Friday, October 25, 2013

Use Imperative Stem Rightly: Reform Music in Liturgy

Use Imperative Stems Rightly
1--Somewhere in Magna Carta Latina, Rosenstock-Huessy makes a statement that Latin (verbs are?)is built up from the imperative stem.


This short paper proposes that music is one, that Revelation, written in Symbol, the Language, is another.  So too is liturgy, worship, and life (as seen in holidays celebrating the whole life of one now dead unto life, this one thing observed by the whole people, together at the same time). The Lord’s Day (the worship hour—it takes about an hour to read Revelation out loud) is the stem of the week. The week is a stem. Etc.

2—He also says that when men first cried out to God, they chanted.  This is best seen today in the Roman Mass and Jewish Synagogue.

3—Let us build the musical part of Lord’s Day liturgy to encompass all times and places of music, so that we may be commanded unto one man in all times and places, using imperative stems rightly.

We will build it from beginning to end, and from end to beginning. Thus--

We enter, we come in to the end, a great and magnificent symphony orchestra, including rhythmic movement dance, and including each playing an instrument—with even contemporary technology this can be shown, if not representatively done.  This is the stem of time beyond the End.

Respond with chant.

The remainder of the liturgy until--

Just before we leave, after being commissioned and blessed, we reverse the above, and ‘a great and magnificent symphony orchestra, including rhythmic movement, and including each playing an instrument—with even contemporary technology this can be shown, if not representatively done.’  This is the time beyond the End.

Respond with chant.

Q:What’s in the center?
A:From beginning to end,
from end to beginning,
the various songs of the Bible
and of the post-Bible times, our response.

Songs of the Bible are imperative stems,
from which other songs come,
and to which we return,
as we see in the above chant positions.

With the song sung by the morning stars (Job 38:7, and look up the Hebrew for ‘shouted’) in the background, the first half—before He WhoReversed The Trend, Jesus-- might look like this:

Example:Song of Red Sea responded to with
Example:Psalms (and wouldn’t Psalm 150 be nike (sic, conquering) were we to use the instruments

Example: Tune of The Twelve* responded to with
Example:Retuning of the Universe at Ascension**

[There is not enough time in the Worship Hour/Lord’s Day, so
we might consider extending this over a number of (5?, 7?) weeks?]

In the second half, the singing after the Bible is complete, we would add a succession of songs (see Six Songs, the book?) showing the development that has happened, and that will happen, something that might look like this:

Example: Something such as the great orchestrated event thus described as ‘a great and magnificent symphony orchestra, including rhythmic movement, and including each playing an instrument—with even contemporary technology this can be shown, if not representatively done.’
Example: Responded to with chant.  ‘O Come O Come Emmanuel’ is plainsong. More could be done.

Example: Something with the pianoforte, invented circa1700.
Example: Something with strumming a smartphone, invented circa 2000.

These two pages above are an imperative stem, to which the flowering of the rest of language*** should return, in order to comprehend (grasp with?) all.  In other words, better musicians and liturgists can play/incubate this to the full, Lord willing.

‘The prophet is one who is taken beyond the end, in order to come back to say that words that bring that end about.’: Rosenstock, somewhere in Dartmouth lectures.

‘Audience absorbs, does not act. Artist acts’.: Summary of Rapoport appropriate to this kairos.

*Tune of The Twelve.  Put the 12 Minor Prophets in their chronological order over the 12 keys of an octave (if I understand it), 7 white and 5 black, on a piano of today.  Then stroke them in their theological order, as in the Bible of today.  Make rests and lengths of notes dependent on such things as length of the respective books, time between books being uttered, etc.  Maybe 4 chords, each with 3 notes. 
**Jordan maintains that as the Ascension is shown in Revelation 5:12 to Revelation 7:12, the universe is retuned.  From 1234567 to 4152(3)63(2)7. [Hartman maintains there’s another retuning:] IN ADDITION, there is movement from saying to singing, to instruments, and there’s a change to ‘the’ in front of each attribute of the seven of Christ (or could it be ‘from’? I don’t remember).
***I haven’t finished this, but The Shadow and Night is an explicitly post-millennial science fiction work by Chris Walley, part of the Lame Among the Stars series, written under the inspiration of ‘The Puritan Hope’.
I believe Herovolution. God lovingly drags us into His future, changing us.
As we are chosen to be torn in the present between the future and the past, between in and out, our howl becomes music, and we the singing song.
(Faintly: Rests—absences—are as important as notes—presences.)
A hero is the man between times, the First Sufferer, the Protagonist. He Explicitly Reconciles Opposites.
Come, let us return to the LORD; for he has torn us, that he may heal us; he has struck us down, and he will bind us up (Hos. 6:1), and John 6: 44 No man can come to me, except the Father which hath sent me draw him: and I will raise him up at the last day.
Both not both the one
And the other and both T.H.E.
One and the other

Submitted October 25, AnnoDomini 2013 (EphesusCORAM861) by Charles Howard Hartman, Strawbridge Conference on Reforming Church and Home at Christ the Redeemer, Pella, Iowa

Leithart/First Things:In the early church, the heretics were the ones mouthing dusty truisms. The orthodox were the philosophically adventurous. - See more at:

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