong to Hillsongs
Church, a renowned contemporary Australian church in the Charismatic movement.

The Traditional Pieces of Sacred Music

8.2.1 Creative Case study 1: Gloria by Giovanni Pierluigi da Palestrina
Gloria was composed in 1562 by Giovanni Pierluigi da Palestrina for the Missa
Papae Marcelli Mass, as part of five music movements of the Catholic mass. The
piece was traditionally sung and led by the priest, cantor or choir during the mass
along with the other music movements depending on the liturgical activity. Due to the
sacredness of the lyrical content, the text remained unaltered, while changes were
observed in the accompanied music. A few versions relating to the text by different
composers were noted (refer to Appendix D, Audio and Video References on DVD,
Audio Versions of Gloria).
The piece was chosen due to its textual focus around the theme of glorification.
Moreover, it displays the creativity and adaptability of Palestrinas highly refined
work, which conveys the theology despite strict music compositional conditions
established during his period. His quest for musical innovation earned him the
reputation as the savior of polyphonic sacred music or the Prince of Music
(Hanning 1998, 160) and he has been commended by generations of composers,
theorists and musicologists. He was highly regarded for his innovative treatment of
musical imitation, contrapuntal polyphony and a cappella scoring (Andrews 1958).

62

These musical qualities served as one of the ideal compositional models that
countered the musical criticism of the Reformed church in the Renaissance that was
concerned with the clarity between the word and music (Reese 1959, 456, 673) and
the negligence of polyphonic harmony highlighted in the Council of Trent (Oliver
1965). The concerns surrounding the appropriateness of music settings within the
liturgy are not merely encountered by Palestrina. By comparison, in the context of the
present-day church, where diverse standpoints surrounding worship styles and its
incorporation within a faith community remain a constant concern (Basden 1999).
The findings from this studying propose to develop compositional ideas that may be
applicable to a present-day church music directors practice.
8.2.1.1 Theomusicological Study: Gloria
Gloria was written in Latin; a translation of the contemporary English text resolved
a linguistic issue experienced in the theomusicological study. The translation of the
entire text is illustrated in the following table (refer table 8.1).

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Latin

English

Phrase 1

Phrase 1

Gloria in excelsis Deo, Et in terra pax

hominibus bonae voluntatis. Laudamus
te. Benedicimus te.Adoramus te.
Glorificamus te. Gratias agimus tibi
propter magnam glorium tuam, Domine
Deus rex coelestis, Deus pater
omnipotens.

Glory to God in the highest, and on earth

peace to men of good will. We praise you,
we bless you. We adore you, we glorify
you. We give thanks for you great glory,
Lord God, heavenly king, Almightly God
and Father.
Phrase 2

Phrase 2
Domine fili unigenite Jesu Christe, Domine
Deus Agnus Dei, filius patris, Qui tollis
peccata mundi miserere nobis; Qui tollis
peccata mundi suscipe deprecationem
nostram; Qui sedes ad dexteram patris
miserere nobis.

Lord, the only begotten Son, Jesus Christ,

Lord God, lamb of God, Son of the Father.
You, who take away the sin of the world,
have mercy on us. You, who take away
the sin of the world, hear our prayer. You,
who sit at the right hand of the Father,
have mercy on us.

Phrase 3

Phrase 3

Quoniam tu solus sanctus, tu solus

dominus, tu solus altissimus Jesu
Christe.Cum sancto spiritu in gloria Dei
patris. Amen.

For you alone are the holy one, you alone

are the Lord, you alone are the most high,
Jesus Christ, with the Holy Spirit, in the
glory of God the Father. Amen.
Table 8.1

The piece was divided into isotopes, where the opening passage (isotopy 1&2),
the initial mid passage (isotopy 5 to 7) and closing passage (isotopy 23&24) of the
piece mainly exemplifies the theme of divine glorification, whereas the following
passage (isotopy 3&4) represents the theme of divine praise. The passages of
these musical texts were contrasted against Biblical passages from Luke 2:13-20,
as shown in the following table (refer table 8.2).

64

Isotopy
Isotopy 1

Lyrics
Glory to God in the Highest

Verse
Glory to God in the highest,
Luke 2:14 a (NIV)
(Angelic responses)
Isotopy 2
And peace to His people on and on earth peace to men on
earth.
whom his favour rests.
Luke 2:14 b (NIV)
(Angelic responses)
Isotopy 3 & 4
We praise You. We bless
The shepherds returned,
You.
glorifying and praising God for
all the things they had heard and
seen, which were just as they
had been told.
Luke 2:20 (NIV)
(Humanistic responses)
We adore you , we glorify The shepherds returned,
Isotopy 5 & 6
you
glorifying and praising God for
all the things they had heard and
seen, which were just as they
had been told.
Luke 2:20 (NIV)
(Humanistic responses)
Isotopy 7
We give You thanks for
The shepherds returned,
Your great Glory
glorifying and praising God for
all the things they had heard and
seen, which were just as they
had been told.
Luke 2:20 (NIV)
(Humanistic responses)
Isotopy 23 & 24 In the glory of God the
(Responses from a multitude)
(repeated in a, b, Father. Amen
c)
Table 8.2

Isotopes 1 and 2 illustrate the sudden appearance of the heavenly host of angels,
praising God and saying (Luke 2:13) and Glory to God in the highest and on earth
peace to men on whom his favour rests (Luke 2:14). The passages continue with the
magnificent exclamation surrounding the Saviours birth, where the angels sang to a
group of shepherds living out in the fields. The shepherds respond by visiting the
child saviour and offer further acts of glorifying and praising (Luke 2:15-20). Luke
2:13 and 14 illustrate the emotional state of joy, reflection and attentiveness within the
vast assembly of heavenly host, which is embodied through isotopes 1 and 2. The
emotional outcome of the shepherds actions after receiving the good news
65

(articulated in Luke 2:15-20) expressed joy, excitement, surprise and wonder, and
consequently embodied through selected text phrases amidst isotopes 3 to 7 (refer
table 8.2).
The theological context surrounding this spiritual event and the emotional connotation
relating to religious ecstasy can be observed in the discourse between the divine and
human. The text phrases We praise you, we bless you, We adore you, we glorify

you, We give thanks for your great glory were considered a narrative implication
of the shepherd's mutual expression of glorification and praising. Isotopes 3 to 7
identify the symbolisation of the humanistic expression in this piece and focus on the
semantic theme of praise and glorification. Isotopes 23 and 24 were consequently
selected in conjunction with this music semiotic study around the sonic narrative.
8.2.1.2 Music Aural/Visual and Semiotic Study: Gloria
The two-part study started with an aural and visual synthesis examining Gloria,
where a replica audio recording by the Oxford Camerata Choir (Palestrina 1994) was
compared with the notations of a score edited by Otto Goldschmidt (Palestrina 1881).
Even though the recording may not be physically equivalent to the actual
circumstances and environment surrounding Palestrinas composition, it offered a
replication of these environmental qualities of note for the study. A transcript outline
of the analysis is located in the appendix (refer to Appendix D, Gloria by Giovanni
Pierluigi da Palestrina, Aural/Visual Analysis, Music Analysis A). This analytical
study showed Palestrinas homophonic setting around six vocal parts within the choir
groups, where a polychoral form was influenced by a vocal arrangement known as
cori spezzati (Arnold 1959). Also noted in the piece was a homophonic texture during
the beginning of the two movements, where the text was set syllabically. Surrounding
the sonic narrative was the awareness of a spacious acoustical quality that was
significantly distinct between musical phrasings throughout the entire piece. The
notion of resonance is considered as the ultimate metaphor of music in spirituality
(Vella 2006). On the whole, the qualities of the spatialisation surrounding the piece
suggest an unconfined space that symbolised a mystical realm of other worldliness.
The following music semantic study of praise and glory examines the musical
syntax, focused on the Latin text, Laudmus te, glorifica mus te and Gloria Dei
66

Patris.
The Notion of Praise
Focusing on the notion of praise, the Latin text Laudmus te and Benedcimus
te, can be translated into English as We praise You and We bless You. Identified
as isotopy 3 and 4 from bars 8 to 12, the following diagram shows the selected
musical passage, which combined the six vocal parts (refer to diagram 8.3).

Isotopy 3
Isotopy 4

Diagram 8.3

Set at a moderate tempo of 126bmp, the rhythm surrounding these two isotopes shows
a greater quantity of shorter notes such as quavers and crotchets in contrast to semibreves and lengthier notes. The rhythmic colouration derived from the complementing
quaver notes observed the melismatic singing of the text Laudmus te by the tenor
voices, alongside the homophonic emphasis of the similar text by the Cantus, Altus
and Bass voices (refer to diagram 9.4). The rhythm continued with a homophonic
minim and crotchet emphasis over the text phrase Benedcimus te. A closer
observation noted the rhythmic repetition over the syllable mus in both phrases by
the tenor (refer to Box A and B in diagram 9.4). The rhythmic embellishment is
exclusive to the segment of the piece, which distinguished itself from the preceding
and subsequent musical passages that comprised of a nearly steady minim pulse.
Rather, it implies and articulates the essence of a communal exhilaration of divine
praising and blessing. This quickening of rhythmic values and repetitions relates to
Vellas (2006) notion of lightness and movement in the experience of ecstasy.
67

The timbre around this piece has an uninterrupted smoothness and flowing manner
between note transitions, where the dynamic ranges from a temporary ebbing of
musical passages into an insignificant interval of silences. Particularly in this selected
segment is a subtle distinctiveness in the dynamic expression, which has an increasing
dynamic range from (p) soft to (mf) moderately loud. A comparison of the harmonic
structure between this musical passage and the overall piece observed minimal
differences in the pitch registers. Composed in the key of Bb major, a series of
escalating harmonic contours within the tonic chord suggest a sense of musical
heightening. This harmonic escalation showed again the cori spezzati effect between
the Bassus I and II, which is similar in the Tenors I and II where note intervals were
relatively narrow (refer the blue lines in diagram 8.4).

Figure 8.4

The Notion of Glory

In the analysis of glory, the study focused upon isotopes 6 and 7 containing the

68

Latin text, Glorificamus te and Gratias agimus tibi propter magnam glorium

tuam , translated in English as we glorify you and We give thanks for you
great glory. The following diagram shows the selected musical passages (according
to diagram 8.5).
Isotopy 6

Isotopy 7

Isotopy 7

Diagram 8.5

From bars 14 to 16, identified as isotopy 6, the rhythm had an initial homophonic
choral structure of crotchet pulse over the syllable Glorifica, which was followed
with a minim pulse over the ending syllable mus-te. A plateauing harmony contour
over the text Glorifica, gradually descended over the text mus te to create a
musical emphasis (refer to diagram 8.6). Furthermore, the gradual slowing in this
passage saw a dramatic emphasis preformed harmoniously by soloists.

69

Chords

Bb Bb Bb

Bb

C aug C

Ab

Ab6

Diagram 8.6

Consequently, bars 16 to 24, identified as isotopes 7, consider the notion of glory as

a noun phrase relative to a verb. This music passage observed a gradual rhythmic
transition that altered the intensity of emphasis, even with joint singing (tutti). This
transition comprised an initial homophonic structure of a minim pulse over the texts
Gratias agimus. This is followed by a homophonic structure of a crotchet pulse over
the texts propter magnam and ends with a somewhat polyphonic structure involving
a syncopated rhythm of dotted quavers and quaver pulse over the text glorium tuam.
Furthermore, this transition contains a shift in the dynamic range from (f) loud over
the text Gratias agimus tibi to (mf) moderately loud over the text propter magnam
glorium tuam. These changes unfold with a gradual diminishing emphasis of the
entire text phrase in relation to the gradual shifting of rhythmic and dynamic intensity
along the musical passage (refer to diagram 8.7).

Chords:

CC C

Gm

C Bb Gm F/A Bb G6 Eb

Diagram 8.7

70

The final study on the notion of glory focused on the repeated Latin text in
gloria Dei, translated as the glory of God the Father. From bars 110 to 122, this
repeated phrase, identified as isotopes 24A, B and C concludes the piece (refer to
diagram 8.8, 8.9, 8.10). Significant to the semiotics of the passage was three
repeats of the text phrase, which suggested a deliberate religious implication of
the holy trinity.
The overall rhythm is established around a predominately crotchet pulse within a
homophonic structure. The tranquilly quickening of the rhythmic pulse and the
escalating dynamic range from a (mf) moderately loud to (f) loud crescendo
contributes to the gradual intensification of the musical passage. The rising
sensation apparent in the repetition suggests a relationship with a recurring
ascending harmonic contour comprised of narrow pitch intervals. The cori
spezzati effect is comprised of shortened note entries flowing continuously
between individual choir parts and contributes to the vast spatial qualities. This
musical effect from bars 119 and 120 saw the transition between the Bassus I and
II, Tenor I and II, (refer to diagram 8.10). A comparison between the theological
context of Luke 2 and the musical effect of polyphonic layering, repetitious and
luscious choral parts, suggests a sensational aural presence that embodies the
theological description of a multitude and the heavenly host.
CANTUS

ALTUS

TENOR I

TENOR II

BASSUS I

BASSUS II

Chords:

Eb/G A Bb Bb
Diagram 8.8

Diagram 8.9

71

CANTUS

ALTUS

TENOR I

TENOR II

BASSUS I

BASSUS II

Chords:

Eb/G A Bb

Bb

Bb Eb

Diagram 8.10

Conclusion
The following table illustrates a comparison of the shifting musical qualities
amidst the selected isotopes that express narratives relating to the notion of glory
and praise (refer to table 8.11).

72

Expression

Praising and

Glorifying

Blessing
Isotopy

3&4

Descriptive: Your

Glorifying

great glory
5

6&7

24A, B, C

Rhythmic Properties
Tempo

Slight

Same tempo

Same tempo

Slight

quickening of

quickening of

tempo

tempo

Pulse note

Quavers and

value

crotchets

Crotchets

Minim and crotchets. Crotchet

Dotted-crotchet and
quaver over
syncopation.

Rhythmic

Syncopated

Homophonic

Homophonic to

pattern

rhythms in

syncopated over text

tenor,

glorium tuam

Homophonic

Homophonic
musical entries
in Cantus and
Altus.
Dynamic

Soft to

Moderately loud

Loud to moderately

moderately loud

Gradually
crescendo from
moderately loud
to loud.

Tonal Properties
Melody

Escalating.

Short plateau

More Plateau over

Mostly

Contour

Short Plateau

over

homophonic rhythms Escalating.

over

homophonic

Occasional descend

Some

homophonic

rhythms and

and ascend

descending

rhythms

gradually
Similar.

Semi-tones to a

pitch

One to three tones

tone apart

interval

apart

descended
General

One tone apart

One tone apart

Table 8.11

73

8.2.2 Creative Case study 2: Hallelujah by George Frideric Handel

Hallelujah, the magnificent chorus composed by George Frideric Handel in the
summer of 1741, is part of a series of pieces in his renowned oratorio, The Messiah.
The theme of this oratorio conveys the message of a coming Saviour, illustrated in the
Old and New Testaments of the bible. The chorus Hallelujah was considered by
musicological scholars to be the conclusion of the second part of the oratorio.
Significantly, this piece was originally written for theatrical performances in a concert
hall in the Baroque period, yet is still heard and sung in churches during Christian
festivals today. The Messiah is a compelling representation of Handels vast
capabilities and creativity; it determines many conceptions and styles in composing
oratorios. It is acknowledged as the epitome of its era, for it combined choruses,
arias, and recitatives into a performance that unfolds the essences of Christianity
(Lang 1963, 525, 526). In the eighteenth century, his compositions imbued a sense of
patriotism amongst the listeners of middle-class Protestant England, who
considered religion to be both history and mythology (Hannings 1998, 283).
Despite the idealism of cultural, religious and political struggles, these sacred and
dramatic musical works filled with theology were both a religious and a social
inspiration for the public.
Importantly, literature records the spontaneous physical response by King George II
of England, who rose to his feet when he first heard the Hallelujah chorus
(Dearborn & Coil 2004, 84-85). In a letter to Revd Dr Laing, James Beattie described
this incident in the first London performances,
When Handels Messiah was first performed, the audience was exceedingly
struck and affected by the music in general; but when the chorus struck up,
For the Lord God Omnipotent reigneth, they were so transported that they
all, together with king (who happened to be present), started up, and remained
standing till the chorus ended: and hence it became the fashion in England for
the audience to stand while that part of the music is performing. You
will agree with me, that the first does great honour to Handel, to music, and to
the English nation: the second tends to confirm my theory, and sir John
Hawkins testimony, that Handel, in spite of all that has been said to the
contrary, must have been a pious man. (Burrows. 1991. pg 28)
This incident highlights a bodily effect, which suggests that this piece might be a

74

critical example of the reintroduction of embodiment in sacred music-making. The

musical attributes of this chorus involve physical participation and serve as a
comparable musical framework for a music directors practice in a Western
Pentecostal/charismatic church musical liturgical system.
8.2.2.1 Theomusicological Study: Hallelujah
Scholars have identified Charles Jennens to be the author of the text in this Oratorio,
which exemplifies prominent events in the Old and New Testament (Bartlett 1998). A
contextual study between the chorus text and biblical passages from the book of
Revelations is illustrated in the following table (refer to table 8.12).
Lyrics
Hallelujah

Verse
Rev 19:1, 3, 4, 6

For the lord God

omnipotent Reigneth

And I heard as it were the voice of a great multitude, and as

the voice of many waters, and as the voice of mighty
thunderings, saying, Alleluia: for the Lord God omnipotent
reigneth.

