Religie en muzikaal ritme

Abstract

This contribution is dedicated to the most important characteristics of religious music, namely, rhythm and tempo. Why does religious music sung by the congregation incline to follow a relatively even rhythm and a steady tempo? First, an attempt will be made to define the concept of ‘rhythm’. On the one hand, it is the natural organisation of all movement in time and space, while on the other hand, it is created from a human desire to impose a human and orderly measure to that natural movement. We will then turn our focus to the influence exerted in a congregation, particularly in religious congregations, via a conscious steering of the rhythm and tempo of group music; mindful of a variation of the old adage: cujus musica, illius et religio. In the past, the church authorities have interfered continuously with church music practises when these threatened to transgress the boundaries of acceptable group sound. From half way through the nineteenth century in particular, church music, under the influence of Caecilianism, was required to be serious, dignified, pure and majestic. While the choir often had to be restrained, with regard to the congregational singing, advantage was taken of the natural desire of the religious congregation to sing its hymns slowly and in an even rhythm. The custom of psalm singing in the Protestant Church can be cited as an example here. Typical with regard to choir singing however, is the fact that after each intervention from higher authority, these natural tendencies soon resurfaced. Church music will of course always be a product of the times. The current sentimental and devotional tendencies in church music culture are a natural reaction to the dynamising and inculturation of the same since the nineteen-sixties. For how long?