Posts Tagged performance

Mariachi Flor de Toloache

Yesterday, we hid the afternoon doldrums and so I went to turn on some music. I turned on this video, and all of my kids froze and watched this mariachi group in rapt attention. This is music performance in it’s truest and most vibrant form. It completely captivated us.

Assuming that I know everything about music, my wife asked me what the names of these instruments are. I confess I had to look it up. I suppose that I need to add a “vihuela” to my wish list.



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“Cross-Cultural Worship Reformation” Responses: what is excellence and who gets paid?

Yesterday, I tossed a few ideas out there for what the PCA needs to create a “cross-cultural worship reformation.” I got a few really good responses and questions that I think are worth adding to the conversation.

One comment came from Mark, a bass player at our church. You can read all of Mark’s comment on yesterday’s post, but here’s an excerpt, “Are you saying that we need to financially support a leader, or the musicians?… I haven’t heard this at New City, but at some previous churches they were all into “excellence.” Sure, do your best, but if God needs us all to be pros then he has a problem.” The short answer to Mark is, “Yes, I’m talking about paying leaders not side men” but I’ll also give my long response for no extra charge.

What is excellence?

I want to respond to the second part first. Excellence is defined in 1 Corinthians 12 and 13. In chapter 12, Paul makes an emphatic point that God gives different skills or gifts to different people, but all of those people have value in the church. Then at the end of the chapter he says, “And I will show you a still more excellent way.” After that he talks about love. Love is integral in the definition of excellence. I don’t mean “it’s the thought that counts,” I mean that our gifts mean nothing without love. The most skilled musicians on the planet are just noise without love. The desperate and hungry people of the world will not be set free by virtuosic musicianship. Excellence as God has defined it has the restorative properties of shalom.

Excellence according to Paul is gifted love. This means that our music in worship will be excellent when we have gifted people using their gifts as a sacrifice of love to the Family of God. Excellence is not defined by the powerful, the cultural majority, the ancient Greeks, Baroque numerology, or even by some kind of pseudo-scientific rationality like the “harmonic overtone series.”

Who gets paid?

The justification that folk make for the use of paying professional musicians to be “side men” is most often around their understanding of excellence. If excellence is defined by the standards of “this present age” then it makes sense. However, if excellence is gifted love, then we need to ask whether these professional side men are actually bringing anything more excellent to the worship than the folks who are in the Family. Some churches in the PCA have more “missional” values and they will be the ones who hire musicians to make sure the worship is contextual. The problem is that the musicians are treated as products to be consumed instead of humans who need relationship.  Musicians function in these churches as human karaoke machines, playing “with excellence” so that we can worship without being “distracted” by imperfection. There is still a lot of good stuff produced through these ministries, but I’m not convinced that it’s the healthiest way to foster a worshiping community. I’m not going to say that a church should never pay side men, but I am suggesting that we need to reform our understanding of excellence and then reconsider the practice in that light.  A lot of churches resort to a pro band because the option of a trained, mature Christian to lead doesn’t exist – which is why we need to be training and sending out a new crop of musicians for this purpose.

So who should get paid? We need more churches to take on the financial burden of supporting trained musicians to equip and empower the musically skilled in their congregation. I included “Full-time employment” in my list of “3 things the PCA needs to start a cross-cultural worship reformation” because my denomination tends to take a dim view of the role of musicians and their value. Church planters are sent out to start cross-cultural churches, but when it’s time to start a worship service, they are left to figure out how to make cross-cultural worship music happen with volunteers. These volunteers rarely have the time or the skills that are needed for such a task. If a church wants to be cross-cultural, then they need a musician on the full-time staff team who has training and experience in cross-cultural music and is empowered by their vocation to invest the time need to foster a cross-cultural worshiping community. In order to do this, our established cross-cultural churches have to train up new leaders and then new cross-cultural churches need to be ready to support them. Young musicians need to know that they can take the risk of getting a music degree or doing a music internship because the church is longing for leaders to usher in a worship music reformation. At the same time, professional and amateur musicians in our community need to be invited to join in relationship with the family of God on the merits of God’s grace and not on the merits of their performance skills.