King of Kings

Rev 19:6 (King James Version)

And he hath on his garment and on his thigh a name
written, KINGS OF KINGS,

Lord of Lords

Rev 19:16a
AND LORD OF LORDS.

The kingdom of this

world; is become the
kingdom of our Lord
and of His Christ

Rev 19:16b
The seventh angel sounded his trumpet, and there were loud
voices in heaven, which said:
"The kingdom of the world has become the kingdom of
our Lord and of his Christ

And He shall reign

for ever and ever

Rev 11:15
and he will reign for ever and ever.
Rev 11:15
Table: 8.12

Hallelujah is an ancient Hebrew expression for praise the Lord, and appears four
times in Revelation 19. An in-depth study of the Hebrew text Hallelujah shows the
syllable Hallelu as the crucial expression of masculinity, where the plural form of
the Hebrew verb is Hallal (Page 1959, 196). The following syllables Jah or Yah

75

are the shorten forms of the name God or Yahweh. Noteworthy is the relationship
between the text Hallelujah and the different scenes that witnessed different
assemblies, emotional and aural sensations. The first scene observed the roar of a
great multitude in heaven shouting (Revelation 19: 1), the second the sound of a
great multitude, where the smoke from her goes up for ever and ever (Revelation
19:3). The third scene saw the twenty-four elders and the four living creatures
falling down to worship (Revelation 19:4). The fourth scene showed once again a
great multitude, like the roar of rushing waters and like loud peals of thunder
(Revelation 19:6). Handels distinctive musical treatment symbolizes the contextual
differences and the magnitude of triumph and celebration around each scene.
In addition to the text Hallelujah, are the succeeding texts for the Lord God
omnipotent reigneth, the text King of kings and Lord of lords, which are used as
textual forms of divine declaration and proclamation. This celebrative event of the
eventual and eternal triumph of good over evil is exemplified in the text The
kingdom of the world has become the kingdom of our Lord and of His Christ. This
study suggests the likely sensation of religious ecstasy is exhibited by the different
assembly of divine beings illustrated in Revelation 19. In the semantic study, the
notion of praise in the text Hallelujah from isotopes 1 to 4 (bars 4 to 11) and in
Section B1 (bars 22 to 32) was the focus, whereas the notion of glory was the focus
of the text King of kings, and Lords of lords, Forever and ever, Hallelujah,
Hallelujah from isotopy 6 of Section B2 (bars 51 to 69).
8.2.2.2 Music Aural/Visual and Semiotic Study: Hallelujah
The study started with an aural and visual synthesis examining Hallelujah, where a
replica audio recording conducted by Sir Neville Marriner (Handel 1992) was
compared with the notations of a score edited by Watkins Shaw (Handel 1959). The
transcription of the aural and visual synthesis study around this sacred piece, is
located in the appendix (refer to Appendix D, Hallelujah by George Frideric
Handel, Aural/Visual Analysis, Music Analysis B). This study noted a contrasting
musical texture that varies between monophonic, polyphonic and homophonic
structures that relate to the contextual expressions. A comparison between various
musical segments observed a monophonic texture particularly over the text for the

76

Lord God Omnipotent reigneth. In contrast, a homophonic structure comprising

unison antiphonal voices and accompanied instruments, was observed in the other
significant text such as Hallelujah, King of Kings and Lord of lords.
Outstanding from these segments is a polyphonic texture over the repeated phrases
He shall reign for ever and ever, where the quickening rhythmic patterns evoke a
sense of jubilation.
The Notion of Praise
In this piece, the notion of praise through the text Hallelujah was intensively
emphasised. Incited by means of repetition and a homophonic texture in the initial
segments, identified as isotopes 1 to 4 in section A1 (refer to diagram 8.13), it
contrasts intensely with the polyphonic texture used in the later segment, identified as
isotopy 3 in section B1 (refer to diagram 8.16).

Diagram 8.13

Tonal and Rhythmic properties

The sonic articulation in isotopy 1 of section A1 (refer to diagram 8.13) illustrates a
soaring and collateral collection of voices that creates a semse of not only sheer
fascination, but is also angelic sounding. Essential to this choral piece is the use of
considerably wider intervallic leaps amidst a repetitious melody. The text, melody,
and the first syllable of the text Hallelujah observed the highest note D5 and
subsequently alternated between note pitches A4, B4 and A4. Specifically at the
start of this musical passage, the alternating intervals provided different intonation
qualities for each syllable of the text Hallelujah, and suggested prominence in the
77

sonic articulation. In comparison, the remaining segment of this musical passage has a
regular plateau of narrower intervals in the melodic contour. A possible outcome from
the recurring text and melody was the effect of monotony, but was countered by
means of a modulation, which involved a consonant movement of a perfect 5th that
modulates the original key signature in D major to A major (compare diagram 8.14 to
diagram 8.15). These shifts of harmonic movements intensify the celebrative and
ecstatic experience.

Diagram 8.14

Diagram 8.15

Section A1 and section B1 observe narrower intervals within the melodic contour,
which gradually ascend and descend smoothly across the recurring text Hallelujah.
A continuous spiralling of voices is perceived aurally from soaring choral parts across
the frequency spectrum in a staggered recurrence of the melodic motif. A visual
illustration shows a staggered pattern along the recurring text, which overlaps
between different voices ranging from the bass to the soprano (refer to diagram 8.16).

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Diagram 8.16

Returning to isotopy 1 of section A1, the rhythm around the text Hallelujah is often
syncopated and formed around short-value notes such as dotted crotchet quavers and
semi-quavers (refer to diagram 8.13). The effect of this syncopated rhythm followed
by the quickening of note values in the closing passage generates a sense of
anticipation over the repeated text Hallelujah. Set against a tempo of 120bmp, this
rhythmic pattern skips along in the opening of the piece and is indicative of a sense of
lightness and quickness. Similarly, the sense of quickness intensifies further
throughout the rhythmic patterns of section B1 when the recurring text Hallelujah is
treated with even shorter note values such as semi-quaver notes (refer to diagram
8.16).
The Notion of Glory
Particularly amongst the following musical passages, the notion of glory isnt
articulated prominently by the actual use of textual expressions relating to glory or
glorifying. Rather, the impression of this notion is expressed through a series of texts
along the passage from bars 51 to 69, identified as isotopy 6 of section B2, where the
notion of glorifying God is as follows.

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King of kings,
(Forever and ever, Hallelujah, Hallelujah.)
and Lord of lords,
(forever and ever, Hallelujah, Hallelujah,)
King of kings, and Lord of lords,
(Forever and ever, Hallelujah, Hallelujah)
And Lord of lords,
(Forever and ever, Hallelujah, Hallelujah)
King of kings,
(Forever and ever, Hallelujah, Hallelujah.)
and Lord of lords,
Kings of Kings, and Lords of Lords.

Diagram 8.17

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Tonal and Rhythmic properties

Two noteworthy musical attributes in the selected musical passage are 1) an
ascending tonal structure of key signatures and 2) a rhythmic emphasis within a
homophonic texture. The intense progression along the musical passage observes two
separate allocations of choral voicing that distinguish the following two segments.
The first segment from bars 51 to 56 involves the monophonic pairing of the soprano
and alto voices followed by the pairing of the tenor and bass voices. The second
segment from bars 57 to 66 includes the sole soprano voice and a collaboration
between the alto, tenor and bass voices.
The first pairing of voices that sing the phrases King of kings and Lord of lords,
has a melody contour that is constant and plateau, with higher pitch characteristics
that creates a sense of a feminine tonal. Separating these two text phrases in reciprocal
responses is a second pairing of voices singing forever and ever, Hallelujah,
Hallelujah with lower pitch characteristics that creates a sense of a masculine tonal.
It is apparent that preceding musical ideas from the opening segment of the piece
were reused in this segment of the piece (refer to diagram 8.17). With the prolonged
repetition of text phrases and musical movements, which involves a semantic
prominence of eternality, the apparent monotonic awareness was countered by the
subsequent modulating of key signatures. Consequently a dominant chord is used at
the beginning phrase of King of kings, Lord of lords from bars 51 to 56, which
continued from bars 57 to 67 as a progressive modulation of key signatures similar to
the D major scale that further intensifies the tonal movement (refer to diagram 8.18).

King of kings

D major

Lord of lords

E major

King of kings

F# major

Lord of lords

G major

Figure 8.18

The melodic progression of the text phrases King of kings and Lord of lords,
observes the consonant interval of a perfect 4th from bars 51 to 56, followed by the
dissonant interval of a major 2nd in the key modulation from bars 57 to 60. The source
of this intense musical experience relates to the dissonant interval, which contributes
to the musical energy (Piston 1970, 50). The effects of the modulation are not only
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aesthetically desirable, but also significant in creating the anticipation of the suspense
surrounding the recapitulated theme. The sensation of the tonal and emotional
escalation is encountered when the passage draws into a magnificent and grand finale
as the choir sings the text and Lord of lords. Within the selected musical passage,
two distinct rhythmic patterns and connotations were observed. The first rhythm
around the text phrases King of kings and Lord of lords is based on a
homophonic texture of longer notes such as crotchets and whole notes. The second
rhythm around the reciprocal text phrase forever and ever. Hallelujah, hallelujah is
largely syncopated and based on a homophonic texture of the shorter quavers and
semi-quavers. Despite the rhythmic unison that suggests a state of mutual agreement,
a sense of emphasis is associated with the longer notes, while a sense of exhilaration
and anticipation is associated with the shorter notes.
Metaphorical expressions through Musical Effectors
The following discussion of Handels compositional ideas that express musical
resonance concerns the use of timbrel and rhythmic qualities to symbolise specific
religious meanings relating to the biblical context. His ingenuity employs earthly
resources to convey the aural perception of a spiritual space marvelled by human
experience and rationalization. In view of the context surrounding the book of
Revelations, the following table illustrates the musical effectors around the text
Hallelujah in a figurative expression of various spiritual assemblies (refer to table
8.19).

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Bible passage
Revelation 19:1

Text passage
After this I heard what sounded
like the roar of a great
multitude in heaven shouting:
Hallelujah!

Revelation 19:4

The twenty-four elders and the

four living creatures fell down
and worshiped God, who was
seat on the throne. And they
cried: Amen, Hallelujah!

Revelation 19:3

And again they shouted:

Hallelujah! The smoke from
her goes up for ever and ever.

Revelation 19:6

Musical Effectors
Homophonic textual. Interval
leap in the melody, which
started with highest note.
Using quick and short
rhythm. Vast spatiality.

Modulation of key signatures.

Use of repetition.
Homophonic textual and the
use of quick and short
rhythm.
Then I heard what sounded like Mixture of polyphonic and
a great multitude,
homophonic vocal melody.
Density created from entire
usage of a massive choir.
Vast Spatiality
Like the roar of rushing waters

And like loud peals of thunder,

shouting

Wavy-like polyphonic
repetition of choir voices.
Layered of a similar text in an
overlapping or staggered
manner. Gradual progression
in the choral range, from the
bass to the sopranos.
Accompanied
instrumentations, naturally
loud and low in registers.
Sense of rumble.
Homophonic textual between
the trombe, timpani and the
choir.
Table 8. 19

In the illustration of a great multitude, the deep and thunderous sound of the timpani
provides a figurative description of the perceived sound, which resembles loud peals
of thunder (Rev 19:6). In the context of Revelation 1:10 and 4:1, the discerning sound
of the trombe, which accompanied specific segments of the choir, was another
figurative description that relates the loudness of a voice to the sound of a trumpet. In
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view of the selected key signature of D major, the trombe was considered to be at its
optimal frequency in comparison to the tunning of the timpani in the pitch of A and
D. This emphasises the importance of selecting appropriate key signatures around the
orchestration of accompanying instruments and vocal parts which concerns the
aesthetic experience attained through the combination of instruments and vocal range
to evoke an experience that embodies spirituality.
The following table illustrates the musical effectors surrounding the text passages of
King of kings, Lord of lords and For ever and ever, Hallelujah, hallelujah.
(refer to table 8.20).
Bible passage
Revelation 19:16a

Text passage
King of kings

Revelation 19:16b

Lord of lords

Revelation 11:15

For ever and ever.

Hallelujah, hallelujah.

Musical Effectors
Monophonic textual. Longer
and repetitive notes. High
pitch: Soprano and Alto
voicing. Subsequently,
only Soprano voicing. The
timbre is smooth and high,
expressing somewhat divine
and angelic.
Homophonic textual. Short,
quick repetitive notes. Low
pitch: Tenor and Bass
voicing. Subsequently, Alto,
Tenor and Bass voicing.
Contrast to the choir range.
A low and husky timbre,
which express the earthly
sounds, seemly to express
humanity.
Table 8.20

The context of Revelations 19 suggests two notions associated with divinity that are
distinguished figuratively by the choice of timbrel qualities. In the first notion, the
robe on his thigh written as King of Kings and Lord of Lords (Revelations 19:16),
notes the acknowledgement of prominence and supremacy. Expressing this notion is
the timbrel arrangement of sopranos, altos and oboe voicing, which is perceived
aurally as elevating and radiant. The second notion around the text phrase For ever
and ever. Hallelujah, hallelujah, portrays an earthly response. In contrast to the
previous timbre, the sublime timbrel arrangement of bass and tenor voices around the
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notion of a great multitude (Revelation 19: 1 & 6) is perceived aurally as earthly

and rumbling. The notion of text colouration is greatly exhibited through this piece,
where a magnitude of contrasting overtones are utilised not only as a means to involve
the emotions in the piece, but to articulate a tangible humanistic experience of
spirituality.

