Taize

Prayer Chants

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Like the music from Taizé described earlier, prayer chants may be comprised of one textual and musical phrase that is repeated. This kind of chant focuses the attention of the worshiper and allows the worshiper to experience God’s presence without the need to be concerned about the mechanics of the music.

Using Chants in Worship

Prayer chanting—a musical form in which complete concentration is given to a repeated word or phrase—can be a useful meditation technique. This form is similar in style to the Jesus prayer: “O Lord Jesus Christ, Son of God, Savior, have mercy on me, a sinner.”

Prayer chants are also beginning to be used in liturgical (communal prayer) settings. Liturgists and musicians are learning that this short ostinato form complements hymns, songs, responsorial psalms, litanies, and acclamations. The prayer chant experience is somehow different from that found in other musical forms.

But what connection exists between the chanting experienced seated alone in a room before crucifix and candle, and the chanting experienced in St. Paul Church among hundreds of parishioners?

The Mystical Body. What happens in liturgy when an assembly worships by singing a prayer chant?

Since the chant is easy to learn and enter into, the assembly is joined together by high-level participation. As they repeat the chant and become one breath of song, their concentration becomes more and more focused. Finally, they experience the true Christian identity—not in a better way than in other sung forms, but in a different way.

A worshiping assembly has a sense of being the body of Christ through chanting. But this identity is best explained by first exploring the notions of breath and focus in prayer.

Breath and Spirit. Awareness of breath is key to prayer chant for both physiological and biblical reasons.

In Hebrew Scriptures, the word for “breath” or “wind” is ruah. This is the same word used for the “spirit of Yahweh” (ruah YHVH) or the “spirit of God” (ruah elohim). In the Hebrew mind, breath signified life, and the absence of ruah was the absence of the life force. The presence of ruah meant the presence of God’s power.

The notion of God’s Spirit as a power is continued in the Christian Scriptures, except that for the first time spirit is revealed as the person, Spirit of God. This pneumatology is highly developed in the Gospel of John and climaxes in 19:30 when Jesus breathes forth his own Spirit as he dies on the cross, and in 20:19–23 when Jesus breathes the Spirit onto his followers after the Resurrection.

With such awareness of the possibility of connecting one’s own breath with the power and very Spirit of God, let us turn to the Hesychist prayer tradition. Hesychasm grew out of the teachings and experience of the early Greek fathers and flourished in the monastic centers of Mediterranean and Eastern Europe. Hesychasm taught a prayer form that connected one’s breath and heartbeat with the repetition of the name of Jesus—the Jesus Prayer. Years of practice led to a continual sense of prayer since one’s most natural bodily functions became a vehicle for an awareness of communion with God. A Hesychist learned to breathe in and out the Spirit of God.

In the Hesychist tradition, the physical is not shunned but embraced as an aid to prayer. Prayer chanting is similarly holistic. The singing allows for the natural rhythm of one’s breath to aid one’s awareness of the natural presence of God’s Spirit.

Does not ruah, the breath of God, bind us as one when we allow the ruah to flow in and out of our bodies as we chant together? Just as the Spirit brings relaxation and peace to the Christian, so too the Spirit enlivens, unifies, and empowers the whole body in communal worship. In fact, the Spirit connects us into one body during liturgy. Lumen Gentium teaches that when Christ gave forth his Spirit, he made all his disciples mystically into his own body.

Concentrated Focus. In using a prayer chant, you use an apophatic prayer technique of focusing on one phrase, melody, attitude. Your busy, scattered mind becomes single-minded by turning from all other thoughts and attitudes, not of the prayer chant. Your whole being focuses upon the prayer chanting as a way to realize God’s presence. This continual flow of sound, meditative in nature, makes the heart receptive to the holy.

Although much of what has been said applies to mantras, a prayer chant is not a mantra. The East and West have different conceptions of consciousness, cosmos, deity, and salvation. Using the terms as synonyms are careless. Mantras often have specific hand gestures and visualizations that accompany them. Mantras correspond to “mental vibrations” which are projected upon the centers of consciousness in the body (chakras). So a mantra, properly understood in the Eastern religious sense, is more than a prayer chant.

The concentrated focus of the chanting may lead to a sense of timelessness. Often the moment between ending one repetition and beginning another is a blessed encounter with sacred silence. This “indivisible moment of infinite duration” confers the greatest stillness and peace.

