MUSIC

One of the ongoing jokes about Unitarian Universalists is that we sing badly. We sing so badly, we say, because we are always reading ahead to see whether or not we agree with the words of the song. At the auction last year (which is coming up November 12th, y’all come) I offered the opportunity to choose a sermon topic, and the person who bought it asked me to preach about music. It happens that the Unitarian Universalist Association has just published a supplement to go along with our hymnal, which is now ten years old. The feeling was that our denomination was moving to integrate the more heart-based Universalist tradition, swinging back to center from a long time spent a bit over-invested in the heady Unitarian style. What people need these days is Spirit, we want to feel our connection with God and with one another, but not in traditional ways. This music is for feeling. Some of it, in good UU tradition, is only singable by a choir, but a lot of it hits the spot! This morning I’m going to talk about why we sing in worship, and we’re going to sing some of the songs in the new book. We have thirty of them, so some sharing will be necessary, and I have copies of hymns in case we need more than we have. Some of you enjoy singing together in worship, and some of you can take it or leave it. I hope this will help you at least appreciate more why we do it, and maybe enjoy it more deeply.

Let’s start with the basics. We have music because we have a heart beat. The first sound that filled your ears as soon as they started working was your mother’s heart beat. Ba-bum, ba-bum, ba-bum…….

Mickey Hart, who was the drummer for the Grateful Dead, has become more and more involved in studying the relationship between drumming in a group and a return to well-being. He has funded drum therapy for the child soldiers in Sierra Leone, to return them to wholeness after their drugged killing sprees. Drum circles for at-risk kids in the U.S.  and for Alzheimer’s patients and other elderly folks seem to have a good effect. Here is some of what he said in his testimony before the US Senate on the issue:

“What is true for our own bodies is true almost everywhere we look. We are embedded within a rhythmical universe. Everywhere we see rhythm, patterns moving through time. It is there in the cycles of the seasons, in the migration of the birds and animals, in the fruiting and withering of plants, and in the birth, maturation and death of ourselves. Rhythm is at the very center of our lives. By acknowledging this fact and acting on it, our potential for preventing illness and maintaining mental, physical and spiritual well-being is far greater.
According to the late ethnomusicologist John  Blacking, music is a mirror that reflects a culture’s deepest social and biological rhythms. It is an externalization of the pulses that remain hidden beneath the busy-ness of daily life. Blacking believed that a large part of music’s power and pleasure comes from its ability to reconnect us with the deeper rhythms that we are not conscious of. And it is the connection with these rhythms that gives music the power to heal.”

         For UUs, as a community, singing in a group is a non-verbal reminder that, even though  we are individuals,   we are also members of a community   and we all  choose to come together to do something in concert, to act or think or feel something together that is a needed addition to those things we feel on our own.  Look around the room. All of these people each chose this morning to come be here to be with you and me, to see what happens, to feel what happens, to find something, to experience a connection with mind, with body, with spirit. If you are in the room with Atheist and Christian UUs, with gay UUs and straight UUs, you may be with folks who are both comfortable and uncomfortable with one another’s Atheism or Christianity or gay culture or straight culture or white privilege or wealth or poverty or education level.  And we can sing together. We can sing together. We can think together. We can feel together. We can know that our bodies have the same hollow places inside which shape the sound, that we are made of the same material, sustained by the same breath, hungry for  the same compassion, comfort, meaning and belonging.  We have much more room to move in our commonality than we would have thought had we focused solely on our differences.

Let’s visit the native culture of our country, in a song adapted from our Native American cousins.

1073 The Earth is Our Mother

Singing something like this, it’s easy to remember that from ancient times, humans have gathered in groups to sing our songs, to tell our stories, to dance our dances, all in rhythm. Gathering together in this way gives us a sense of community and family. From time immemorial rhythm, and specifically percussion instruments, have been used in healing
ceremonies by traditional medical practitioners.

Now, let’s talk about the breath.   The word for “breath” and the word for “Spirit” in the Hebrew language are the same: “ruach.”    The breath, the spirit, moves into and out of us, that same breath that circulates through the leaves of the trees and the lungs of the badgers and skunks, it’s something we share.  The next most basic element of singing together is the breath being drawn in, given a sound and a shape, and coming out of our bodies. It’s transformation, shape-shifting, magic.

First let’s breathe with our mouths open.  If you can be comfortable, please now open them as wide as you can. Now sigh. Again. Now we are going to make a sound with our sigh. Now let’s stop the sigh on a note.  Don’t worry about it being pretty. That’s singing!  Even if you just do that, it’s  energizing.

Let’s sing something that may be familiar to many. If it’s not, just enjoy the rhythm, and enjoy the picture of old time ancestors celebrating a baptism.

1046 Shall We Gather At the River

1059  May Your Life Be As A Song

We sing in church to feel. To feel good, to feel sorrow, to express the feelings that go along with being human.   Let us end with one we can sing out on…..

1021 Lean on Me

 

by Meg Barnhouse

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