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Contemporary Sacred Music

In further iterations of the comparative study, the following two pieces relate to the
same semiotic themes and serve as critical examples of contemporary sacred
composition. These two pieces were composed by a group of music directors and
worship leaders from a contemporary Pentecostal Christian church located in Sydney
Australia, which has achieved recognition with gold and platinum CD sales on the
Australian charts (Hillsong Music 2010). In relation to my practice as a music director
within the local church, these two pieces were frequently used in the liturgy over a
period of three to four months. Hence, the popular rock-orientated style of music
genre served as critical examples in the study of the Australian contemporary Church
context.
8.3.1 Creative Case study 3: Glory by Reuben Morgan
The piece Glory, written by Reuben Morgan for a CD compilation of worship
songs, was popularised in the CD album entitled Hope, released in 2003 and
directed by Darlene Zschech, a worship pastor of the church. The album debuted at
number three on the ARIA Album charts, while the DVD version debuted at number
one on the ARIA Top 40 DVDs (Hillsong Music 2010). Recorded live in an annual
conference event at the Hillsongs Convention Centre, this song presents the notion of
glorification and has been selected to compare with Palestrinas Gloria. In a
narrative comparison, the text in bold demonstrates the first verse of Glory and the
traditional piece Gloria to show similarities in the expressions of themes (Refer to
Table 8.21).
Glory by Reuben Morgan
Verse 1
Great is the Lord God almighty
Great is the Lord on high
The train of His robe fills the
temple
And we cry out highest praise

Gloria by Palestrina
(Translated from Latin)
Glory to God in the highest,
And on earth peace to men of good will
We praise you, we bless you,
We adore you, we glorify you,
We give thanks for your great glory,
Lord God, heavenly king, Almighty
God and Father.
Table 8.21

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8.3.1.1 Theomusicology Study: Glory

The text and theme written by Reuben Morgan correlates with the biblical passage
from the book of Psalms 24: 7-10 (refer to table 8.22).
Isotopy
Isotopy 9,10,11

Lyrics
lift up your heads open the
doors
let the King of glory come in
and forever be our God

Verse
Lift up your heads, O you
gates; be lifted up, you
ancient doors, that the
King of glory may come
in.
Psalm 24: 7, 9 (NIV)
Table 8.22

The theological context around the narratives suggests the idea of spiritual fulfillment
by relinquishing personal desires of the soul that are affected by the seeking of earthly
matters. Within the commentaries around Psalm 24, the reader is persuaded to accept
a divine influence over the course of events, particularly in the instance of
discontentment. This notion is observed through the textual expression in two
segments of the piece. The verses and pre-chorus, which forms the first segment,
persuade the listener to focus upon the divine virtues of triumph and to gain
confidence in the supernatural intervention. The chorus, which forms the second
segment, urges the listener to look towards this divine source as a means of obtaining
spiritual satisfaction and salvation, as illustrated through the passage Psalm 24: 7-10.
8.3.1.2 Music Aural/Visual and Semiotic Study: Glory
An aural and visual synthesis study of the piece suggests that the sacred musical
arrangement is similar to the general popular rock-styled music (refer to Appendix D,
Glory by Reuben Morgan, Aural/Visual Analysis, Music Analysis C). The apparent
musical trend involves a straightforward homophonic melody, accompanied by a
popular rock style instrumentation and vocal harmony sections. The sonic narrative in
this piece features the feminine voice of Darlene Zschech, who was then the foremost
representative in the ministry. An intense musical experience is significantly evolved
through a distinctive mixture of rhythmic and tonal patterns, orchestrated through the
following instrumentation. Perceptible in the introduction and verses is the intense
rumbling of rhythmic tom-tom rolls on the drum kit, which is accompanied by lowpitched instruments such as the bass and synthesizer. The pre-chorus is significantly

87

softer and lighter in timbre, along with a double time rhythmic feel that usually
engages congregational participation in the form of clapping in an ovation-like style.
The piece is divided into segments known as isotopes, where the verses are identified
as section A, the pre-chorus as section B and F and the Chorus as section C and D. In
relation to the study of praise and glory, the two selected musical segments were
the initial verses identified as Section A isotopy 5 and the pre-chorus section,
identified as section B, from isotopies 6, 7 and 8, and is followed by its repeated
section from isotopes 18 to 20.
The Notion of Praise
In relation to the notion of praise, this study focuses on the last sentence of the first
verse, which illustrates a communal expression of praise through the words and we
cry out highest praise.
A

Figure 8.23

Tonal and rhythmic properties

A straightforward melodic motif is apparent throughout the verse, where the closing
two bars observes a gradual decreasing and ascending contour with narrow intervals
(refer to diagram 8.23, red lines). Within this melody, the highest note A4 on the
text high descends to the lowest note in the piece over the text praise E4. The
suspense created in the transition from the closing verse into the pre-chorus reveals a
half cadence around the dominant chord V followed by the sub dominant IV chord
structure. In addition, the piece provides an ideal concept for communal singing,
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where a simple and proficient common vocal technicality is achieved through the
tonal structure and rhythm.
A common quality in the melody is the rhythmic repetition, which in this instance
involves shorter followed by lengthier note values (refer to Box A and B in figure
8.23). These qualities encourage an organised participation of voices in a diverse
congregation with a clear musical expression of the theological message. In contrast
to the initial segments of the passage that has more text within a bar, the text phrase
cry out high-est praise is sustained through a prolonged rhythm across four bars.
This prolonged rhythmic variance involves a gradually reducing pulse associated with
the lengthening of note values, which in this instance shifts from dotted crotchets and
semi-breve to whole notes.
The Notion of Glory
In this case the notion of glory focuses on the following text phrases in the prechorus, Glory to the risen King, Glory to the Son, Glorious Son (refer to diagram
8.24). Noticeable in the musical arrangement, this particular section is repeated in two
different parts of the piece. Within these sections, the instrumentation reduces and
intensifies alongside the congregational participation.

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Isotopy 6, (Isotopy 18 repeat) 18 bar 21 24

Glory to the risen King

Isotopy 7, (Isotopy 19 repeat) Bars 25 28 beat 2

Glory to the Son

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Isotopy 8, (Isotopy 20 repeat) bar 28 beat 3 30 beat 2

Glorious Son

Diagram 8.24

Tonal and rhythmic properties

Within the context of contemporary sacred music, the accompanying instrumentation
is essential to the sonic narrative. Sung in a semi a cappella style, the sonic narrative
is established around a straightforward and repetitive melody that has a gradual
descending contour. An embellishment is observed in isotopy 7, where a variation of
the initial melody motif is used in a gradually ascending fashion over the text Glory
in a syllabic fashion (refer to blue box in diagram 8.24). To counter the monotony of
repetition, shifting tonal and timbrel qualities are employed throughout the
instrumental arrangement. In addition to the musical intensification created by means
of a tonal change from a suspended chord F#sus2 to the dominant chord, the
escalating dynamic range, the layering of instrumentation in the closing of the prechorus and the shifting instrument timbres unite to provide considerable effectors.
Most perceptible in the first and second repeat of the pre-chorus is a distant repetitive
electric guitar riff against a sustained drone-like soft string pad. The arrangement of
timbrel qualities blends the sustained dark-tone sonority of the string pad with the
rhythmic metallic harshness of the electric guitar. The effect of the timbre and
rhythmic qualities in a drone-like state implies a sense of timelessness and vastness of
space. It differs in the third repeat, where the pre-chorus begins initially with the
prominent string pad and is subsequently layered with similar electric guitar riffs.
Noticeable in the timbrel and rhythmic shift is the preliminary sense of timelessness
followed by the symbolising of time, which musically heightens the experience of
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spirituality.
The shifting rhythmic quality in the melody is apparent in the piece, so the use of
lengthier notes over the sonic narrative in the pre-chorus is more prominent compared
to other portions of the piece. The treatment of lengthier notes, such as half and whole
notes or the prolongation of notes beyond the span of a bar, adds a sense of emphasis
over the selected prominent text glory, King and Son. In spite of a half-time
feel in this musical segment, the energy created by a quaver pulse is consistently
articulated through the acoustic guitar and ride-cymbal of the drum kit. The effect
from the distinct rhythmic quality is observed faintly in the audio recording, and the
intense clapping from the congregation, which recalls the theological notion of the
rivers clapping their hands (Psalms 98 :8). The effect in the sonic quality involves
the participative connotations of singing and a bodily acknowledgement of the intense
rhythm that becomes a crucial process in expressing a passionate emotional sensation.
These examples of a musical and spiritual encounter give rise to meaningful
experiences for the participant within the context of a contemporary musical liturgical
system.

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8.3.2 Creative Case study 4: Hallelujah by Rolf Wam Fjell,

Matthew Tennikoff & Marty Sampson
The final creative case study examines the contemporary sacred song Hallelujah
written by Rolf Wam Fjell, Matthew Tennikoff and Marty Sampson. Like the
previous contemporary piece Glory, this piece also emerged in the liturgy of my
local church over a period of three to four months. As the textual content of this piece
expresses predominately the notion of praise, I will use it as a comparison to
Handels Hallelujah. The narrative comparison between both pieces shows close
similarities in the lyrical expressions of the theme (refer to table 8.25).
Hallelujah by Rolf Wam Fjell,
Matthew Tennikoff & Marty Sampson
Chorus
Hallelujah. Hallelujah. Hallelujah.
For our God reigns.

Hallelujah by Handel
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah
hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah
hallelujah
For the lord God omnipotent reigneth
Hallelujah hallelujah hallelujah
hallelujah
Table 8.25

Hallelujah, released in a CD compilation entitled United We Stand in 2006, was

featured with a series of popular rock style worship songs from a Hillsong live
recording. Intended as a stand-alone chorus, it continued from the previous piece The
Stand to conclude a series of songs written around the theme of salvation, freedom,
divine praise and the unification of passion in bringing hope and answers to a lost
and broken humanity (Hillsongs 2006). The composers intention of connecting the
current generation to their saviour in spirit and truth (Hillsongs 2006) employs a
selection of contemporary sounds that seek to identify with the existing culture.

8.3.2.1 Theomusicological Study: Hallelujah

The biblical context surrounding the text of this piece relates to the book of
Revelations, Chapter 19: 6 (refer to table 8.26) which is comparable to the Handels
Hallelujah.
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Lyrical phrase
Hallelujah, Hallelujah,
Hallelujah. For our God
Reigns

Bible verse
Passage
Revelations 19:6 Then I heard what sounded like a
great multitude, like the roar of
rushing waters and like loud peals
of thunder, shouting: "Hallelujah!
For our Lord God Almighty reign
Table 8.26

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8.3.2.2 Music Aural/Visual and Semiotic Study: Hallelujah

Like the previous contemporary piece Glory, this piece utilises elaborated forms of
rock-based orchestration to accompany a straightforward homophonic melody (refer
to Appendix D, Hallelujah by Rolf Wam Fjell, Matthew Tennikoff & Marty
Sampson, Aural/Visual Analysis, Music Analysis D). Analysis of the sonic narrative
suggests two particular groups of singing, where one source is derived from the band
vocalist while the succeeding source derives from the congregational participation.
Noticeably in the recording is the duet between a female and male vocalist during the
preliminary chorus before transitioning to a congregational singing manner. The final
two choruses involve a shift between vocal groups as the orchestration progresses
further by means of layering, blending and altering of instrument timbre, voicing and
dynamics. Identifying each chorus and its repeats as isotopes, the following table
highlights the prominent instrumentations observed against the states of participation
(refer to table 8.27).

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Isotopy

Instrumentation

State of Participation

Organ drone, with marching snare drum

Meditative

position
Isotopy 1

rudiments.
Isotopy 2

Isotopy 3

Organ drone, marching snare drums, with Gradually development

double time feel introducing low

from a meditative mood

frequency instrumentation. Sparse

toward an intense and

electric guitar riffs and gradual pedalling

engaging musical

bass line.

experience.

Rock rhythm, driven by blending of

Heightening of musical

distorted electric guitar and assertive

experience

drumming patterns. 8 beat feel.

Isotopy 4

Isotopy 5

Similar Rock feel. Melody variations by Further heightening and

singers singing in syllabic. Echoing of

maintaining of musical

word hallelujah by backing vocalist.

fervour

Participative focus on communal singing.

Creating communal

Drums: altering of rhythmic pattern, from enthusiasm, by creating

snare and kick drum to incorporate

means of musical space for

various toms. Slight clapping was

singing. Sense of release

observed in the recording.

in a communal expression
through participative
activities.

Isotopy 6

Similar to isotopy 5 Leading male

Anticipating the

vocalist leads the chorus.

conclusive segment of the

chorus

Isotopy 7

Re-entering of the vocalists. Layering

and blending of instruments. Similar to
isotopy 4

Sustaining the pinnacle of

the musical experience.

Isotopy 8

Final chorus. Similar to isotopy 7. Ended Concluding with a grand

the piece by lengthening and emphasising finale.
the last few words. Our God reigns.
Table 8.27

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The Notion of Praise

As the notion of praise is intensely articulated throughout the seven repeats of the
chorus through three reiteration of the text Hallelujah, the study focuses on the
theme of praising.

Diagram 8.28

Tonal and Rhythmic properties

The melodic motif over the text Hallelujah and the phrase our God Reigns
observes a straightforward descending contour with narrow intervals (refer to diagram
8.28). Two alternating variations of melody motif are observed and highlighted within
the blue boxes, which alters in the ending notes as highlighted within the red boxes
(refer to diagram 8.28). The variation involves a progressive change on the last note
of every syllable jah, which begins with the note pitch E4, F#4, recurring to E4
before ending in A4. A variation of the repetitive melody pattern occurs in the
fourth and final repeats of this chorus, where the octave pitch E sung by the leading
male vocalist is heard faintly over the singing.
A comparison between the vocal and accompanying instrumental rhythm observes
occasional complementary polyrhythms that generate musical intensity. The rhythm
of the melody is structured around quarter notes and half-notes, except in the

97

concluding text reign which concludes with a whole note. Complementing the sonic
narrative is a progressive fluctuation of sparse and dense instrumental rhythms that
evoke shifting sensations of airiness and walls of sound. The first and second repeats
of the chorus is a sparse instrumental rhythm that is half the vocal rhythmic feel,
which in the third chorus gradually intensifies into a denser rhythm that doubles the
vocal rhythmic feel. A sense of anticipation emerges from the increasing musical
tension, as the release appears in the fourth and fifth repeats of the chorus by means of
a constant drum solo. The instrumental solo offers a state of mutual involvement,
where the congregational singing encapsulated through the audio recording indicates a
reciprocal partaking of the sacramental activity between the clergy and the church.
From the communal singing we can discern an unvarying vocal rhythm heightened by
varying instrumental rhythms that implicitly affect the intensity of the musical and
spiritual experience. Like minimalist music (Cope, 1997), the unvarying vocal rhythm
evokes a means of social and musical control, where cohesiveness and orderliness is
explicated through engaging with a repetitive sonic narrative. The shows the
importance of orchestration and production in contemporary music, where a
minimalist repetition intensifies the surrounding and varying instrumental texture that
in turn has a reciprocal effect on the spiritual fervour of the participants.
The case study of selected pieces has provided a theoretical perspective that traverses
the shifting religious culture and ideologies around sacred composition techniques
used to express particular theological themes. An overview of the tonal and rhythmic
qualities gathered from the musicological findings is referred to in the appendix (refer
to Appendix A and table 2). The findings are discussed further in a comparative study
to show the shifting trends of sacred music-making around the sonic narrative.

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Towards the Notion of Glory and Praise

8.4
Comparative Study of Sonic Narratives
The comparative study of sonic narratives brings into perspective the idea of
resonance that develops from a fundamental musical expression of spiritual vigor in
Christianity. The expression is exemplified through King David, where the music
resounds, the spirit inspires, and the temple receives in a devoted musical and
spiritual experience (Strunk 1965, 62). Clement of Alexandria expounds on this
experience, where Davids harp was the source of the music, his pipe the reason for
continuous breath of the Spirit, and his temple as the resonator that sings the word.
Augustine articulated the significance of the relationship between sacred text and the
musical appropriateness through these words, our souls are moved and are more
religiously and with a warmer devotion kindled to piety than if they are not so sung
(Chadwick 1991, 207). The aim of the comparative study is to discuss the qualities of
musical attributes around the sonic narrative starting with the notion of praise and
subsequently the notion of glory.
8.4.1 Tonal and Rhythmic Properties Towards Praise
An overview of the findings gathered from the comparative study of sonic narratives
expressing the notion of praise can be found in the appendix (refer to Appendix A,
table 3 and 4). The findings show two common musical forms associated with the
musematic and discursive forms of repetition (Middleton 1990, 269). The tonal
qualities of the sonic narrative observed a musematic repetition of identical or closely
identical riffs or motifs. The trend in the melodic contour of the selected musical
segments, especially in the piece Gloria, shows an even distribution of ascending
and descending contours, while a gradual descending contour is observed in the other
three pieces. In addition, a common trend in the contour expresses a common lateral
interval difference around a major 2nd,, suggesting an inclination towards narrower,
stepwise intervals.
The frequently used note pitches of the scale see the regular use of the 1st and 5th notes
in both the traditional and contemporary pieces Hallelujah. On the other hand, the
regular use of the 5th note was observed in the piece Gloria, while a regular usage of

99

the 3rd note was observed in the piece Glory. Regardless of the era of composition,
a common observation was a homophonic texture that was accented with expressive
gestures, such as the gradual crescendo and the moderately loud or loud dynamic
qualities.
A rhythmic comparison of the sonic narrative expressing praise frequently observed
more intricate rhythms that involved a higher quantity of notes within a bar,
particularly in the traditional work. The distinction in the quality of notes per bar was
most apparent between both pieces titled Hallelujah, where the traditional version
utilized a higher amount, whereas the contemporary version utilized the least amount
amongst all four pieces. A noticeable resemblance in the length of notes involved
pieces that expressed similar titles and themes. Lengthier notes were frequently
observed in the pieces Gloria and Glory, whereas shorter notes were observed in
both pieces of Hallelujah. Overall, the contemporary approaches used a
straightforward, obvious and constant rhythmic pattern regardless of the expression of
specific spiritual themes.
In a chronological progression, the rhythmic comparison of the four pieces observed
an increasing musematic rhythmic repetition. In some cases, the occurrence of similar
rhythmic patterns was as few as four times to as many as twenty-three times. On the
other hand, a discursive repetition was observed mostly in the contemporary pieces,
which ranged from two to three similar rhythmic repetitions across a selected musical
passage.
8.4.2 Tonal and Rhythmic Properties Towards Glory
An overview of the findings gathered from the comparative study of sonic narratives
expressing the notion of glory can be found in the appendix (refer to Appendix A,
table 5 and 6). In contrast to the study on sonic narratives expressing notions of
praise, the expression of glory frequently observed a somewhat musematic
repetition of tonal qualities. In the piece Gloria a similar melody over the text In
gloria dei Patris Amen is repeated three times in the concluding segments, while in
Handels Hallelujah, there is a repetitious transition of tonal structures in a
progressive modulation over the text King of kings, Lord of lords, forever and
ever, Hallelujah, hallelujah. The inclination is more subtle in Reuben Morgans