In liturgical settings, when the whole assembly is taken up in worship and prayer, a similar “timeless” experience may occur. Through the intensity of the repeating chant, some of the participants may sense an uplifting that imparts a vision of eternal worship. This grace of being so lost in the singing and prayer is a momentary eschatological glimpse of all renewed creation worshiping in the glory of God’s light and love.

A Christian, through prayer chanting, also gains a new awareness. For Christians, this gift is a grace of light, and this light is Jesus.

Using the tools of rhythmic breath and concentration, a prayer chanter sees himself or herself and all else through the eyes of God. An assembly, also worshiping in this way, begins to see itself in the light. This light reveals to the people that they are the body of Christ.

The prayer chant is not magic; it is one form of many. Yet the rhythmic breath and concentrated focus of the chant can bind the assembly and offer it an opportunity to experience its true identity, as the body of Christ.

Where to Use Chants in Worship

Liturgical Music Today speaks of two functions of song: (1) to support the action and (2) to be part of the constituent elements of the action. These two functions of song together with different styles of texts give rise to three types of liturgical prayer chants: processional, intercessory, and devotional.

A processional chant supports the action of liturgical ministers or assembly. The two processions in liturgy take place during the Entrance rite and Communion rite. Prayer chants are extremely practical during these times because the form is easily used and repeated, freeing people’s hands of songsheets or hymnals. Hands are then free to be held together or to hold banners in an Entrance procession. Hands are free to receive Communion in the hand and to take the cup.

An intercessory chant is unlike a processional chant in that it supports some action of the assembly. An intercessory chant is the specific action of the worshiping body, usually during the penitential rite or during the general intercessions. The text of the chant expresses a spirit of petition or contrition. Additional phrases may be added by a singing or speaking soloist over the singing voice of the assembly.

A devotional chant is similar to the intercessory chant in being a specific action of the assembly; nothing else goes on while the chant occurs. Use of the devotional chant depends upon the formality, environment, and size of the assembly. One possible use is during the Liturgy of the Word. However, the Judeo-Christian tradition of extending God’s Word in the first reading with God’s Word in the responsorial psalm should be respected. Hence, substituting a chant for the psalm is not advised. Similarly, the specific texts of the eucharistic prayer acclamations usually would not be substituted with a prayer chant. A prayer chant by its repetitive nature would interrupt the flow of the eucharistic prayer. Post-Communion time is best for devotional chants. Texts expressing oneness with God or the body of Christ would be appropriate.

Whatever type of chant is used, usually only one should be included in any Mass. The intense nature of the chant could make the liturgy too burdensome if several are included in the same service. Liturgy planners should not use a prayer chant every Sunday but should insert them for variety in much the same way they would use an instrumental or a solo piece.

The Music of the Taizé Community

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Taizé is a worship renewal community in France that has developed a style of music and Scripture song for all parts of worship. The article below introduces the community, its worship, and song.

In a tiny village in the south of France lies a religious community that has become a focus of spiritual renewal of the young and a center of reconciliation among Christians. A young Protestant layperson had the vision of a community where one’s denominational identity would not matter. What would matter would be one’s ability to welcome the stranger and pilgrim, no matter who they were, in the name of Christ. Initially, a refuge, sanctuary, and shelter for those burdened with the horrors of World War II, the community under the leadership of Brother Roger nearly half a century ago began welcoming others who would help establish communion amidst division.

Today people come from every corner of the world to irenic Taizé. Three times a day the pilgrims join the brothers in common prayer in order to deepen their inner lives so as to live in solidarity with the whole of humanity. Simple accommodation and food is the venue, with Bible study and questions and answers completing the day’s activities.

A week at Taizé reflects the themes one finds in the celebration of Holy Week—the suffering, passion, death, and resurrection of Jesus. At the foot of the cross, prayers and chants flow for the wounded people and places of the world. The sheer numbers of worshipers and their youthful vitality create a spirit of prayer that brings one in touch with the heart of God.

In such a diverse group—usually in the thousands—it was thought necessary to bring a unity to the worship. Jacques Berthier, a trained musician, and member of the ecumenical order, developed a style of ostinato chant (repetition of a persistent phrase of music and text) that was simple, short, and direct. Various languages are used because the worship is always international. Most often Latin is used as a “common expression and liturgical language.”

