Many of
you will no doubt be stalking the aisles of local stores in the coming weeks, willing
Christmas shoppers or not, and you should pay attention to what the soundscape
around you is trying to do to you. Music matters because it is fundamental to
our brains, and marketing experts know that; they try to tap our ‘purchasing
instincts’ with music as we shop.
And you
may be frazzled after an hour – or 5 minutes – in the mall, and then get into
the car, turn on the engine, and crank up the radio…a little bit of Mozart or
Metallica – to each her own! – may soothe your nerves and help refresh you in
mind and body.
Music
matters; Ralph Waldo Emerson knew that; he said,
“Music
takes us out of the actual and whispers to us dim secrets that startle out
wonder as to who we are, and for what, whence, and whereto.” (http://www.goodreads.com/quotes/136523-music-takes-us-out-of-the-actual-and-whispers-to)
Many
ancient philosophers and theologians also knew that music matters:
“Qui bene
cantat bis orat” (They who sing pray twice.)—St. Augustine
“Without
music life would be a mistake.—Friedrich Nietzsche
“I write the songs that
make the whole world sing” - Barry Manilow (Yeah, he’s pretty
ancient!)
But music matters
because it can evoke strong emotions, and we can remember lyrics and chords
from music, and indeed musical experiences, that affected us a long time ago. I
remember the first time as a teenager I heard “Hey, Jude”; it was bedtime and I
had the radio on and the DJ announced the first play of the brand new Beatles
song.
I remember kneeling down
next to the table and holding my speakers to the sides of my head so I could
hear every little note and every last sound of it. I’m sure that you have those
kinds of memories too.
Music matters because we
can express ourselves through singing, in the shower sometimes, or with
instruments, and when we do it together it can be wonderful. I took part in a
pulpit exchange last Sunday with the Rev Kevin Tarsa, and after the service in
the Beaufort church one of its members came up to me and said, we’re a church that
sings; and I almost replied, well the Augusta church is a church that sings, as
if there can only be one UU congregation to make that claim!
But there is no doubt
that this is a congregation that sings, and a big part of that is because of
who is leading the music and shaping our love of music. Joe has such a
wonderful gift of artistry, and if left to itself, that talent could produce a
musician who is very precious about that gift.
This week’s
On Being with Krista Tippett had a feature on the Indigo Girls, called “Music
and Finding God in Church and Smoky Bars” – what a perfect way to define Joe
Patchen’s life! The musicians are quoted as seeing “music
as a continuum of human existence, intertwined with spiritual life in a way
that can’t be pinned down”. We are indeed fortunate to have
someone who personifies this description, and who wants to share his love of
music with others; Joe is generous with people who want to dip their toes in
the music scene of UUCA.
When I began coming to
this church 10 years ago, I think I could only stand it for 3 Sundays before I
approached him to ask if I could join the choir… and he was very gracious and
accepting, even though he didn’t know me or even if I could carry a tune. He
has composed music and recorded cds, which are for sale online, and Jerry and
Paula Goldman helped a few years ago to get some of his work published; he
teaches piano, and he plays with other local musicians all over the CSRA… you
could say that music is Joe’s life.
So when he was
commissioned to compose a piece of music to commemorate the 25th
anniversary of being our music director, he came up with such an interesting
idea: he put together the 19th century words of American Unitarian
and Transcendentalist Ralph Waldo Emerson with his own creation, a tune that
evokes American gospel music. This Thanksgiving holiday we have been acutely
aware of the legacy of this nation, which is built on the search for freedom
and the reality of diversity, and to me this new composition exemplifies this.
Since I’ve already told
you about the legend that is Joe Patchen, let me tell you a little bit about
the legend that is Emerson who, biographer Lawrence
Buell writes, was always ready "to stray
from paths of common wisdom into trains of thought that seem offbeat, bizarre,
and sometimes downright scandalous." (Emerson By Lawrence Buell, p.5)
As a young man
entering the ministry, Emerson did so partly due to that career being one open to
intellectuals of his time.