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Glory, which has a varying melodic motif over the text Glory to risen king, glory
to the son.
Furthermore, a gradual descending melodic contour can be heard in the initial
segments of Gloria (isotopes 5, 6 and 7), which ascends subsequently in the closing
segments (isotopes 24 a, b, c). Similarly, the subtle treatment of descending melodic
contours was observed in the pre-chorus of the piece Glory. On the contrary, there
were minimal change to the melodic contour in Handels treatment of Hallelujah.
This plateau state derived initially from an unvarying contour, and progressed to a
mixture of descending and ascending contours, which comprise narrower lateral
interval differences ranging frequently in minor 2nd, major 2nd and major 3rd. Overall,
using the 5th note in the scale was apparent in all three pieces, alongside others such as
the 1st, 3rd and 6th notes. Despite the compositional era, a homophonic texture is
employed in all three pieces and the sonic narratives in the pieces Gloria and
Hallelujah are treated with a moderately loud dynamic level.
When comparing the rhythmic attributes between the traditional and contemporary
pieces, a slightly higher number of notes per bar is noted in the traditional pieces. In
addition, the rhythmic quality in all three pieces shares shorter notes such as quavers
and crotchet notes. The treatment of rhythmic embellishments over distinctive sonic
narratives expressing the theme is an exception for these pieces. For instance, an
unhurried and flexible tempo is observed predominantly over the text Glorificamus
te in Gloria (isotopes 5, 6 & 7). Likewise, a lengthening of the text Glory in the
pre-chorus of the song Glory is distinguished against the consistent rhythm of a
guitar. Similar rhythmic devices present in Gloria shift from a sense of
contemplation created through an unhurried pulse to a sense of prominence created
through a slight quickening tempo over the concluding text In Gloria.
While a musematic repetition of the rhythmic pattern was seen regularly in
Hallelujah, this differed from Gloria and Glory, which constantly developing.
A discursive repetition can be observed in Glory, which is arranged based upon a
musical form where the pre-chorus is repeated twice. Once again, the notion of
repetition is less common in the traditional approach, as observed in the instance of
Gloria.
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8.5
The Notion of Resonance
Resonance is often used to indicate the quality and reverberation of sound. In this
chapter, the word Resonances will be used as a metaphorical, physical and
mechanical expression of the findings gathered from this research. This notion of
resonance is especially significant in relation to the sacrament and liturgical activity in
Christianity as it entails faith, which comes by hearing (Romans 10:16-18).
Significantly, the varying of sounds in a spiritual activity is customary to communal
spiritual practices, as it is used to awaken, elicit and sustain particular states of
consciousness (Saliers 2007, 2).
A notion of the sound in relation to Christianity is illustrated through the following
verses:
Praise him with tambourine and dancing,
Praise him with the strings and flute,
Praise him with the clash of cymbals,
Praise him with resounding cymbals.
Let everything that has breath praise the LORD
Praise the LORD.
Psalm 150:4-6
The passage above expresses the devout state of praise in conjunction with a
collective response through the playing of tambourines, physical movements, the
combined texture from the strings and woodwind, the clashing and resounding of
cymbals and the 'breath' or utterance of voices. The relationship between the state of
devotion and the source of resonance is not subjected solely in the Old Testament
context; in fact this musical and spiritual relationship is continuously transcending
even today. Consequently, the concluding discussion aims to start a preliminary
conceptual framework that defines the qualities of a music-making craft that evoke
resonances around the sonic narrative. It seeks to identify and then articulate the
relationship between specific utterances and the expression of spirituality.
8.5.1 Metaphorical
Richness or significance, especially in evoking an association or strong
emotion (The Free Dictionary 2010).
The richness and significance of a musical and spiritual experience brings to
awareness the individual, communal and cultural aspects in early and contemporary

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musical liturgical systems. These systems have been identified in the basis of this
study, which have observed distinctive musical conduits that bridge humanity and
spirituality. The musical conduits evoke an emotion associated with specific spiritual
states. An insight surrounding the individual, communal and cultural beliefs suggest
either or both states of theological-related and self-realization related musical
explication employed within the musical conduits.
In the first state, the theological and contextual study observed music as the means of
explicating figuratively a theology-related perception or idea. This involves using
appropriate musical connotations to embody a specific theological context that
implies a spiritual state around an individual or community. The musical qualities are
observed in the traditional approach of sacred music-making. An exceptional
illustration in this study is Handels Hallelujah, which explicates skilfully the
mystical and musical experience of a singing multitude of heavenly beings, and
Palestrinas Gloria, which transcends into existence the emotional jubilation of
angelic voices encapsulated in lifeless biblical passages through a harmonious,
polyphonic choral section.
The unprecedented sonic connection between spirituality and humanity suggests a
significant component of the experience, which involves a point of aural disruption
(refer to diagram 8.29) that interrupts or alters a listeners physical environment
towards something seemingly mystical. The notion of disruption implies foreignness
or otherworldliness in the music, where imaginary and unattainable resonance is
generated in conflict to earthly deficiency and is perceived as divine. Another aspect
of this disruption implies a progressive transporting or shifting of an individual or
community between earthly and heavenly spaces. The musical inventiveness that
signifies divinity creates a significant relationship between the beliefs and aural
perceptions around a specific theological context that gives meaning to specific
resonances, such as the association between soprano voices and angelic beings. The
musical effects often witnessed are physical feats such as singing in extreme registers,
multifaceted choral rhythms and the consideration of reverberation through
extraordinary acoustic spaces. Once again, these characteristics are most obviously
present in the traditional approach to sacred music-making.

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Musical sacramental activities

Religious Ecstasy

Increasing engagement

Identity: NonBelievers

Identity: Believers
with a common
religious belief

Context: Secular

Sounds of Otherworldliness
Sonic signifiers to
spirituality

Context: Spiritual /
Mystical

Comprehensive
worldly sounds

Ecstasy

Point of Aural
Disruption.

Decreasing engagement

Time
Diagram 8.29

The second state involves a self-realization-related explication and observes music as

its effectors to add to the intensity of religious fervour, alongside a theological
narrative or liturgy. This includes appropriate musical connotations within the
sacramental activity that engage individual and communal forms of physical
embodiment so as to encounter spirituality by means of self-realization of a specific
theological message. Even as this state is apparent in both approaches of sacred
composition, it is especially significant in the contemporary approach as it is
employed to promote and maintain the social and cultural wellbeing within a faith
community. The contemporary songs Glory and Hallelujah, composed by the
group of Hillsong composers, contain theological narrative that is surrounded by
musical orchestration associated with pop culture, which promotes accessibility
amidst an intricate multi-social and cultural faith community.
This notion of accessibility functions critically within a contemporary musical
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liturgical system when it promotes inclusiveness and collective experiences within the
sacramental activity. Furthermore, it becomes a catalyst that pushes the point of
disruption, especially when inclusiveness is generated through individual and
communal participating of a sacramental activity. Despite a range of responses within
the activity, this inclusiveness relates to the sense of richness and significance derived
from a common spiritual belief. The effects advocated through this musical
inventiveness suggest social and cultural coherence, which considerably alters the
circumstances, moods and relationships between believers participating spirituality.
This discussion surrounding the metaphorical notion of resonance highlights two
states theology-related and self-realization-related musical explication. The
conditions surrounding the two states are further discussed through examining other
notions of resonances.
8.5.2 Physical
The quality or condition of being resonant, by means of an acoustics
intensification and prolongation of sound, especially of a musical tone,
produce by sympathetic vibration (The Free Dictionary 2010).
Continuing on from the initial metaphorical notion of resonance presented above, this
section is concerned with the physical qualities and conditions surrounding the idea of
a musical conduit, particularly the perception of the effectors of time and space. These
two effectors determine the condition surrounding the dualistic and monistic state of
embodiment by permitting or prohibiting the degree of sonic intensification that
signifies meaning. In order to facilitate this discussion about the state of theologicalrelated and self-realization-related musical explication is a summary table of findings
derived from the preliminary comparative study of musical effectors and effects (refer
to Appendix A, table 7 and 8). Due to the shifting temperament of the individual,
communal and cultural factors around a musical liturgical system, the
phenomenological study of musical effectors requires constant and vigilant
consideration. The findings from this research provide insights that contribute to a
conceptual framework that allows transferability of musical techniques in the church
music directors field of practice.

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The musical symbolisation of time can vary from as short as a musical passage to as
long as an entire musical piece. This imaginary musical journey of time signifies an
individual or communal timeframe that engages with spirituality, similar to the
expression in Ecclesiastes 3, for there is a time for everything, and a season for every
activity under heaven. The flow between moments of spiritual reflection and fervour,
or the conceptual state of eternality and chronological periods is symbolised through
musical conduits by means of time and timelessness. The sense of time suggests a
humanistic awareness of time, while the sense of timelessness signifies a divine
perception of time in a state of eternality (Pike 1970) or a relative timelessness
(Padgett 1989, 209-215), which is embodied musically.
On the other hand, the sense of musical space through distinctive audio spatialisation
is often observed in the signification of specific spiritual realms. Particularly in the
audio spatialisation, the perception of constraint suggests implications of earthly
realms, while the perception of vastness implies mystical realms. This distinctiveness
of space is often a physical feature within the church building that embodies the
essences of Christian faith and the experience surrounding the sacramental activity.
Even though the notion of time and space highlights specific instances relating to a
common spiritual belief, the treatment of these two notions are different in both
church musical liturgical systems. This musical treatment was observed explicitly
through the use of tempo and the rhythmic complexity surrounding the number of
notes within a bar, note value, repetition, intervals, pitch value, harmony structure and
expressive gesture.
The notion of time develops around the tempo, which is a rhythmic effector that
signifies sensory momentum. In some experiences of communal involvement around
the musical and sacramental activity, the effect of lengthier periods of a prolonged
magnitude of fervour on the participant involves shifting states of exhilaration and
meditation. Subtly, the tempo initiates a rhythmic platform for these temperaments
and moods intended in the sacramental activity. For instance, in the traditional
approach a downbeat tempo is associated with the mental state of meditation as
observed in Palestrinas Gloria while an upbeat tempo is associated with the
physical state of exhilaration as observed in Handels Hallelujah. Similarly, the
contemporary concept surrounding a Praise and Worship movement shows that the
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notion of worship songs relates to a downbeat tempo while the notions of praise songs
relate to an upbeat tempo.
In addition, the tempo provides a rhythmic foundation for two intricate groups of
musical effectors. The first group of effectors develops around the rhythmic
complexity and the value of notes amid this complexity, which generates effects
seemingly along an expanding and shrinking chronological time. The second group of
effectors based on the concept of repetition involves musematic and discursive forms
of musical recurrences. The unique effects seemingly relate to a sense of musical
tension, which is derived from a continuous repetition that eventually changes into a
sense of obliqueness, or loss of a sense of time when prolonged. These outcomes
partially contribute to the intensifying of a musical experience, which evokes intensity
of a spiritual state. From the preliminary study of selected sacred pieces, two effects
around the senses of time saw a multifaceted experience facilitated through rhythmic
repetition and complexity.
The first effect surrounding a sense of time involves an increasing state of rhythmic
repetition through uniform rhythm, which suggests not only a reference of time, but
which also becomes the emphasis of prominent religious themes. From analysis
undertaken in this study, this is most apparent in the contemporary sacred musicmaking in specific sonic narratives and musical passages. Furthermore, the use of
repetition in conjunction with rhythmic complexity is seen as a means of providing
access to musical participation in a contemporary church context. Music and liturgical
themes are easily learned and remembered by the participants. The second effect
involves a sense of timelessness, a diminishing state of rhythmic repetition through
non-uniformed rhythms, which disorients the perceived indication of time and implies
a sense of eternity. This sense of timelessness is observed across two rhythmic
methods in the traditional sacred music. The first sees a constant shift of musical
and textual matters apparent in Palestrinas Gloria; the second is comparable to the
first, and is established through a prolonged recurrence of musical or textual matters
that consequently and progressively eliminates the reference of time, as in Handels
Hallelujah. The concern of carnality and the physicality associated with pagan
worship, and the function of timelessness associated with liturgical themes is a means
to evoke a mystical sensation for a participants encounter with spirituality.
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The notion of space can be perceived in specific tonal attributes of sonic utterances
and the orchestration of instrumentation. These tonal attributes or effectors identified
in this study have been concerned with varying melodic intervals, pitch value, the
harmonic structure and the expressive gestures. Significantly, these effects relate to
either signifying mystical spaces that illustrate the heavenliness or facilitating social
and religious spaces intended for sacramental activities.
The traditional choral works frequently observed the treatment of intricate and
dramatic colour tones around the sonic narrative as means to signify mystical spaces.
Firstly, the extraordinary musicianship and vocal ability needed to perform the choral
pieces competently is almost unimaginable . They feature complex polyphonic
textures and extreme pitch registers. Secondly, when a sacred piece is performed in a
church the natural acoustic conditions of the space encapsulate and express the
customary spiritual belief and context. These factors present a sense of the
supernatural enveloped in a musical experience created from musical extremes that
defy natural rationalisation. The exclusiveness of the performance spaces and the
clerical performers add to the experience of the ritual. These features are seen in
attributes of Palestrinas Gloria, where in the context of the Catholic mass, the skill
of the clergy and the appropriate acoustic reverberation in the performance venue is
essential to the spiritual effect. While in the context of the Oratorios, the exceptional
tonalities that distinguish the spiritual and humanistic qualities demonstrate the
relationship between the tonality and the idea of spiritualistic competency. Simpler
musical structures convey the idea of humanistic limitation, which is most apparent in
Handels Hallelujah, where the high pitches, polyphonic texture and airy
reverberation signify the qualities of heavenliness, while the low pitches, homophonic
texture and rumbling resonance signify the qualities of earthliness.
The examination of contemporary music focusing on the sonic narrative revealed that
the treatment of comparatively straightforward and comprehensible tonalities was
used to signify both social and religious spaces. This does not suggests the musicality
is less intricate or the musicianship less proficient. Rather, these factors instigate
activities of mutual engagement that encapsulate the essence of social structures, a
religious context and a common spiritual belief. The prominent musical
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characteristics of these works are homophonic in texture and within a manageable

singing register for the general church participants. This enables inclusiveness and
social and cultural intimacy in a religious space. Hence, the effect of singing in
unison, where the melody is embellished and incited by accompanied instruments,
suggests cohesiveness amongst a diverse community of believers. These qualities are
noted in the two contemporary pieces, where a popular genre of music culture is
utilised to convey theology and to excite the individual and communal mood around
spirituality.
An overview of the physical notion of resonances around these two approaches of
sacred music-making shows instances of musical effectors that relate to notions of
time and space. Significantly, the traditional music studied emphasises a metaphoric
illustration of divine virtues attained from a humanistic perception through intricate
polyrhythms and tonalities. These findings propose that spirituality is traditionally
embedded in music, and spirituality can be embodied through music. On the other
hand, the contemporary music examined encapsulates a mutual belief within a diverse
community of spirituality, through less complex and straightforward rhythm and tone
that facilitates and rallies communal musical and sacramental activities. Music in the
contemporary context of sacramental activities provides a process to facilitate the
humanistic expediency of spirituality through a sense of physical embodiment that
involves social participation and rationalisation.
8.5.3 Mechanical
The condition in which an object or system is subjected to an oscillating
force having a frequency close to its own natural frequency (New Oxford
American Dictionary 2007).
This final discussion concerns the musicological study that focuses on the
mechanical conditions surrounding the concept of time and space, which was
previously discussed as the metaphoric and physical notions of resonances. In the
sonic narrative, I scrutinize the formulation of the sonic properties and its relationship
with the notions of monism and dualism , which has involved studying the wave
diagrams or Amplitude Envelope termed as ADSR (Attack, Decay, Sustain, Release),
representing the overall audio mix of selected musical passages. This study aids in the

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understanding and articulation of significant musical attributes that relates to

harmonics and overtone characteristics. In selected musical passages, this approach
provides visual and sonic perspectives of vocalisation and the accompanying
instrumentations.
A focus on the mechanics surrounding the sonic narrative in Hallelujah and Glory
in relation to the transferability of musical concepts provided two insights. A
common rhythmic technique was observed in the concept of time that suggests a
significant relationship between the pulse and the state of spiritual vigour. Secondly,
the notions of monism and dualism in the body/mind and the utilisation of
timelessness and space illustrate reflective virtues of spirituality within an
environment.
A visual reference of the entire sound spectrum surrounding the two selected choruses
titled Hallelujah is shown below. The first wave diagram shows Handels chorus
Hallelujah, which reveals a vibrant variation of wave contours within segments
across the entire piece (refer to diagram 8.30). In the wave diagram, the sonic
narratives expressing praise are highlighted in darker colours, while the sonic
narratives expressing glorification are highlighted in lighter colours.