The result is a style of sung prayer that can transform and inspire worship. Translated to the local church situation, it is particularly suited for the Communion service. The actual distribution of Holy Communion, whether formally at an altar rail or served in the pew, can be a time of awkward silence or scattered wanderings of mind and eyes. Looking at people coming to the rail or watching deacons collect empty cups hardly makes for a worshipful experience. Rather than dealing with a complete hymn text, choir anthem, or solo, the use of these chants can capture the solemnity and intimacy of meeting the Lord in Holy Communion through their haunting repetition. The use of these Scripture phrases and liturgical prose forms the chants that are sung repeatedly. Using a simple music line (though often four-part harmony), the worshiper can fix his or her heart and mind on such phrases as

Jesus, remember me when you come into your kingdom
OR
Bless the Lord my soul, and bless his holy name
Bless the Lord my soul, he rescues me from death
OR
O Lord Jesus Christ (O Christe Domine Jesu)
OR
We adore you Lord (Adoremus te Domine)

At Taizé, with its hillside scenery, all join in such sung prayer; it is simple, easy to remember, and lends itself to a focus that is shaped in prayer and meditation rather than complication. It is an acquired taste that can become a powerful expression of prayer in any gathering large or small.

The music is substantive; for most chants there are cantor parts using psalms and canticles for the text set to easy-flowing melodies with parts provided for a host of instruments including oboe, guitar, piano, organ, strings, flute, and brass. Because many classify Taizé music as “modern,” they, in turn, forsake the use of the organ. This is most unfortunate. A well-registered organ can be a perfect way to keep the ostinato going. The initial chant can be sung by a cantor, repeated by the choir, and then joined by all in singing (praying). After the ostinato is firmly established by the assembly, a cantor and/or instruments can augment the prayer with an obligato text, litany, descant, or instrumental embellishments.

There are also chants for the ordinary (unchanging parts) parts of the Eucharist rite, Kyrie (“Lord, have mercy”), Gloria (“Glory to God”), Sanctus (“Holy, Holy, Holy”), and Agnus Dei (“Lamb of God”).

Monks at Taizé come from Anglican, Lutheran, Reformed, and Roman Catholic backgrounds representing twenty nations of the world. Since its founding in the 1940s, popes and archbishops of Canterbury have been among the visitors. The ministries of prayer and reconciliation override the need for strict denominational labels. Brothers also live in North and South America, Africa, and Asia. They live on the income from their work alone; they do not accept donations. Pilgrims from Western countries, by the fees asked for accommodation and board, help pay for visitors from poorer parts of the world. The common prayer of Taizé is one of the gifts the young take home with them wherever they happen to live. Prayer cells and groups are often established at home to maintain a connection with the order.

Each Christmastide an international Taizé gathering is held in a major city, with usually over 50,000 attending. No one Christian tradition can claim this unique musical offering as their own; it belongs to the worshipful Christian willing to use it.

Music of the World Church

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Recent hymnals have included a wide variety of congregational songs from around the world. These provide new styles of music for use in worship and new ways of expressing the unity of the worldwide church.

A new phenomenon is appearing in denominational hymnals published in the past five years. An example of this is found in hymns like “Asithi: Amen” or “Tu has venido a la orilla,” or “Jesus A, Nahetotaetanome.” (All the songs, hymns, and tune names listed in this article are found in Hymnal: A Worship Book, prepared by Churches in the Believers Church Tradition (Elgin, Ill.: Brethren Press; Newton, Kans.: Faith and Life Press; Scottdale, Pa.: Mennonite Publishing House, 1992). There has always been a sprinkling of Latin and German words in hymnals, at least with familiar phrases as “Gloria in excelsis Deo” and “Stille Nacht, heilige Nacht!” or in tune names such as ein’ feste burg, aberystwyth, deus tuorum militum, and so on. Yet we have not always acknowledged the culture and language diversity in our midst beyond Western European traditions, nor have we recognized the variety of ways Christ has made himself known to Christians around the world.

At the arrival of the twenty-first century, an age of high technology and global awareness, the North American church is comprised of a mixture of cultures and languages, more so than at any time in its history. For many generations, members of a local congregation have likely been basically of one or two races, Caucasian, and perhaps African-American. But today worshipers are likely to find themselves sitting next to someone of another color, another culture, another language. Such a phenomenon is challenging the church to broaden its perspective, its style of hymnody, and its language in liturgy and hymns.