But in 1832, at the age of
twenty-nine and grieving the death of his young wife Ellen, he gave a sermon
announcing that he could no longer in conscience administer Holy Communion,
because he did not believe Jesus meant for this to be an ongoing practice. This
effectively ended his career in the church, but allowed him to take on another
role to which intellectuals gravitated, and that was public speaking.
A good thing too, because in 1837
he gave another shocking performance, this time a Phi Beta Kappa address at his
alma mater, Harvard.
It’s known as "The American
Scholar" speech, and he used it to trash intellectuals for their “reliance
on tradition, Europe, books, formalities, and secondhand ideas instead of on
creative intelligence operating upon the actual world of nature and society. Man’s
thinking must not be subdued by his instruments. Books are for the scholar's
idle times. When he can read God directly, the hour is too precious to be
wasted in other men's transcripts of their readings." (Harold Fromm, http://www.rwe.org/articles/373-overcoming-the-oversoul-emersons-evolutionary-existentialism.html)
And that was Emerson just getting
warmed up; even greater upheaval followed in 1838 when he gave an address to
the Harvard Divinity School. This time he criticized ministers for their use of
scripture, church traditions, their adherence to dead customs, and he accused
them of making “historical Christianity into a rigid myth of preposterous
supernaturalisms.”
He said, "Men have come to
speak of… revelation as [something] long ago given and done, as if God were
dead." But revelation, he believed, was not a one-off but a “permanent
aspect of human consciousness.”
Now some
of us may recall the ‘God is dead’ controversy of the late 1960s, and we may
think of Episcopalian Bishop John Spong as more recently championing revisionist
theology… Spong with writings such as his essay "Christ and the Body of
Christ: Is There a Future for the Christian Church?” He lists a few points that
define that future, such as
“1.
Theism, as a way of defining God is dead. God can no longer be understood with
credibility as Being supernatural in power, dwelling above the sky and prepared
to invade human history periodically to enforce the divine will. So most
theological God-talk is today meaningless unless we find a new way to speak of
God.
2. Since
God can no longer be conceived in theistic terms, it becomes nonsensical to
seek to understand Jesus as the incarnation of the theistic deity. So the
Christology of the ages is bankrupt.
3. The
Biblical story of the perfect and finished creation from which human beings
fell into sin is pre-Darwinian mythology and post-Darwinian nonsense.”
And so
on, until the twelfth and final point about bigotry and prejudice concluding
that “All human beings …must be respected for what each person is."
Hearing this list, many of us will
say “there is not much new here that we hadn’t heard from Emerson one hundred
fifty years before.” (Fromm, http://www.rwe.org/articles/373-overcoming-the-oversoul-emersons-evolutionary-existentialism.html)
After burning his bridges with
academe and church by telling them what they should not think or believe, in
1841 Emerson wrote his essay on the Oversoul, which gives a real insight into
what he does believe. Along with a rejection of
dead traditions, as he saw them, he was drawn to ideas from European and Asian
thinkers that get away from traditional theism.
Emerson describes "a power / That works its will on
age and hour": this power he calls the "Over-Soul," a “force
that he feels is in every animate and inanimate object in the universe —
namely, the presence of God.” (http://www.cliffsnotes.com/literature/e/emersons-essays/summary-and-analysis-of-the-oversoul/about-the-oversoul)
Is he espousing some
sort of pantheism? It’s worth exploring what this could possibly mean, and here
is how Emerson describes it:
“We see the world piece
by piece, as the sun, the moon, the animal, the tree; but the whole, of which
these are the shining parts, is the soul. . . .
All goes to show that
the soul in man is . . . the background of our being… an
immensity not possessed and that cannot be possessed. From within or from
behind, a light shines through us upon things, and makes us aware that we are
nothing, but the light is all. A man is the facade of a temple wherein all
wisdom and all good abide. . . . When it breathes through his
intellect, it is genius; when it breathes through his will, it is virtue; when
it flows through his affection, it is love. . . .”
What this means then is that the Oversoul “is the
source of life itself. [Craig Pearson says that] This inner field of life has
been given many names throughout the centuries.
For Laozi it is the Tao.