Diagram 8.30

The second wave diagram shows the contemporary chorus Hallelujah by Hillsongs,
which begins with a varying wave contour that gradually swells to a virtually
unvarying and constant wave contour (refer to diagram 8.31).

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Diagram 8.31

Despite the distinctiveness of each musical approach in both choruses, the following
observations and annotations were made when the text Hallelujah was measured
against time. In the initial segment of Handels piece that has five repeats of the text
Hallelujah, the approximate time span over the first two texts was two seconds,
which shortened in the next two to approximately one second, before ending in the
final one that was approximately two seconds. When examining the ADSR (Attack,
Decay, Sustain Release) envelope around the initial set of text Hallelujah, the point
of attack was on the syllable Hal, which was sustained to the syllable lu.
Whereas in the second set of text, the point of attack was over the syllable lu
amidst of a quick rise and short decay. Dissimilar from the first and second set of
texts, the final set had a subtle attack over the syllable Hal, which was sustained
longer over the syllable le and gradually decayed over the syllables lu-jah (refer
also to diagram 8.32) (refer also to Appendix D, Audio and video References on
DVD, Hallelujah by George Frideric Handel, Aural/Visual Analysis, Hallelujah
Handel praise).

Hallelujah Hallelujah.. Hallelujah.. Hallelujah. Hal lelujah.

Diagram 8.32

On the other hand, the contemporary chorus started with a less intricate musical
structure and consisted of three repeats of the text Hallelujah and the final phrase
Our God reign that was each approximately five seconds in time span. In all three
repetitions of the text Hallelujah, the attack was on the syllable Hal, which
gradually decayed over the syllable le and Sustained in the syllable lu before
the release on the syllable jah (refer to diagram 8.33) (refer also to Appendix D,
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Audio and video References on DVD, Hallelujah by Rolf Wam Fjell, Matthew
Tennikoff & Marty Sampson, Aural/Visual Analysis, Hallelujah Fjell praise).

Hallelujah.. Hallelujah Hallelujah Our God reign

Diagram 8.33

Examining the semantics surrounding the syllable Hallelu, a musical embellishment

would seem to be unintentional. On the other hand, a comparison between the sonic
utterances specifically around the consonant of the opening text observed both
choruses starting at the highest pitch in the melodic contour over a comparable time
span of approximately 1.5 seconds. This is despite varying musical patterns over the
ending syllable Yah. While a shifting rhythm and melody is witnessed over these
syllables in the traditional chorus, an alternating melody shift is observed in the
contemporary piece.
A visual reference of the entire sound spectrum surrounding the pieces Gloria and
Glory is shown below. In both diagrams the themes expressing the notion of praise
are highlighted in dark or red colours, while the theme related to glorification is
highlighted in lighter or green colours. The first wave diagram shows Palestrinas
piece Gloria which, similar to Handels Hallelujah, has a vibrant variation of
wave contours that create segments of swelling and tranquil musical passages (refer to
diagram 8.34).

Diagram 8.34

The second wave diagram shows the contemporary Hillsong piece Glory, which
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consists of a relatively unvarying wave contour that changes gradually, specifically in

the segments expressing the theme of glorification (refer to diagram 8.35). In regard
to the audio production of the contemporary pieces, the treatment of audio
compression applied to the overall dynamic range may possibly explain the virtually
static dynamic range, where the loudest and the quietest passages are not distinctively
identified in an overview of the piece.

Diagram 8.35

The sonic narrative expressing the theme of glorification focused upon the closing
segments (isotopy 23 and 24) in the piece Gloria and the pre-chorus (isotopy 6,7
and 8) in the piece Glory, where the following observations and annotations were
made when measured against time. In the concluding segment of the traditional piece
Gloria, consisting of three repeats to the phrase in glria Dei Pa tris Amen, a
gradual quickening over the repeated phrases had an approximate time span of 10
seconds in the initial phrase that subsequently shortened to approximately 8 seconds.
Despite the additional half phrase in glria in the final repeated phrase, a further
quickening of this segment was observed. When examining the ADSR envelope
around these polyphonic structured phrases, the point of attack was perceptibly on
the text Gloria, with a further subtle emphasis by the tenor voice over the text
Dei. Two points of sustain were observed in the three repeated phrase, where the
first sustain was over the text Patris, while the second longer sustain was over
the closing text Amen, which ended with a gradual release (refer to diagram 8.36)
(refer also to Appendix D, Audio and video References on DVD, Gloria by
Giovanni Pierluigi da Palestrina, Aural/Visual Analysis, Gloria Palestrina 2 glory).

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in glria Dei Pa tris Amen. in glria Dei Pa tris Amen. in glria in glria Dei Pa tris A men.. A men

Diagram 8.36

On the other hand, when measured against time, the contemporary piece Glory
showed irregularity in the time span of each phrase throughout the entire pre-chorus
segment. The point of Attack was observed in the following texts, Glory and in
other texts such as to, risen, son and Glorious where sibilance accentuates
parts of the phrases. The transitory point of Decay and Sustain occurred mainly
over the text King and Son, with the lengthiest Sustain on the final text Son
(refer to diagram 8.37) (refer also to Appendix D, Audio and video References on
DVD, Glory by Reuben Morgan, Aural/Visual Analysis, Glory Morgan glory).

Glo

ry

to

the risen King

Glo

ry

to the son.Glorious son.

Diagram 8.37

8.5.3.1 Transferability of Musical Concepts

The outcome of this study around musical concepts between these two compositional
approaches suggests a minimal degree of transferability. In relation to time and
timelessness, a sequence of trivial and obvious rhythmic patterns noted two distinctive
rhythmic subsets. The first subset is concerned with the rhythmic pulses relating to the
degree of intensification and religious fervour. The second subset concerns the time
signifiers, which evokes a sense of time or timelessness.
The transferable musical concepts in the traditional and contemporary approaches
relate to the impression of an increasing rhythmic pulse and the sense of heightening.
A quickening pulse created by shortening the rhythmic values in time is apparent in
the choral arrangement of Gloria and Hallelujah. Comparatively, this concept is
apparent in Glory, where a quickening pulse in the vocal melody is accompanied by

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a constant strumming of the rhythm guitar which implies a reference to chorological

time. Similarly in the contemporary Hallelujah this concept is apparent in a
repetitive, unvarying vocal melody alongside a rhythmic magnitude that is created
from an interchanging orchestration of instrumentation, which gradually intensified
the musical temperament. Moreover the sense of intensification correlating to the
illustrated repetition is further heightened by an escalating pulse.
On the other hand, the non-transferable musical concepts in the traditional and
contemporary approaches relate to the rhythmic concept of timelessness. An example
of timelessness exemplified throughout the two traditional pieces Gloria and
Hallelujah is the regular quickening and shifting rhythms in a recurring sonic
narrative. This is apparent when examining the asymmetrical waveforms created by a
gradual shortening of the repeated musical passage in the closing segments of the
piece Gloria and the opening segments of the piece Hallelujah. Further
contributions to the state of timelessness in these music examples derived from an
indefinite rhythmic pulse throughout the musical passage diminish the reference to
chronological time. The resulting inability to physically quantify time in a natural
setting evokes the experience of mysticism and suggest the supernatural, particularly
in the context of this traditional musical sacramental activity that is dualistic in the
body/mind.
The sense of timelessness is not apparent in the two contemporary pieces Hallelujah
and Glory when analysed exclusively from the progression of songs in both CD
album. In opening passage of the chorus Hallelujah, this awareness of time is
created through the recurrence of similar rhythms in the sonic narrative represented by
sections of symmetrical waveforms. As examined previously, the awareness of time
in the piece Glory is created through the subtle continuous strumming of the
acoustic guitar alongside a varying melodic rhythm. This is represented by the
recurring traces of unremitting fine lines ranging in the higher frequency spectrum.
The trace of chronological time articulated through either vocalisation or
instrumentation observes a trend of symmetrical and invariable waveforms. This
effect relates to the presence of the monistic nature of the body/mind within the
contemporary musical sacramental activity. Hence the contemporary music evokes a
trace of time which synchronises and connects the social and spiritual aspects around
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a religious belief. This physical awareness of time through monism provides a

periodic connection with the common belief that is shared by the faith community.
Another non-transferable concept emerged from the concept of space within a
religious environment. The apparent conditional parameters surrounding the variances
of spaces revealed a connection between the acoustic properties, the orchestration of
different tonal ranges and timbre differences in instruments and voices that merged to
form a meaningful divine atmosphere.
Distinctively in the traditional pieces, the mystical spaces showed a significant use of
acoustic parameters existing within the venue and a dynamic range generated from a
changing homophonic and polyphonic texture. The aural perception gathered from the
recordings of these musical sacramental activities shows a vast reverberation
alongside a shifting dynamic range. The sonic description of otherworldliness is
associated with this exclusive source of sound that is unconfined and unattainable
through mere humanistic means. Even though it is created through the acoustic
architectural design of the venue, the eccentricity suggests a source that is beyond the
earthly source. Uniquely, the sound implies a religious belief attributed to the
spiritualistic-humanistic relationship acknowledged in the faith community. From the
syncretism of sonic narratives and musical qualities, the notion of spirituality is
viewed with reverence, as the implication of divinity is considered omnipotent and
immeasurable. Hence, when considering the dualistic nature of the body/mind, a
religious space is created through vivid sacramental activities incited by musical
effectors that evoke the mentality involved in the humanistic rationalisation of a
mystical dimension.
The signifying of social and religious spaces in the analysis of the contemporary
pieces shows acoustic parameters and a dynamic range that facilitates unison and
homophonic vocalisation. The aural perceptions gathered from the recordings of these
musical sacramental activities illustrate a condensed reverberation alongside an
intense dynamic level. A descriptive comparison of the sound relates to the proximity
effect, where the frequency and volume level changes with the distance to produce a
disproportionate increase in the bass frequencies, loudness and reduction of
reverberation when the source is closer. From the syncretism of sonic narratives and
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musical qualities, the notion of spirituality is viewed as relational in the consideration

of divinity being supreme yet gracious. The sonic quality is associated with the
vibrancies and magnitude of the faith community. In retrospect, the aspects convey a
state of vigor within individual believers of the faith and more so in the communal
and spiritual conception of oneness and unity. For where two or three come together
in my name, there am I with them (Matthew 19:20). In addition, this proximity of
sound implies a form of social and cultural guidance within a shifting community by
means of conveying a mutually shared belief acknowledged amongst believers.
Hence, a communal space is created through participatory sacramental activities
incited and directed by musical effectors that evoke the physicality necessary for the
humanistic rationalisation of a mystical dimension.

Conclusion
An overview of resonance seeks to create awareness in the form of sonic
characteristics that convey theology in a shifting church paradigm (refer to Appendix
A and table 9). These musicological insights elicit a thought-provoking entre into a
swiftly developing music, arts and theology in the church that then challenges the role
of a church music-director. The present-day practitioner is often engaging in a
musical liturgical system that is intertwined with the traditional and contemporary
approaches to sacred music-making set against shifting church culture and ideologies.
Whilst the focus of this study is a comparative study of church music expressing
comparable theological themes, the findings suggest significant concepts that
overarch these traditional and contemporary frameworks of musical effectors and
effects that infer religious ecstasy. Importantly, in the construction of a conceptual
framework for contemporary music directors practice, traditional music techniques
can facilitate an experience of the richness and significance of spiritual embodiment
through sonic symbols and highlight an awareness that retains the essence of
traditional music. Comprehending the religious and cultural information
communicated through traditional forms of music is not merely exclusive to believers
of preceding generations, but also to the future generations of the faith. For instance,
the experience of a point of disruption where the sensation changes from a natural to
supernatural encounter of a divine realm requires initiation to help conserve musical
and spiritual values. On the other hand, the relevance of this approach in a
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contemporary context may result in conflict and tension because this context is
concerned with the relational and participatory setting within the faith community.
The significance of spirituality is embodied through a mutual sacramental activity
assisted by sonic symbols, hence further studies around the syncretism of both
approaches need to consider the point of accessibility where a social and cultural
conduit formed between believers of the faith and sonic semantics can facilitate
communal encounters within divine time and space.
Consequently, these concepts provide an overarching preliminary conceptual
framework that supports further experimental research. To advance this field of study,
successive iterations and replications of further cycles of practice-led research is
needed. This further study would seek the potential application of these musicological
concepts in a contemporary church context. The outcome of this additional study
provides a means to gather a contemporary perspective on this phenomenon, which
strengthens the knowledge pertaining to this field. It is with anticipation that a
vacuum space is not created so as to rekindle and advocate the sonic expressions
that meaningfully convey the spiritual resonances within a present-day church
experience.
In a church context, sacred music-making isnt just an anthology of theology for
means of edifying and recording, it symbolises the sounding of the trumpet
(Numbers 10:1-3, Joel 2:15) that signifies the gathering and functioning of a
community. It preserves and instructs the core beliefs within a medium that
transcends cultures so as to be understood within a mutual context. It contains and
conveys a mutual experience within the context of a shared and common belief.

118

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America.
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http://www.biblegateway.com/passage/?search=LUke%205:26&version=45 (accessed
June 30, 2010)
Acts 3:9-11. 2001. BibleGateway.com. Wycliffe New Testament. Terrence P.Noble.
http://www.biblegateway.com/passage/?search=Acts%203:9-11;&version=53;
(accessed June 30, 2010)

133

Glossary
Musical Terminology
Rhythmic Properties
The following table will explain each factor comprised in the rhythmic analysis.
Factors

Description

Tempo

A characteristic rate or rhythm of activity

Number of bars

The numbers of bars taken was subjected to the length

of each purposively selected lyric containing the
themes of Praise and Glory.
They vary in the numbers of bars.

Total number of notes

The number of notes is based on either a visual

accounting of every note transcript on a musical score,
or aural accounting of the average number of notes
heard from an audio recording.
The four voicing melody (SATB) were prominent in
the composition of traditional pieces, while a
prominent single voicing was leading the melody in
the contemporary pieces.

Number of notes per bar

The average number of notes aurally heard in each

bar.

Note value

The note value utilized for each purposively selected

lyric. Note values ranged from whole notes to semiquavers. A visual accounting of these notes from a
musical transcription is represented in the form of a
percentage.

134

Articulation of rhythmic pulse

The formation of clear of distinct rhythmic sounds.

An aural and visual analysis of the rhythm created
within the purposive selected passage in comparison
to the entire piece. Forms of articulation ranged from
short and syncopated pulse to long and nonsyncopated pulse.

Repetition of rhythmic pattern

The recurrence of the rhythmic pattern within the

purposive selected passage.

Regularity of rhythmic pattern

The quantity of a rhythmic pattern within the

purposive selected passage thats repeated in the
entire piece.

Tonal Properties
The following table will explain each factor comprised in the tonal analysis.
Factors

Description

Melody Contour

The rise and fall of successive notes in a

musical passage.

Intervals

The difference in pitch between two notes

Tessitura / Pitch value

The pitch value utilized for each

purposively selected lyric. They ranged
from the lowest pitch of D3 to the highest
pitch of D5. A visual accounting of these
notes from a musical transcription is
represented in the form of a percentage.

Harmony structure

The structure of musical passages as

considered from the point of view of its
chordal characteristics and relationships.

Expressive gesture

A visual and aural analysis of the musical

expression and dynamics within the
purposive selected passage.

135

Repetition of tonal patterns

The recurrence of the tonal pattern within

the purposive selected passage.

Regularity of tonal patterns

The quantity of a tonal pattern within the

purposive selected passage thats repeated
in the entire piece.