No longer can an English-speaking congregation assume that English is the only language represented among its worshipers; no longer can the small town or city church demand that all worshipers sing only in English, whatever their background. No longer can those who speak only English refuse to at least try singing in another language. As the world gets smaller, the church must get bigger, more inclusive.

Several new hymnals have provided an important model to worshipers by incorporating languages other than English, and by introducing texts and tunes from churches around the globe. Through this witness, the North American church is becoming sensitized, educated, and appreciative of the hymnody of Christian sisters and brothers of many different cultures and languages. In addition, worshipers are discovering the delight in singing new types of hymns. Take, for example, “Asithi: Amen,” a South African hymn that is sung over and over again, as a praise hymn, or as a recessional hymn at the end of worship. Its driving rhythms and easy-to-learn Zulu words make it sheer fun to sing! God’s people are uplifted in joyful praise. God certainly must be enjoying it too!

Nigerians are incorporating in their worship services their own religious songs, rich with complex rhythms, alongside gospel songs taught them by missionaries from the United States and England during the early part of the twentieth century. One song is a rendition of the Lord’s Prayer (“Our Father, who art in heaven”), in which each phrase is first sung by a leader, then by the congregation. Originally written in Hausa, this prayer hymn can be easily learned in English and sung by North American congregations. It is accompanied by African drums, gourds, and cowbell, or similar rhythm instruments that are available.

Since the days of slavery, the North American church has sung the spirituals and black gospel songs of African-American people. However, white and biracial congregations are now being challenged to include a wider selection of authentic African-American music in worship, songs like “Lift Every Voice and Sing” (the official song of the National Association for the Advancement of Colored People), “I Am Weak and I Need Thy Strength,” “When Storms of Life Are Raging,” “I Want Jesus to Walk with Me.” Such songs speak poignantly to the pain of injustice, alienation, and despair of a people who daily feel the sting of discrimination. All congregations need to sing such heart-wrenching songs, slowly, rhythmically, passionately, in a cappella voices, or accompanied by strong, pulsating piano and/or organ arrangements.

Spanish is the second most commonly spoken language in the United States today, and Hispanics are the fastest-growing ethnic group. If the North American church wants to reach and fully welcome Hispanics into the church, it is challenged (possibly even compelled before too many years) to include worship litanies and hymns in Spanish. Command of the language is not necessary at all in order to sing. Even a bumbling attempt at the pronunciation of an unfamiliar language shows a willingness to step into the culture and language of another person because of Christian concern and love. A congregation might begin learning a Spanish hymn text slowly, with a soloist or quartet first singing it, then the congregation. An exciting hymn to try is “Cantemos al Senor,” which repeats the opening phrase on each verse and ends with “Aleluya!” At least, such an attempt shows a willingness to try another language. At most, it shows respect for the language in which a hymn was originally written. Congregations are encouraged to ask a member who is proficient in Spanish to pronounce the words of the text before all join in singing it, possibly even to direct the hymn. A guitar and several rhythm instruments, such as maracas and bongo drums, help the congregation experience the hymn as authentically as possible.

The Taizé community of eastern France, to which thousands of young people from all over the world travel each week, joins in worship three times a day. Imagine hearing the gospel read in ten different languages; a psalm chanted in Swedish, German or Portuguese; and musical refrains sung in French, Polish, English, or Italian. No one language dominates. Latin, no longer anyone’s language, becomes everyone’s language as it is used in many of the sung prayers. The beauty of the simple music, often accompanied by instrumental obligatos while being sung repeatedly, leads one into deep communion with God. The haunting melodies and harmony “remain alive” within the worshipers long after they leave worship.

Singing in the Taizé service evokes within the worshipers a sense of the church’s unity in Christ amidst the diversity of cultures and languages, and it honors the universality of the church.

Taizé music, published throughout the world, has found its way into most of the recently published hymnals. The words may be in Spanish, Latin, German, Polish, and English—many different languages that congregations are finding they learn quite easily because of a song’s shortness and repetitive phrases.

Represented in current hymnals is the music of Chinese, Japanese, Korean, Indonesian, Latin American, Native American cultures. All cultures bring the beauty of their own uniqueness in melody, rhythm, and texts that enrich the church and its members wherever they are located. The Psalmist summons the worshiping community to …

Sing to the Lord a new song
Sing to the Lord, all the earth (Psalm 96:1)

The Christian church can best do that by singing together each other’s songs of faith, in various languages and rhythms that, in their diversity, make a very joyful noise to the Lord!