For Plato it is the Good and the Beautiful. Aristotle calls it Being,
Plotinus the Infinite, Jesus the kingdom of Heaven within. In
Judaism it is known as Ein Sof, “the endless one”. (Craig Pearson, Ph.D., http://www.tm.org/blog/enlightenment/ralph-waldo-emerson/)
But while it differs in
name “it is the same universal, unbounded field of consciousness that rests
within each of us… and [that] which gives rise to nature itself.” (Pearson)
Just as Emerson says, there is “no ceiling between our heads and the heavens
above us”…
In other words, Emerson saw human
beings as completely woven into the material web of the universe. He was
already excited by the “open-endedness of scientific discovery” that “coordinated
well with his sense of evolving life, that reality was ‘becoming’ rather than ‘being’.
His visit in 1833 to the Museum of Natural History in Paris was a powerful
moment molding his theology and spirituality, and he recorded his thoughts in
his notebook.
There he saw specimens of insects,
birds, and animals artfully arranged to reveal their evolutionary history, which
was in his words "an occult relation between the very scorpions and
man." It seems that he sensed "the organizing idea which had created
them." (Fromm, http://www.rwe.org/articles/373-overcoming-the-oversoul-emersons-evolutionary-existentialism.html)
And so
in a lecture from 1858 we hear him expressing his appreciation of evolution and
his rejection of separating the spirit from the flesh:
“If
there be but one substance or reality, and that is body, and it has the quality
of creating the sublime astronomy, of converting itself into brain, and
geometry, and reason; if it can reason in Newton, and sing in Homer and
Shakespeare, and love and serve as saints and angels, then I have no objection
to transfer to body all my wonder and allegiance.”
Today Emerson might use
the term Oversoul to mean everything
human that comes from the biochemical stuff of which we’ve been made throughout
our evolutionary history. In the words of Harold Fromm, “Nothing
comes simply from "outside" because consciousness mediates all
experience - and consciousness has evolved along with everything else. Nurture
is not outside. Everything experienced by a subject is ultimately immanent.”
And so
Joe has taken the magic of Emerson’s idea of the Oversoul – “the soul of the
whole” where there is no separation between us and God – and he’s made it
completely new through a context of Gospel music. Gospel means ‘good news’, and
that genre of music, while having a direct and vital link to
Africa, is distinctly American music.
Much of popular music
today can be traced easily to
gospel music, thanks to Thomas A. Dorsey, a former
blues musician from Georgia.
After
World War II, Dorsey, the son of a preacher, turned his
talents to writing religious music, but his aim was to disassociate
his modern style of black religious music from the days of slavery. He wrote “Precious
Lord, Take My Hand” and “Peace in the Valley”.
Of course the Transcendentalists of
Emerson’s time would be, at the very least, startled by this mode of expression
for his Oversoul message, but as Joe told me,
“The musical form
allows us to take the inspirational - but perhaps abstract and worn - words of
Emerson, and place them in a context where they are heard for what they are -
very good news indeed for Transcendentalists, if not all UUs. Old-fashioned
gospel is very much, in attitude and delivery, good news, and the placement of
Emerson's concepts in that musical form is meant to inspire and uplift, without
denying the dignity of Emerson or of traditional gospel music.”
Ironically perhaps, for someone who
popularized the idea of transcendence, Emerson came to believe that everything
experienced by a person is ultimately immanent: and he eloquently describes the
lack of any barrier between our consciousness and that of the source of life
itself: “when it breaks through our intellect it is genius, when it breathes
through our will it is virtue, when it breaks through our affections it is
love.”
Music matters right here this morning, bringing us
- through the skill of our music director -
the beauty of these words of Emerson. They tell us that
because all human experience is mediated through “the universal,
unbounded field of consciousness”, “an
immensity not possessed and that cannot be possessed”, “the background of our being” from which we can directly
access the transcendent nature of reality.
There is no bar, no wall, no
ceiling to keep us from experiencing what we feel and name as Divine, the Holy,
the Endless One. This is good news, set to music that shares Emerson’s
heartfelt message that “From within or from behind, a
light shines through us upon things, and makes us aware that we are nothing,
but the light is all.”