136

Christian Terminology
Body of Christ The universal assembly of all believers. "Now you are the body of
Christ, and members individually" (1 Corinthians. 12:27).
Catholic A Latin term taken from the Greek, KATHOLIKOS, meaning
"universal," referring to all believers.
Charismatic Comes from the Greek word CHARISMATA which means gifted. A
Christian who believes in or practices speaking in tongues and the present-day
operation of the spiritual gifts.
Communion A memorial supper of bread and wine, symbolizing the broken body
and shed blood of Jesus. "The cup of blessing which we bless, is it not the
communion of the blood of Christ? The bread which we break, is it not the
communion of the body of Christ?" (1 Corinthians. 10:16).
Doctrine A teaching; That which is taught as the belief of a church. "All Scripture
is given by inspiration of God, and is profitable for doctrine, for reproof, for
correction, for instruction in righteousness" (2 Timothy. 3:16).
Edification To build up and strengthen. "He who speaks in a tongue edifies
himself, but he who prophesies edifies the church" (1 Corinthians. 14:4).
Evangelical A term to describe those with devotion to the Gospel of Jesus instead
of the ecclesiastical or rationalistic forms of Christianity Spiritual mindedness and
zeal for Christ rather than ritualism.
Gospel Literally, "good news." The story of Christ's life, His death and
resurrection, as described from different perspectives by eye-witness authors,
Matthew, Mark, Luke and John. Their four individual records of Christ are each
called a Gospel, entitled with each authors name which comprise the first four
137

books of the New Testament. "For I am not ashamed of the gospel of Christ, for it is
the power of God to salvation for everyone who believes, for the Jew first and also for
the Greek" (Romans. 1:16).
Hallelujah A variation of a Hebrew word, Allelujah, which means Praise the Lord.
"After these things I heard a loud voice of a great multitude in heaven, saying,
Alleluia! Salvation and glory and honor and power to the Lord our God!"
(Revelations. 19:1).
Liturgy This is a prescribed form or collection of forms for public worship. In
liturgical churches, the rite and ceremony is more prominent than the emphasis on
preaching, evangelism, or spontaneous expressions of worship.
Messiah A reference to Jesus Christ. Literally, "The Anointed One" (Daniel. 9:25).
Omnipotent A theological term to describe the all-powerful characteristics of
God.
Pulpit The podium from which a minister preaches. The term was used in the King
James Version, where a pulpit was something stood on for elevation when speaking to
a crowd. "And Ezra the scribe stood upon a pulpit of wood..." (Nehemiah 8:4 KJV).
Secular That which is not sacred or ecclesiastical. It pertains to things not
Christian or church related, such as unbelieving society.
Theology The study of God (Greek, THEO).
Trinity A theological term which describes the three persons of the Godhead, the
Father, Son and Holy Spirit. A church which embraces this doctrine is called
"Trinitarian." "For there are three who bear witness in heaven: the Father, the Word,
and the Holy Spirit; and these three are one" (1 John 5:7).
138

Word "The" Word, God's Word, the Bible. Jesus Christ is the Word who was
made flesh. "Therefore those who were scattered went everywhere preaching the
word" (Acts 8:4).
Robbins, D. A. 1995. What People Ask About the Church. Answers to Your
Questions Concerning Todays Church. http://www.victorious.org/glossary.htm
(accessed June 30, 2010).

139

Appendix A
Table 1: Analytical process of spiritual pieces
Theomusicological Forming Creative Case studies.
study
Step 1
Conduct a Christian theological study of the piece, where references
from bible passages and verses are identified relating to the content
of the piece.
Conduct a historical based literature study involving liturgical
studies, sociological, psychological and philosophical perspectives,
derived from prominent western historians and musicologists.
This study provides a deeper rationalization of the composers
intention and expression of spiritual meaning in forms of music.
Music Semiotic
study
Step 2

Aural analysis of the piece of music, to discover the syntax and

meaning created through music passages. Divide the piece into
sections known as isotopes. Each isotope contains the musical syntax
that is developed through deep structure, thematicity, genre
features, texture alone, and general text strategies. (Tarasti 1994.
pg 304)

140

Aural and Visual

Synthesis study
Step 3

Conduct deeper aural analysis using music theory to record the

musical elements and concepts used in these isotopes. The analysis
of each isotope is based on the following musical parameters:
1. Metre-underlying pulse; regular or varying,
2. Rhythms-uniform or non-uniform.
3 . Pitch-pentatonic (or fewer notes); seven notes, major,
minor or modal; polytonal; twelve notes, tonal or atonal;
micro-tonal.
4.Texture-independent lines of counterpoint or homophonic
5. Timbre-varying between instruments; within an instrument
6. Compass-the possible notes of an instrument or voice.
7. Range-the actual notes of a piece of music, within which
is Tessitura-the most frequently used part of the range.
8. Density-the number, distribution and doubling of notes.
9. Dynamics-both broad and detailed.
10. Articulation-the degree of accent and separation of notes,
11. Placing in space-where one or many sounds come from,
12. Pace-how frequently any or all of the elements above
13. Structure-within what small- and large-scale moulds music-block
chords, with every stage between. movement; within a single note.
motives and phrases. occur and change. events are organized.

(Pratt 1998. Pg 31- 45)

The aesthetic experiences created from various musical stimuli
within individual isotopes are identified. The effects induced by the
occurrence of unique musical expression termed as effector are
captured through a written transcription. The effects of tension,
through the rhythmic reduction of note values from crotchet to
quaver notes by an effector deduced from the aural analysis, are
subsequently compared visually with a score or transcription of the
musical piece.
Computational
method study
Step 4
Synthesis and
perception of
musical
soundwaves using
Comparative Case

Study
Step 5
Repeat Step 1 to 5
for the selection of
spiritual pieces.

Conduct a computational analysis using RavenLite, It provides a

micro and macro spectrogram view of music within isotopes or as a
whole.
Utilize the excel spreadsheet program as a database to record
various information obtained from aural and visual synthesis.
Generate comparative graphs gathered from the information.
Repeat the process from Step 1 to 5 with other spiritual pieces in the
selection. Create multiple creative case studies that can be used for
comparative analysis. Identify isotopes based on the semiotic theme
of Praise and Glory and concentrate on the findings of musical
attributes gathered from the similar isotopes.

141

1st Comparative
Analysis
Step 6

From these creative case studies, isotopes of a selected spiritual

piece with lyrics expressing the notions of praise or glory were
comparatively analysed. Aim to discover the musical attributes and
stimulus used to express the spiritual experiences of praise and
glory.
Evaluate these findings gathered from various isotopes. Gathered
evidences on the trend of musical composition techniques or music
stimuli that emphasis certain spiritual meaning. Use this evidences as
a contextual framework of ideas for a present day church application,
such as a musical arrangement, or composition.

Application to
practice
Step 7

Apply specific music stimuli gather from the compositional

framework of ideas into arranging a spiritual piece for a local church
context. Perform the newly arranged piece in a Praise and Worship
setting to a focus group, or the whole church congregation.

Review
Step 8

Interviewed individuals comprised of the focus groups or from the

congregation in a controlled environment.. Gather their musical and
spiritual experiences in relation to the newly arranged spiritual piece.

2nd Comparative
Analysis
Step 9

Gathered new findings from interviews and musical arrangements.

Conduct Step 7, a 2nd comparative analysis to gather new evidences
that may influences the outcome of the compositional framework.

and Summaries
Step 10

Summaries all new evidences for a revise conceptual framework for

further studies and application in the field of sacred music
composition and arrangements.

Table 2: Overview from the Musicological Study of Four Spiritual Pieces.

Creative Case
1
study
Title
Gloria Missa
Papae Marcelli

Composer

Tempo (bpm)

Giovanni
Pierluigi da
Palestrina
63

Hallelujah
The Messiah

Glory
Hope.
Hillsongs

George Frideric
Handel

Reuben
Morgan

120

115

4
Hallelujah
with The
Stand
United We
Stand.
Hillsongs
Rolf Wam
Fjell, Matthew
Tennikoff &
Marty
Sampson
77
142

Period
Background
of the
spiritual
piece

Biblical
content of
text in the
piece
Social /
Bodily
response

Renaissance
1562
Mass used in the
Roman Catholic
church.
Music
composition came
under strict
liturgical
instructions of
Pope Marcellus.
He did not favour
overly
embellished
polyphony and
argued that it
detracted listeners
from the
significance of
the spoken liturgy
and the delivery
of sacred texts.
Luke 2:14, 1
Chronicles 29:13

Late Baroque
1741
Oratorio.
Performed in a
secular theatre.
Charles Jennens
wrote this
librettos which
Handel expressed
his grief and
comfort, through
his extraordinary
musical
composition. It
concluded the
second of the
three parts.

Contemporary
2003
The album
Hope was
recorded live
at an annual
event held at
the Sydney
Convention
centre. The
piece Glory
led by the
church
worship leader
Reuben
Morgan had
strong
rhythmic
patterns and a
remarkable
melody.

Contemporary
2006
The album
United We
Stand was
created for the
youth and
young adult.
The piece
Hallelujah
led by Marty
Sampson was a
worshipful
anthem that
was catchy,
melodic and an
effective ballad
that concluded
the album of
spiritual songs.

Revelations 11:
15, 19: 1-6, 19:16

Isaiah 6:1-3.
Psalm 24 7-10

Revelations
19:6

Those who heard

it in the Sistine
Chapel had often
described the
pieces
overwhelming
beauty with
utmost praise.

The custom of
standing to their
feet during
performances.
Originated from
the Kings
astonishment
when he heard the
piece and arise to
his feet.

Bodily
responses in
movements.
Forms of
dancing along
with the music.
Clapping of
hands in
rhythmic
patterns. Use
of double
quaver to
double-time
feel.

Bodily
responses.
Raising of
hands.
Kneeling and
bowing.

143

Audience /
Congregation
al
involvement

Involved by
listening to the
performance done
by the clerical
ministers and
choir.

Involved by
listening to the
performance done
by the choir and
orchestra.

Music texture Contrasting music

texture. Mixture
of Homophony
and polyphony
choir melody

Monophonic
longer notes and
homophonic short
exclamation.
Mixture of longer
long and short
melodies in
polyphonic.
Instrument
accompaniment
with choir,
emphasising in
unison rhythmic
patterns,

Acknowledge The crowning

ment of the
representative of
piece.
Palestrinas
second style is
probably his
greatest work.

The piece, which

was set as an
oratorio, is still
performed during
Christmas, in
churches and
concert halls
around the world.

Interaction
with the
performance
through
singing and
using of bodily
movement and
expressions.
Modern rock.
Repetition of
musical motifs.
Changes using
solo
instrumentatio
n. Repetitive
build-ups of
timbre,
dynamics and
texture. Guitar
as the main
tonal catalyst
with riffs and
power chords.
Drums as the
rhythmic
catalyst.
The piece was
used in the
local church
for a period of
time. It was
top on the list
of praise
songs used
during 2003.
At the present
moment, It is
occasionally
used in the
local church.

Interaction
with the
performance
through
singing and
using of bodily
movement and
expressions.
Anthem-like
Alternative
worship.
Changes with
extensive
range of
dynamics.
Repetitive
build-ups of
timbre,
dynamics and
texture. Guitar
as the main
tonal catalyst
with riffs and
power chords.
Drums as the
rhythmic
catalyst.
The piece was
often used as a
transition
between songs
or the ending
song for
worship
sessions. Due
to its simplicity
and worshipful
lyrics, It
provided
worshippers in
the local
church,
simplicity in
worship and
singing.

144

Table 3: The Rhythmic Qualities in the Sonic Narratives expressing Praise.

Spiritual Gloria Missa
Piece Papae Marcelli
(Traditional)

Hallelujah
The Messiah
(Traditional)

Glory
Hope.
Hillsongs
(Contemporary)

Hallelujah
with The
Stand
United We
Stand.
Hillsongs
(Contemporary)

Tempo
(bpm)
Total
number of
notes /
Number of
Bars

126 Sense of
slowness due to the
minim note pulse
46(four vocal lines)
17 (single vocal
line)

Allegro: 120

110bpm

70bpm

84 (four vocal
lines)
21 (single vocal
line)

16

4 bars

8 bars

4 bars

1.8 notes/bar

2 notes/bar

Whole notes:
14.3%
Dotted
minims: 14.3%
Minims:
28.6%
Dotted
crotchets:
28.6%
Quavers:
28.6%

Whole notes:
6.25%
Dotted
minims:
18.75%
Minims:
18.75%
Crotchets: 50%
Semi-quavers:
6.25%

Consistence
unhurried
pulse in
comparison to
other sections
of the piece.

Consistence
pulse.
Increased
rhythmic
expression
through the 3rd
repetition.

4 bars
4.3 notes/bar

Number of
notes per
bar
Note values
(%)

Articulation
of rhythmic
pulse

5.3 notes/bar
Minims: 45.7%
Crotchets: 37%
Quavers: 17.4%

Slight quickening
of the pulse in
comparison to
other sections of
the piece

Dotted crotchets:
9.3%
Crotchets: 7%
as observed in the
closing segment
of the verse in the
contemporary
piece Glory and
the traditional
piece Gloria
each expressing
the theme of
praise.Quavers:
65.1%
Semi-quavers:
18.6%
Syncopated pulse
in this section in
comparison to
other sections of
the piece.
Lightness and
quickness. Sense
of skipping in the
word Hallelujah

145

Repetition
of rhythmic
patterns
within
selective
isotopy/isot
opes

Transition from
three repetitions of
minim to three
repetitions of
crotchet pulse.

Transition from
two repetitions of
a pattern

Regularity
of isotopes
(in
comparison
to entire
piece)

Isotopes 3 and 4
The entire isotope
occurred only once. 2 repeated once
(key of A). The
second part of
rhythmic pattern

to
two repetitions of
another pattern.

repeated around
23 times

Transition
from two
repetitions of a
rhythmic
pattern

Three
repetitions of
the rhythmic
pattern

to
a whole note.

before
transiting to
whole note.

Repeated at the A total of eight

ending of
repetitions.
isotopy 17
(repeated
verse), and
ending of
isotopy 12, 24,
(chorus and
repeated
chorus), which
repeated

Proportion.
Number of
notes (in
comparison
to entire
piece)
Comparable Bars 32-34. Dorhythmic
mi-ne Fi-li page 3.
patterns
Bars 37, 38. ge-nite, u ni-ge-ni-te
page 4
Bars 96, 97 Domi-nus page 9
Bars 122, 123 Amen page 11

146

Table 4: The Tonal Qualities in the Sonic Narratives expressing Praise.

Spiritual Gloria Missa
Piece Papae Marcelli

Hallelujah
The Messiah

Glory
Hope.
Hillsongs

Hallelujah
with The
Stand
United We
Stand.
Hillsongs

Within 2 bars,
repeated
descending
contour in
major 2nd were
used. The
repetition in the
second bar rise
by a major 2nd.
Final bar
descended by a
major 3rd.
Major 2nd
descending and
rise. Final
descending in
major 3rd.

Descending
contours over 2
bars.
Alternating
rising of the
descending
contours.

Key: E major

Key: A major
C5#: 25% (3rd)
B4: 25% (2nd)
A4: 25% (1st)
F4#: 6.25%
E4: 18.75%
(5th)

Melody
contour
Alluring
forms or
shapes.

Repeated contour
on the words
laudamus te and
Benedicimus te.
A gradual
ascending and
descending
contour.

Three different
contours. The
first two contours
were repeated
The first has a
descending
contour, while
the second has a
straight contour.
Third contour
was wavy.

Intervals

Major 2nd
ascending. Major
2nd and 3rd
descending

Major 4th
descending.
Major 2nd
ascending and
descending.

Key: Bb major
D5: 6.5%
C5: 10.9% (2nd)
Bb4: 6.5%
A4: 10.9% (7th)
G4: 4.3%
F4: 21.7% (5th)
E4nature: 10.9%
(4th flat)
D4: 6.5%
C4: 4.3%
B3: 6.5%
F3: 10.9% (5th)

Key: D major
D5: 15.5% (1st)
C5#: 2.4%
B4: 4.8%
A4: 19% (5th)
G4: 6%
F4#: 10.7%
E4: 3.5%
D4: 11.6% (1st)
A3: 2.3%
G3: 4.8%
F3#: 8.3%
E3: 1.2%
D3: 9.5%

Contours:
descend or
ascend.
Pattern
changes:
Rise or Set.
Pitch values
(melody
pitch)(%)

A4: 14.3%
G4#: 42.9%
(3rd)
F4#: 28.6%
(2nd)
E4: 14.3%

Initial 3 notes
descend by a
major 2nd final
descend by a
major 4th.
Rise by a
major 2nd.

147

Harmony
structure

Expressive
gesture.
Dynamics
(soft to
loud).
The feel in
continuity
or flow

Mainly
Homophonic, with
a starting
Polyphonic melody
by the tenor.
Laudamus te:
Crescendo (f)
followed by
decrescendo (p).
Benedicimus te:
Soli (Solo)
Crescendo (mf).

Homophonic,
quick
exclamations

Homophonic

Homophonic

(mf) Accent on
the first syllabus
of the word
Hallelujah.

Slight accent on
the first word
cry and
syllabus of the
word high-est.

Slight accent
on the first
syllabus of
Hallelujah.

Continuous flow
of words

Continuous
flow of words

Continuous
flow of words

Legato, smooth and

unrelenting Strong
emphasis on the
words Laudamus
te, and
Benedicimus te.
Repetition
of tonal
patterns
within
selective
isotopy/isot
opes

Regularity
of isotopes
(in
comparison
to entire
piece)

Slight repetition in
the tonal pattern
between the words
Laudamuste and
Benedicimuste.
The first word had
ascending quavers
with minims, while
the second word
used more crotchet
beats.