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What Do You Think About Guitar Solos in Church?

This past weekend, I was conflicted about the tune, “Bless the Lord (Son of Man)” and the Satriani-esque solo that I had to play. I wouldn’t have played it if it wasn’t from the encouragement I received from the rest of the team that the tune required the solo. I normally don’t have any qualms with ripping out a solo when it’s appropriate, but for some reason this tune made me a little uncomfortable. After church, I got a lot of good feedback from people who really appreciated the solo and the skill that I displayed. So what do you think? Is skill something that should be celebrated and displayed in worship music? Or is it “distracting” to have someone play with any level of virtuosity? I was encouraged by my former Pastor, Randy Nabors, to play my guitar aggressively because that was the expectation in Gospel music. It’s true that singers and instrumentalists in Gospel music perform at a high level with great embellishment and virtuosity.

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Tonight! Chesterfield Pres Concert

I came home at noon today (I’ve been pulling in a lot of extra hours this week) and found that my wife made me tacos for lunch including her legendary tortillas from scratch. We got to hang out in the yard mixing compost into the garden and planting the last 3 sprouts (I know it’s supposed to snow in STL this weekend.) I’ve had an exhuasting week of playing and it was so nice to hang with the fam and relax this afternoon. Now I have to take a shower (compost!) and get ready for the concert. I’m not sure how many people will be there, but my dad always taught me that no matter how many people come to your performance, you show them gratitude for taking the time to come out by performing at your highest level. I’m just glad for the opportunity to play my songs, especially because Ryan McMillan will be in the band with us. Ryan played most of the parts on Guardian Grace so his fingerprint is there on my CD. OK, let’s rock!!

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Mediocrity vs Excellence

Last month, our choir shared “For Unto Us A Child Is Born” from Handel’s Messiah. We had the privilege of Vera Parkin, who plays piano for the St Louis Symphony Orchestra  being our accompanist. Vera also share a few pointers about proper phrasing, timing, and other tips about how step up the quality of our performance. I could sense that there were several new singers in the choir who were not accustomed to the process of rehearsal and the process of pursuing excellence in performance art. As Vera began to share about how you should sing “fo” instead of “for” or that we should sing the phrases with a light touch like an oboe,  I could tell that some folks felt uncomfortable with injecting excellence into “worship” which should be more free and grace oriented. “Performance” and “excellence” become a bad word in the context of grace. If drawing near to God in worship was contingent on the excellence of our performance, then no one would ever be able to bridge the gap of God’s holiness.

I decided to admonish the choir that mediocrity is not a value of the kingdom. God’s new creation is not characterized by a bland equalization of skill and a white-wash of all craft, talent and skill. Instead, just like the exiled Jews in Babylon, mediocrity is the effect of hanging up our harps and mourning. New creation believers have been given the freedom to pursue new vast and delightful expressions of worship through the reconciling work of Christ because we can now draw near to the throne of mercy with confidence.

Excellence can also be corrupted by sin. Excellence can become the excuse for spending millions of dollars on enormous buildings, sound and lighting systems, and professional artists. Read through the prophets and you’ll find many examples of why this is a problem (start with Isaiah 58, Amos 5, Micah 6). Excellence can also become ethnocentric or defined by class values. Excellence can also become defined in human terms and result in an form of knowledge that is void of wisdom (see 1 Corinthians 12 and 13).

So how do we pursue excellence in a worship performance without falling into the traps that our flesh so easily slip into? My admonishment to our choir and what I constantly return to is the kingdom value of love (again, 1 Corinthians 12 and 13). Love means that I spend the time and energy that is required to prepare a song for the fellowship of believers. It’s like inviting a guest into your home; you prepare a delicious meal and clean up the mess in order to demonstrate that you care about this person and want to communicate respect.

When you perform a choir piece that is in the  complex and rich Baroque style, it requires a little more time to work out the polyphonic parts and to articulate phrases with clarity which would otherwise be lost in the mix. A sloppy performance is a selfish thing. It’s not any benefit to the listener. It’s only a self-gratifying opportunity for the performer to be in the spotlight.

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