Institute of Sacred Music | Colloquium Journal

Choosing songs according to structure. Knowledge of underlying structures not only adds variety to the presentation of the music in worship but also may bring out the meaning of the text for the singers. Structural knowledge of congregational songs can also be helpful when placing songs within the liturgy. Three general principles emerge:

1. Sequential structures communicate theological content in an ample and carefully worded manner. Because of their literary form sequential hymns often work well to provide theological commentary, reinforcing the theme of the day, and anticipating or following ritual actions.

Sequential hymns are not generally effective during ritual activity in worship unless they are very familiar to the congregation (virtually memorized). If well known, sequential hymns may function in a cyclical manner. The selection of well-known hymns varies from congregation to congregation and by faith tradition. Even congregations that use sequential hymns for choir processionals usually sing only familiar songs when combined with ritual activity. Generally, ritual activity that demands the congregation's complete participation does not blend well with sequential hymn singing; for example, a processional during communion is not the best time to introduce a new sequential hymn and expect full and active singing by the congregation.

2. Cyclic structures focus on community-building and support ongoing ritual activity, especially since they may easily be sung without the aid of books. The essentially oral character of cyclic forms (even though appearing in hymnbooks or other media) calls for a physical response. This is obvious in African and African American cyclic music as well as many Contemporary Christian songs where an outward physical response is normative. The mantra-like cyclic structures of the Taizé chants also have a profound physical effect on the one who sings or prays the song. It is a response that relaxes the body and focuses the mind for centered prayer.

Congregations may benefit by having a variety of cyclic songs at their disposal, perhaps as many as thirty to forty at any one time. The assembly may sing memorized cyclic songs in liturgy on short notice, giving the order of worship an element of spontaneity. While a memorized sequential hymn may work spontaneously, the flow of the service may be lost if the people need to take time to look it up in the hymnal.

3. Refrain forms can be used in a variety of situations. When soloists or choir sing the stanzas, leaving only the refrain for the congregation, the congregation may be able to participate in a ritual activity as they sing. An example of a ritual activity in which cyclic songs or refrain forms are effective is receiving communion, especially if the congregation processes to receive the communion elements. Cyclic songs such as "Eat This Bread," or "Jesus, Remember Me" from the Taizé Community, work well. Refrain hymns such as "One Bread, One Body," "You Satisfy the Hungry Heart," and "Alleluia, Alleluia, Give Thanks to the Risen Lord," are effective during this ritual activity, as the choir or a soloist sings the stanzas.

Conclusion

All congregational song structures have the potential for providing valid liturgical experiences. Community formation takes place, and theological content is provided, whenever a congregation sings. Using a variety of song structures at appropriate places in the liturgy recognizes the strength of each. One of the challenges of singing cross-culturally, using the music of the world church, is to understand the structures of the songs and how these structures may function most effectively within the liturgy. Music leaders will add energy to worship, and integrate music more completely into the fabric of liturgy, if their choices are not based only on textual themes or musical style, but also for integration into liturgical rituals. Choosing congregational music with an understanding of its structure allows the music to permeate liturgy without drawing attention to itself, while it provides more emphasis on the theological themes and ritual actions that enrich worship.

Spectrum of Congregational Song Structures

Refrain Forms
Response
Antiphon
Litany
Epimone

Sequential Structures		Cyclic Structures
Strophic		Theme and Variation
Textual orientation		Movement orientation
Eye oriented		Ear oriented
Literate tradition		Oral tradition
Predictable performance time		Open-ended performance time
Linear in structure		Episodic in experience
Verbose		Concise
Comments on ritual activity		Participates in ritual activity
Content oriented		Community oriented
Moves toward climax in content		Moves toward total participation and integration of participants

Musical Considerations for Sequential Song Includes strophic hymns where the same music is repeated for successive stanzas Includes through-composed music and texts where there is no repetition of the music May include texts with brief textual repetition (usually on the last line) or epimone The essence of the text is essentially monochronic (teleological) Harmonic variations, varying instrumentations, and descants may provide musical variety from stanza to stanza		Musical Considerations for Cyclic Song Maintains a steady beat once the song begins Each repetition of a cycle needs some small variation Often uses a soloist (cantor) to sing over the cycle Improvisations by soloist over ends of phrases Often accompanied by physical response Integration of choir and congregation as a unit Polychronic (vs. monochronic) sense of time Textual improvisations to fit ritual context

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