Five repetitions
of the word
Hallelujah
Repetition tonal
pattern:
1st is similar to
2nd Rep
3rd is similar to
4th Rep
5th Rep used a
different tonal
pattern.
Isotopes 3 and 4
The tonal pattern
occurred only once. of isotope 2 was
modulated from
D to the key of A
on the repeat.
The second part
of tonal pattern

in D
repeated around
23 times

2 repetition of a Three
descending
repetitions of
tonal pattern
the tonal
pattern
before ending
in A

Repeated at the
ending of
isotopy 17
(repeated
verse), and
ending of
isotopy 12, 24,
(chorus and
repeated
chorus), which
repeated

A total of eight
repetitions.

148

Proportion.
Number of
notes (in
comparison
to entire
piece)
Table 5: The Rhythmic Qualities in the Sonic Narratives expressing Glory.
Spiritual Piece Gloria Missa Hallelujah The
Papae Marcelli
Messiah

Tempo (bpm)
Total number of notes

Number of bars
Number of notes per bar
Number of notes

126
Isotopes 5,6 & 7

116 notes (four

vocal lines)
34 notes (single
vocal line)

Allegro: 120
103 (four vocal
lines)
35 (single vocal
line)

Glory Hope.
Hillsongs

28 (single vocal
line)

11 bars

8 bars

10 bars

3.1 notes/bar

5.8 notes/bar

2.8 notes/bar

isotopy 24

228 notes (four

vocal lines)
64 notes ( single
vocal line)
Number of bars
Number of notes per bar

18bars
3.6 notes/bar

149

Isotopes 5,6 & 7

Note values (%)

Dotted-minims:
4.3%
Minims: 36.2%
Dottedcrotchets: 6.9%
Crotchets:
44.9%
Quavers: 7.8%
Semi-quaver:
1.7%

Whole notes: 7.8%

Minims: 1%
Crotchets: 9.7%
Quavers: 58.3%
Semi-quavers:
23.3%

Whole notes:
3.6%
Dotted minims:
10.7%
Minims: 21.4%
Crotchets: 21.4%
Quavers: 35.7%
Dotted quavers:
3.6%
Semi-quavers:
3.6%

Consistent. Longer
notes over the
words King of
kings, Lord of
lords: accented,
strong pulse.
Shorter notes over
the words
hallelujah: strong
syncopated pulse

Consistence
unhurried pulse.

Isotopes 24

Note values (%)

Articulation of rhythmic
pulse

Whole note:
9.2% (21)
Dotted-minims:
1.3%(3)
Minims:
16.2%(37)
Dottedcrotchets:
3.9%(9)
Crotchets:
55.7%(127)
Quavers:
13.2%(30)
Dotted-quavers:
0.4%(1)
Isotopes 5,6 & 7

Consistent pulse,
which gradually
unhurried over
the word
Glorificamus
te.
Isotopes 24

Intense pulse
over the words
In gloria.
Gradually
decreased into
an unhurried
pulse.

150

Repetition of rhythmic
patterns within selective
isotopy/isotopes

Isotopes 5,6 & 7

Regularity of isotopes (in

comparison to entire
piece)

Isotopes 5,6 & 7

No repetition.
Isotopes 24

Vague
repetition.
Rhythm pattern
varied with the
repetitions of the
sentence In
gloria dei Patris
Amen.
allargando on
the final
Amen.
Isotopes 3 and 4
occurred only
once.

Alternating
patterns of longer
notes,

with 4 repetitions
of patterns with
short notes

This overall
rhythmic pattern
was repeated 5
times

Vague repetition
of rhythmic
patterns. Isotopy 7
maybe a variation
of isotopy 6, in its
rhythmic pattern.

Repeated three
times, when prechorus is
executed.

Isotopes 5,6 & 7

Proportion. Number of
notes (in comparison to
entire piece)
Patterns. Alluring forms
or shapes

Mirror image

Table 6: The Tonal Qualities in the Sonic Narratives expressing Glory.

Spiritual Piece Gloria Missa Papae
Marcelli

Hallelujah
The Messiah

Glory Hope.
Hillsongs

151

Melody contour
Alluring forms or
shapes.

Isotopes 5,6 & 7

No forms of repetition
in isotopes 5, 6 and 7
has. The melody
contour gradually
descended in the word
Glorificamus te. The
subsequent melody
contour was irregular. A
final gradual descend in
the word gloriamtu

Repetition of
melody contour
in the words
King of kings
and Lord of
lords
The melody
contour is even
for both words.

Repetition of
melody contour
Isotopes 24a, b, c
in the words
Slight repetition of
forever and
melody contour over the ever and
sentence In gloria dei
Hallelujah,
Patris Amen.
Hallelujah
Comparable melody
Melody contour
contours. Majority of
is similar to the
the melody contour over initial isotopes
the words in glo-ri-a
with the similar
were an ascending
words
trend.
Hallelujah
Highest note on the final Uneven melody
repetition over gradual
contour.
ascending melody
contour over the words
gloria Dei

Isotopes 6,7,8

No forms of
repetition in the
melody contour
amongst the three
isotopes. These
isotopes following
the section B
repeated twice
throughout the
piece.
Isotopy 6 started
with a gradual
descending contour
over the words
Glory to and rised
to another
descending melody
contour over the
words to the risen
King.
Isotopy 7 (variation
of isotopy 6)
started with an
ascending melody
contour.
Isotopy 8
concludes the
section with a
descending melody
contour.

Intervals

Isotopes 5,6 & 7

Uneven melody
Minor 2nd and major 2nd contour: Major
descending. Major 6th
2nd ascending
rise.
descending.

Isotope 6:

Contours:
descend or
ascend.
Pattern changes:
Rise or Set.

Isotopes 24

Isotope 7:

nd

Major 2 ascending.
Occasional major 2nd
descending.

Major 2nd
descending. Major
3rd descending and
rise.
Major 2nd and 3rd
ascending. Major
5th set.
Isotope 8:

Major 2nd
descending.

152

Pitch values
(tonal values) (%)

Key: Bb major
Isotopes 5,6 & 7

Total: 117
E5: 5.1%
D5: 6.8%
C5: 3.4%
B4b: 6%
A4b: 0.9%
(6th) G4: 11.1%
(5th) F4: 12%
E4: 8.5%
D4: 6.8%
C4: 9.4%
B3nature: 0.9%
(1st) B3b: 10.3%
A3: 2.6%
A3b: 0.9
G3: 6%
F3: 1.7%
E3: 1.7%
D3: 0.9%
C3: 4.3%
B2b: 0.9%

Key: D major
(5th) A4: 18.4%
F#4: 7.8%
(2nd) E4: 19.4%
D4: 15.5%
(doubling of
bass notes)
(7th) C#4:
23.3%
(doubling of
bass notes)
A3: 15.5%
(doubling of
bass notes)

Key: E major
Isotopes 6,7,8

E5: 3.6%
D5#: 7.1%
(6th) C5#: 14.3%
(5th) B4: 17.9%
(3rd) G4#: 28.6%
(2nd) F4#: 14.3%
(1st) E4: 14.3%

Isotopes 24

224
E5b: 1.3%(3)
D5: 3.6%(8)
C5: 3.1%(7)
B4b: 9%(20)
A4: 2.7%(6)
G4: 5.8%(13)
(5th) F4: 9.4%(21)
E4 natural: 0.4%(1)
E4b: 6.25%(14)
(3rd) D4: 10.7%(24)
C4: 7.14%(16)
(1st) B3b: 10.7%(24)
A3: 5.8%(13)
G3: 6.7%(15)
F3: 5.8%(13)
E3b: 5%(11)
D3: 3.1%(7)
C3: 1.3%(3)
B2b: 2.2%(5)

153

Harmony
structure

Isotopes 5,6 & 7

Homophonic over the

syllabus Glo-ri-fi-ca-
and Gra-ti-as-a-gi with
a starting Polyphonic
melody used through the
3 isotopes.
Isotopes 24

Homophonic over the

word In gloria.
Polyphonic over the
other words Dei Patris,
Amen.
Expressive
gesture.
Dynamics (soft to
loud).
The feel in
continuity or flow

Isotopes 5,6 & 7

Glo-ri-fi-ca- mus-te.:
Soli (Solo) and poco rit
(gradual slowing of
tempo).
Gra-ti-as-a-gi-mus ti:
A tempo (return to
previous tempo).Tutti
(play together, louder).
Legato, smooth and
unrelenting
Isotopes 24

Crescendo to a
moderately loudness
(mf) over the word In
gloria with a
decrescendo over the
word Amen.
Crescendo on the final
Amen ending on a
decrescendo at the last
bar.
Legato and gradually
richness and majestic.
The last repetition of the
sentence In gloria dei
Patris Amen. Being the
grandest. The final
Amen was gradually
slowed down.

Homophonic.
Stretched
repeated
harmony
followed by
quick
exclamations of
Hallelujah
phrases
(harmony)

Homophonic

(mf) Accent on
the first
syllabus of the
word
Hallelujah.
Legato longer
notes:
Powerful,
prominent.

Slight emphasis on
the first syllabus of
the word Glory.
(Use of a longer
note) Legato.
Legato. Powerful
and unremitting.

Staccato shorter
notes:, richness,
lightness and
quickness.

154

Repetition of
tonal patterns
within selective
isotopy/isotopes

Isotopes 5,6 & 7

No repetition in the
tonal patterns.
Isotopes 24

Slight similarities in the

tonal patterns for all
three repetition of the
sentence In Gloria Dei
Patris, Amen.

Regularity of
isotopes (in
comparison to
entire piece)

Isotopes 3 and 4
occurred only once.

Five repetitions
of the word
Hallelujah
Repetition tonal
pattern:
1st is similar to
2nd Rep
3rd is similar to
4th Rep
5th Rep used a
different tonal
pattern.
The tonal
pattern of
isotope 2 was
modulated from
D to the key of
A on the repeat.
The second part
of tonal pattern

No repetition.

Repeated three
times throughout
the piece.

in D
repeated around
23 times
Proportion.
Number of notes
(in comparison to
entire piece)
Table 7: Reference Table for purposive selected pieces and musical segments
The following table provides a referencing system for the purposive selected pieces of
sacred music and musical segments surrounding the theomusicological study. The
referencing is used to demark selected pieces in the summary of musical effectors and
effects.
Theme
Glory

Praise

Title and isotopes

Gloria isotopes
5-7
Gloria isotopes 24

Composer
Palestrina

Reference
G Pal

Palestrina

G Pal

Hallelujah Isotopy 6
Glory isotopes 6,7,8

Handel
Reuben Morgan

H Hal
G R.Mor

Gloria isotopes 3, 4

Palestrina

G Pal

155

Hallelujah isotope
1-4
Glory isotopy 5

Handel

H Hal

Reuben Morgan

G R.Mor

Hallelujah isotopy 18

Hillsongs

H Hills

Table 8: Summary of Musical Effectors and Effects

Musical
Attributes

Slower, Less,
Uncomplicated,
shorter

Note value

Shorter note values

(crotchets and
quavers): sense of
lightness.

(rhythmic
patterns)

Mus.
E.g

H
Hal

A rhythm pattern
comprised of short
note values provides
a sense of
excitement. A sense
of a skipping motion.

Articulation
of rhythmic
pulse

Uncomplicated
rhythm: easily
comprehended by
the mind.

Faster, More,
complicated, longer
Longer note values
(minim to whole
notes): sense of
emphasis.
A rhythm pattern
comprised of long
note values provides a
sense of importance. A
state of contemplation.

H
Hill
s,
G
R.
Mo
r

Complicated rhythm:
artistic impression of
spirituality. Difficult
to comprehend by the
mind.

Mus.
E.g

H
Hal
,
G
Pal,
H
Hill
s

H
Hal
,
G
Pal

156

Repetition
of rhythmic
pattern

Lesser repetition:
Lower expectation of
similar information.
Higher anticipation
and increase
inquisitiveness.
Decrease
recollection of
information.

G
Pal

More repetition:
Engaging to the mind.
Increase recollection
of information.
Constant repetition:
induce bodily
movement.
Continuous repetition
leads to disinterest.

H
Hal
,
H
Hill
s

H
Hill
s,
G
R.
Mo
r

Longer intervals
(major 6th or more):
Used in artistic
expression of certain
spiritual emphasis.

H
Hal
,
G
Pal

Lesser reference
towards the
measurement of time
Regularity
of rhythmic

Could it be the same

as repetition of
rhythmic pattern

pattern
Smaller

Melody
Contour
Intervals

Shorter intervals
(major 2nd): Lesser
artistic expression of
certain events in
spirituality.
Less significant
demand on singing
abilities.

Pitch value

Demands advance
singing abilities.
Most common found
in all four pieces:
1st and 5th notes.
Other frequently used
pitches: 2nd, 3rd, 6th,
and 7th notes

157

Harmony
structure

Homophonic
structure:
Unison in singing
creates a sense of
communal union.
Agreement.
Sense of communal
and spiritual
identity.

H
Hal
,
H
Hill
s,
G
R.
Mo
r

Polyphonic structure:
artistic expression of a
spiritual event.
Musical
transfiguration of a
lyrical content into a
specific spiritual
context or ideology.

G
Pal,
H
Hal

Extensive sections.
Gradual escalation of
musical expressions
used in individual
sections throughout
the piece.

H
Hill
s,
G
R.
Mor

G
Pal

Constant repetition.
Sense of tension
created when musical
patterns are repeated
within passages.
Heightening of
musical passage is
created through
musical techniques
such as modulation
and blending or
layering of
orchestration.

H
Hal
,
H
Hill
s

A musical emphasis:
proclamation,
exclamation.

Expressive
gesture

Repetition
of tonal
patterns

Less significant
demand on singing
abilities.
Selective section.
Vigorous and
meticulous musical
expressions
frequently used to
emphasis significant
musical passages
throughout the pieces
Inconstant repetition.
Constant release and
tension is created
with the changes of
tonal patterns.
Passages are
continuous
stimulating through
melody changes.
Heightening of
musical passage is
created through
subtle expressive
gesture.

G
Pal

Demands advance
singing abilities.

Regularity
of tonal
patterns

158

Tempo

Slower tempo:
Implication of less
significant bodily
involvement. Sense
physical relaxation.
Conduit towards a
state of meditation.
A sense of
contemplation

G
Pal

Faster tempo:
Implication of a more
significant bodily
involvement. Sense of
physical momentum.
Conduit towards a
sense of excitement, or
expectation. The
outcomes in responses
to the quickening of
the rhythmic pulse
involve bodily
movements, such as
dancing or clapping in
contemporary church
context.

H
Hal
,
G
R.
Mor

159

Number of
notes per
bar

Lesser notes per bar:

Unadorned,
possibility sparse
musical expressions.
Sense of
unhurriedness, or
emphasis depending
on the expressive
gesture.

G
R.
Mo
r,
H
Hill
s

Commonly observed
in contemporary
approaches to
music-making.
Fewer notes per bar
allows convenient
average communal
singing abilities.
Focus on lyrical
content.

More notes per bar:

Intricate, and
extravagant musical
expressions. Sense of
excitement, varies
with the note value.

H
Hal
,
G
Pal

Commonly observed
in traditional
approaches to musicmaking, considering
the amount of
polyphonic vocal
melodies. In a
contemporary
viewpoint of
communal singing,
more advance singing
capabilities are
required.
Rhythmically
enchanting towards a
bodily expression
(hallelujah by Handel)

Table 9: Summary of Resonances

Spiritual Gloria
Piece Missa Papae
Marcelli

Resonances
Resonances. Created from
Prolonged
prolong

Hallelujah
The Messiah

Glory
Hope.
Hillsongs

Hallelujah
with The
Stand
United We
Stand.
Hillsongs

Nil

Created from
thunderous

Created from
thunderous
160

and
constant
waveforms

reverberation
throughout
the piece,
created from
a small choir
within a large
chapel.
Smooth
interweaving
texture by
polyphonic
choral lines.

volumes that
fill the entire
acoustic space
of the church.
Massive guitar
sounds and
overwhelming
drums and
vocals.
Compression
effects applied
to alter the
perceived
volume of
sound.

Large
amount of
repetition

Nil

Repetitive
guitar riffs,
chord structure
and drumming
patterns, in a
systematic
progression.

Richness in
Timbre /
Symbolic
representations

Considerable
amount of
repetitive tonal
and rhythmic
pattern. Long
repeated tones
against quick
exclamations.
Created using Created using
polyphonic
a mixture of
choral lines,
monophonic,
a mix of high homophonic
frequencies
and
(soprano and polyphonic
alto) inspired choral lines.
a sensation of Portrayed the
angelical
vocal richness
voices.
of multitudes
A smooth
and heavenly
interweaving beings.
texture of
Weaving of
two tenors
various
and two bass melodies into a
inspired a
polyphonic
masculine
web.
tonality. A
Orchestration
magnificence of instruments
sensation that that reflected
provides
biblical
confidence.
instrument-

Sublime
timbre through
a mix of
overwhelming
and intense
instrumentatio
n. Prominent
vocal melody
in unison with
a strong
polyphonic
instrumentation.

volumes that
fill the entire
acoustic
space of the
church.
Massive
guitar sounds
and
overwhelmin
g drums and
vocals.
Compression
effects
applied to
alter the
perceived
volume of
sound.
Repetitive
guitar riffs,
chord
structure and
drumming
patterns, in a
systematic
progression.
Sublime
timbre
through a mix
of
overwhelmin
g and intense
instrumentati
on.
Prominent
vocal melody
in unison
with a strong
polyphonic
instrumentation.

