2.13.1. Praise and Proclamation

The exuberant leaps in Hildegard's music express her spirituality of praise and proclamation. So does the exuberant proclamatory punch at the beginnings of phrases in the chorales spawned by Luther's reforms, responding to the thrust of the Word of God that addresses humanity.

#### 2.13.2. Prayer

Pius X in his *motu proprio* sees Gregorian chant and the polyphony of Palestrina as ideals [56]. Gelineau follows with "Gelineau psalmody" [57]. Gelineau introduced the Taizé community to Jacques Berthier "as someone who could compose short repetitive songs that have become famous as 'Taizé music'" [58]. These are all examples of music related to prayer via forms of chant.

Calvin in sixteenth century Geneva spawned Genevan psalm tunes composed by Louis Bourgeois. Calvin regarded chant as a foreign tongue, so it was off limits as were choirs and instruments. Tunes for metrical psalms were the music of choice.

While chant and Genevan psalm tunes may not appear to have very much in common, they both have pulls from the ends of the musical lines that respond to the teleological tug of prayer and contrast with the prophetic push at the beginning of chorales. Genevan psalm tunes also distinguish themselves from chorale tunes in that they have short notes nestled between long ones in conjunct motion. The cyclical, repetitive forms from Taizé add a timeless component. (See the next point.)

## 2.13.3. Community

When community is emphasized a rich supply of syntaxes is employed as "global" music from Latin America, Asia, South Africa, Zimbabwe, and the Iona Community [59]—along with black spirituals, shape note music, and European models—comes together in American "mainstream" practice. The global repertory opens congregations to spiritualities that stand outside of their own and helps them avoid the idolatry that can so easily beset groups that live to themselves. As Michael Hawn says, it can be liberating. It also poses a different spirituality from much Western "mainstream" practice. A "classic Western hymn," even with a tune that repeats, is narrative, "going somewhere" ([59], p. 225). Global cyclic structures engage congregations in a "more timeless experience" ([59], p. 234).