161

ation (trumpets
and hand
drums.)
Rhythmic
tempo /
Spiritual
manner

Moderately
slow:
reflective
sensation.

Moderately
fast:
Intensive
sensation.

Moderately
fast:
Intensive
sensation.

Moderately
slow:
Intensive
sensation.

Rhythmic
quality in
notations.

Considerable
usage of
quavers and
crotchet note
values in
choral lines.

Considerable
usage of
quavers and
crotchet note
values in
choral and
instrumentation

Considerable
usage of
quavers and
crotchet note
values in vocal
and
instrumentation

Considerable
usage of
quavers and
crotchet note
values in only
instrumentati
on. Semibreves and
whole note
values in
vocal.

162

Appendix B
Survey Form: Music and Christian Spirituality
Name: ______________________________________
Background information
1. Gender:
Male
2. Age group:
Below 18
18 25
25 35

Female
35 45
45 55
55 and above

3. Do you play a musical instrument?

No
Yes. Please specify ______________________________
4. Are you involved in a leadership position within the church.
No
Yes
Please specify ______
Relationship between Music and spiritual experiences
Note that the following questions related to the process of Christian music-making
particularly in area of praise and worship. Despite acknowledging the fundamental
essence of worship, which comes from the heart, soul mind and strength (Mark
12:30, Luke 10:27), these questions are solely interested in your experience with the
forms of musical production and engagement around Christian music.
5. What would you deem as quality worship? How does the quality of music affect
your experience of worship?

6. How important is the quality of music in relation to your individual experience of

worship (example: quiet time, bible studies)?
Important
Neutral
Not important
Why?
________________________________________________________
________________________________________________________

163

7. How important is the quality of music in relation to your communal experience of

worship? (example: Church gatherings, corporate prayer meetings, lifegroup
settings.)
Important
Neutral
Not important
Why?
________________________________________________________
________________________________________________________
8. In view of the previous questions concerning the quality of music, have you ever
experience a greater level of spiritual intimacy (religious ecstasy) resulting from the
effects of music? The effect can derive from certain instrumentation or musical
arrangements. For instances, the use or absences of drums in the current rock-style
worship, which engages you into Praise and worship.
No
Yes. Please list some experiences:
________________________________________________________
________________________________________________________
Definition for Religious Ecstasy:
An altered state of consciousness characterized by greatly reduced external
awareness and expanded interior mental and spiritual awareness, which may
frequently follow with spiritual visions, words, revelations or intense emotional state
of happiness and contentment.
THANK YOU FOR YOUR TIME!

Survey Information
Refer to attach DVD (Survey Forms folder) for data collected through survey forms.
No Pseudo
Name
Date of
Position
Remark
.
Name
Survey
1
Andy
Ambrose Ng 21 June 2009
Worship leader /
Member checked,
Music Director
Re-questioned
2
Ann
Ann-Louise
9 June 2009
Church Member
Member checked,
Kee
Re-questioned
3
Cat
Caitiyn
21 June 2009
Pastoral Leadership Member checked,
Keasberry
Re-questioned
4
Carina
Charis Chua
21 June 2009
Church Member
Member checked,
Re-questioned
5
Carol
Cheryl Mow 10 June 2009
Church Member
Member checked
6
Harry
Han
21 June 2009
Pastoral Leadership Member checked
7
Julia
Julie Tirta
21 June 2009
Pastoral Leadership Member checked
/ Worship leader
8
Peter
Phil Chi
10 June 2009
Music Director
Member checked,
Negative Case
analysis
9
Steward Steve Lee
9 June 2009
Pastoral Leadership Member checked,
Re-questioned
10 Vicky
Vanessa
9 June 2009
Church Member
Member checked
164

Appendix C
Ethics Progress Report -- 0700000822
Research Ethics [ethicscontact@qut.edu.au]
Sent: Friday, November 20, 2009 12:20 AM
To: CHUN ONG
Cc: Janette Lamb
Dear Mr Chun Ong
Project Title:
A musicological and semiotic analysis of the connection between human
spirituality and music from the western church viewpoint
Ethics Number:
Clearance Until:
Ethics Category:

0700000822
20/09/2010
Human

Appendix D:
Audio and Video References on DVD
Audio Versions of Gloria
Gloria Comparison (Glorification).avi
Gloria Comparison (Praise).avi
Short audio excerpts of Gloria that expressed the themes of Praise and Glory
from the following selected sacred pieces used in the Roman Catholic mass.
o Missa Ascendens Christus in Altum (Tomas Luis De Victoria)
o Missa Lhomme arme (Josquin Desprez)
o Missa O Magnum Mysterium (Tomas Luis de Victoria)
o Missa Papae (Palestrina)
List of Sacred Pieces
Note: The aural/visual analysis of each sacred piece includes video segments of
selected sonic narratives expressing the theme of praise and glory. The videos
show the waveforms of the selected sonic narratives, followed by the score
alongside an audio track.

Gloria by Giovanni Pierluigi da Palestrina

o Aural/Visual Analysis
Gloria Palestrina (1 glory).avi
Gloria Palestrina (2 glory).avi
Gloria Palestrina (praise).avi
Music Analysis A.doc
o Gloria score
o Palestrina_Missa Pape Marcelli - Gloria.m4a

165

Glory by Reuben Morgan

o Aural/Visual Analysis
Glory Morgan (glory).avi
Glory Morgan (praise).avi
Music Analysis C.doc
o Glory score
o Morgan_Hillsong Glory.m4a

Hallelujah by George Frideric Handel

o Aural/Visual Analysis
Hallelujah Handel (glory).avi
Hallelujah Handel (praise).avi
Music Analysis B.doc
o Hallelujah score
o Hallelujah_Handel.wave

Hallelujah by Rolf Wam Fjell, Matthew Tennikoff & Marty Sampson.

o Aural/Visual Analysis
Hallelujah Fjell (praise).avi
Music Analysis D.doc
o Hallelujah score.pdf
o Hallelujah_Fjell.m4a

The Evolution of church.avi

Worthy is the Lamb

By: Darlene Zschech. 2008
Chorus
Worthy is the Lamb
Seated on the throne
Crown You now with many crowns
You reign victorious
High and lifted up
Jesus Son of God
The Darling of Heaven crucified
Worthy is the Lamb
Worthy is the Lamb

166

Appendix E:
Example on Member Checking
The process of member checking involved the sharing of all data with the participant,
where the participant analysed the data and comment on them. In the following
example, the participant Cat was member checked through questions on particular
aspects of her initial responses. She validated her responses by reflecting on her views
and experiences facilitated through subsequent questions and affirmed the accuracy
through further responses. The additional responses served to provide completeness to
the interpretation of the data.
A subsequent meeting was arranged with Cat, where the both of us went through the
survey in a form of member checking. The subsequent questions that queried deeper
into the existing responses increased the authenticity when interpreting the data. The
questions in the process of member checking are designated by the member
checking.

5. What would you deem as quality worship? How does the quality of music affect
your experience of worship?
Quality worship would be experiencing the presence of God and ability to worship
freely without any hindrances. The quality of music definitely enhances the worship
experience, especially in technical difficulties which may dampen the atmosphere
(Member checking): What would you define as technical difficulties, and the
dampening of the atmosphere?
Technical difficulties in my opinion relates to the capability and sensitivity of the
musicians or worship leaders to the spiritual atmosphere. It also relates to the
technology involves like the public address system. How the sound is projected.
The atmosphere is something spiritual. It is something within a space that charges
or brings excitement to the overall congregational feeling.
6. How important is the quality of music in relation to your individual experience of
worship (example: quiet time, bible studies)?
Important
Neutral
Not important
Why?
167

There are times where I am able to worship God without music, but there are other
times where music facilitates the experience with God and the ease of entering into
His presence.
(Member checking): How does music facilities your experience with God?
It ease and clams my mind and heart in moments of tension caused by problems. This
is my first step into meeting God, so that I am not distracted by the problems when I
enter into His presence. Certain music helps me to get into the right mood.
7. How important is the quality of music in relation to your communal experience of
worship? (example: Church gatherings, corporate prayer meetings, lifegroup settings.)
Important
Neutral
Not important
Why?
Music really facilitates people entering into the presence of God
(Member checking): How does music facilities the communal experience?
People are able to sing along with the music. The music facilitates direction for
everyone. Where people are lead or given a direction to follow, they are able to enter
into the presence of God knowingly.
8. In view of the previous questions concerning the quality of music, have you ever
experience a greater level of spiritual intimacy (religious ecstasy) resulting from the
effects of music? The effect can derive from certain instrumentation or musical
arrangements. For instances, the use or absences of drums in the current rock-style
worship, which engages you into Praise and worship.
No
Yes. Please list some experiences:
It does make it easier to praise God more enthusiastically with drums. It also does
make it easier to flow with the worship with a full band compared to just one or two
instruments, depending on the level of skill of the musicians.
(Member checking): How does the instrumentation facilitate the moments of praise
and worship easier?
The drums provide a sense of rhythm that we can engage by clapping our hands to the
rhythm. This creates excitement. While, the ability of a musician or worship leader to
engage using music is important in facilitating a good worship experience. This is
more important than the usage of a full band or just a few instruments.

Example on Negative Case Study

The following survey with Peter, a music director of the church led to further
enquiries. This resulted from the sampling of surveys conducted where Peter
expressed a dissimilar perspective from the general response to question six of the
168

questionnaire. This incited a negative case study with the intention of gathering more
data that may reveal information that importantly clarifies the deeper causes behind
the issues and consequences that music directors often faced within the faith
community. These insights provided a significant understanding relating to the quality
of music and worship.
A subsequent meeting was arranged with Peter, where the both of us went through
the survey in a form of member checking along with the additional questions that
were considered beforehand. The additional questions and responses are designated
by the following Added question and Added response
6. How important is the quality of music in relation to your individual experience of
worship (example: quiet time, bible studies)?

Important

Neutral

Not important
Why?
Initially, as a less spiritually mature Christian, the quality of the music (sound, mix,
musicianship, songs, style, etc) played an important role in my ability to worship.
However, I believe that with maturity, the quality of music plays a lesser role.
(Added question): Do you reckon that the quality of music has no effect on the
worship experience of a spiritually matured believer?
(Added response): As a music director, I am not going to dismiss the suggestion that
the quality of music may affect the worship experience of a spiritually matured
believer. On the other hand, music should have a lesser influence on the believer as it
takes on a lesser role in the persons worship experience. This is due to the
anticipation and aspiration of wanting to come into an intimate worship prevails over
the need to be motivated by forms of music. Therefore, even when the quality of
music is terrible, it may be an initial distraction which can be unconcerned due to the
spiritual eagerness. Music should not determine the outcome of an individual
experience of worship, rather the experience should inspire the individual to create
music or sounds to glorify God.
7. How important is the quality of music in relation to your communal experience of
worship? (example: Church gatherings, corporate prayer meetings, lifegroup settings.)

Important

Neutral

Not important
Why?
Personally not that much.

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However, I think this depends on the desired outcome of each activity. For example,
if a church uses its Sunday service to attract new visitors, then the church should take
responsibility in ensuring that they bring confidence to its members who are inviting
their friends that it will be something that is enjoyable and relevant. I'd feel pretty
uncomfortable if my guest was feeling uncomfortable about the music at my church.
Whereas, in a small group, the emphasis is about meeting together and bible study.
So the worship time may be simplified. This could also be a practical resource issue.
Also, the quality of music, style and type also tends to attract a certain group or
people type. Within these groups there are different levels of expectation. Example,
no point singing only hymns if you're targeting youth.
(Added Question): In a practical resource issue, you mentioned the shifting quality
of music in relation to the purpose of a particular activity. Do you see this as an
adequate outcome of most communal experiences of worship?
(Added response): For one, not every church musician has the privilege of music
education. A lot of their education is learned mostly on-the-job. The activities has to
make do with whatever conditions of musicianship, as it dues with volunteers. It may
not be adequate sounding, but at least believers can still participate in the activity,
which is most important. Special considerations are taken when the activities due with
non-believers, as music becomes a means to bring across the gospel. Therefore, it is
important to maintain the quality of music, so as provide an adequate experience that
is inviting and brings awareness to non-believers.
(Added Question): Do you reckon this shifting of musical quality will affect the
expectations of individual or communal worship experiences?
(Added response): I believe that if the objectives and intentions are not clear and
understood by the worship team, musician or believers participating in the activity, it
will affect the worship experience. Obviously, it has to be a spiritual decision to focus
on worshipping God. Music may lay a platform for people to worship, but as
believers, we cannot depend on it to draw us towards us. I see music as a guide thru
points of worship time.

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Appendix F:
Example of an Aural / Visual Analysis.
Written transcription of a musical segment or isotopy taken from the piece Gloria
(Missa Papae Marcelli) by G.P. Palestrina.
Et in terra pax homnibus bonae volunttis. (Isotopy 2) Bar 1-8
(Translation): And on earth peace to men of good will.
Gradually getting higher into the octave range. (bar 1 range from F3, A4 to bar 8
range from B3, D5 )
Bars 1-3
o Treble clef
(Soprano) / (Alto)
Harmonic structure ascending mostly with major 3rd
interval.
Similar in interval structure as Isotopy 2: 3rd set of
notes are a major 4th interval.
Pitch: Hypoionian mode
Rhythm: slow and steady. Rhythmic movement
from whole note to semi-breve to crotchet feel.
Alto: Leap down (perfect 5th) crotchet notes
o Bass clef
(Tenor 1 and 2) / (Bass 1 and 2)
Harmonic structure ascending mostly in perfect 5th
interval.
Pitch: Hypoionian mode
Rhythm: slow and steady. Synchronized with treble
clef Rhythmic movement from whole note to semibreve to crotchet feel.
Articulation-

Bass: Anticipation of the last quaver note in bar 3 on

the word (pax)

Bars 4-8
o Treble clef
o (Soprano) / (Alto)
Soprano: Harmonic structure descends and ascends.
Pitch: Hypoionian mode
Rhythm: crotchet feel on the word (ho-mi-ni-) at the
start of bar 4 before going into semi-breves.
Sort of a Mirror image: bars 4 and 5 mirror
(descending) with bars 6 and 7 (ascending).
o Bass clef
o (Tenor 1 and 2) / (Bass 1 and 2)

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Bar 5 Bass 1 to Bass 2: Bass 1 holds a whole note

and is overlap by Bass 2 by a semi-breve for the
syllable (Bo).
Pitch: Hypoionian mode
Rhythm: crotchet feel on the word (ho-mi-ni-) at the
start of bar 4 before going into semi-breves.
Same Mirror image as the Treble clef.

Outer spatiality (refers to all of the acoustical factors register,

dynamics, gestural language of conducting, musician seating
arrangements, and orchestration to create spatial effects etc)
Compasso Soprano: C4 to A5
o Alto: F#3 to E5
o Tenor B2 G4
o Bass: E2 to C4
(Essential Dictionary of Orchestration, Dave Black, Tom
Gerou, Alfred Publishing Co., Inc Los Angeles )
Bars 1-8
o Treble clef
(Soprano) / (Alto)

Texture-Contrapuntal in vocal lines

Timbre- light to gradual thickness
Rang e-F4 to E5
Density- 2 vocal lines
Dyna mics-moderate forte (mf)
Placing in space- gradually upfront.

Bass clef
(Tenor 1 and 2) / (Bass 1 and 2)

Texture- Contrapuntal in vocal lines

Timbre- light to gradual thickness
Rang e-F4 to E5
Density- 2 voices. Overlap of (Tenor 1 and 2), (Bass
1 and 2) in bar 5 beat 2
Dyna mics- moderate forte (mf)
Placing in space- gradually upfront.

Conclusion
Tempo of the Renaissance music is related to tactus and remained
relatively steady throughout the period.
Each tactus
has two beats in opposite directions: up-down or down-up
each one at a tempo ranging between M.M = 60-80.
This tempo was related to the normal human heartbeat during
quiet respiration or leisurely walking stride.
Mood of the music: peaceful and calm. Emphases on the phrase: And on
earth peace to men of good will.
Use of a relax tempo in order to portray the calmness.
Spacing between the notes and the syllabus.
Timbre: Tutti.

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