There is an interesting TED talk by David Byrne (yep, the one from Talking Heads) about architecture and music. No, it is not just about acoustics – although this science definitely plays a part in what he shares. Byrne shares about the connection between the physical characteristics of a space and the effect these have on the kind of music we compose to be played in them. Take a few minutes to watch this interesting video here.

Clearly, there is a strong correlation between the size and shape of our performance spaces and the content and volume of our musical compositions. This can be observed historically, as Byrne has shown. Architecture doesn’t just have an effect on our music. It also affects our worship. How do the structures in which we convene for worship define our worship practices? What do the venues we choose for ritual contribute to the kind of rituals we choose and create for use in them?

Historically, we can draw some conclusions about the correlation between the shape of buildings and the shape of worship.

The Early Church (33-400) worshiped in homes and caves. Actually, the EARLY early Church worshiped in synagogues. However, once the Jews that followed Jesus became a little too fond of their Lord (according to the non-Jesus Jews) they were ejected from the Jewish gatherings. So, Christians then opted to meet in private homes. In times of persecution (on and off for the first 300 years), Christians also descended into the catacombs for worship.

What happens to worship when it is in a house or a subterranean cave? Both homes and catacombs are small. This limited the number of worshipers that could get together. Limited size enhances intimacy and participation. It is also much easier to cook for a small group. Homes are particularly well-suited for eating. There is a kitchen. There is a dining area. There are spaces to digest after the meal.

Caves are not really well-suited for anything except for burying and hiding. However, the Christians managed to bring these “dead” spaces back to life with artistically painted images, which undoubtedly inspired worship in all who viewed them. Perhaps the stone walls in the Catacombs were also well-suited for singing. Singing walls? No, silly. I mean, a little natural echo transforms the simplest song into a mystical, spiritual sound. I am guessing that the religious images on the walls combined with the aural ambiance of the space birthed some of the first ever creedal odes to Christ.

The Church of the Middle Ages (400-1500) worshiped in cathedrals. What happens when worshipers gather in a Cathedral? Cathedrals are high-ceilinged with lots of windows. This is intentional, meant to provide a sense of the heavenly realm and light. The enormous space of some cathedrals meant that literally hundreds of worshipers could be present at the same time. In a cathedral, congregational intimacy becomes anonymous celebration. There is a value in these numbers, though. The excitement of being in the presence of so many, gathered expectantly for the same purpose is palpable. Imagining Heaven includes the expectation that it will be FULL of people instead of like a small group. Still, the sheer number of worshipers restricts the kind of acts that can be practiced.

Physical participation was drastically reduced in the Middle Ages. Other aspects progressed. The cathedral space played a role in the evolution of devotional song. As Byrne notes, particularly reverberant spaces invite musicians to write simple, slow, non-rhythmic music. Thus, chant (sung only by the professionals) flourished during the Middle Ages.

Early on, the Church of the Reformation era (1500-1750) utilized converted, ex-Roman Catholic cathedrals where relatively little changes were made, save removing theologically offensive images. As the era progressed and churches were built exclusively for the emerging Protestant worship, worship spaces shrank and became simpler in many respects. Images were limited further. Artistic ornamentation was reserved for the pulpit from which the Word was delivered to the people. Some churches maintained numbers of well-placed windows, allowing for natural light to become one of the primary visual “symbols”. Lowered ceilings and smaller buildings meant less reverb, which also meant that composers like the Wesley brothers would be inspired to write hymns with full harmonies and varied rhythmic meters. And they did.

It was during this period that worshipers first began closing their eyes during worship. Why leave eyes open if there is nothing to look at? Well, for one, there’s the people. However, unlike the seating arrangement in cathedrals that allowed for many worshipers to easily view one another, the rows of pews in Protestant churches were aligned for maximum aural reception from the lips of the preacher. This discouraged visual engagement with friends and family. Although, this arrangement would have been peachy for studying the shape and condition of the backs of peoples’ heads. Uncle Phineas is developing quite a bald-spot. On second thought, closing eyes was a good idea.

The Modern era was a time once again for increasing the size of our meeting spaces. Charles Finney was one of the first to rent secular theaters for worship in the 19th century. A little later, in 1923, Aimee Semple McPherson built the first 2,500 seat auditorium of its kind made for gathered worship. This theater in Echo Park, California had everything a large secular theater had: vaulted ceiling, balconies, fixed seating, and a stage. Though theater spaces were large like cathedrals, they were also built with acoustics in mind. Carpeting and acoustical engineering led to large spaces that invited loud music. McPherson’s church, Angelus Temple, was also one of the first to have an electric sound system installed. McPherson employed an orchestra to fill her church with music, but it would only be a matter of 50 years before the then non-existent “rock-n-roll” would makes its way onto many a church stage.

Certainly, the bulk of musicians who lead worship today are truly humble. Right? However, this humility can appear awkward and incongruent when forced onto stage, under the hot, spot-lights. The proscenium stage, popular in late 19th century secular theatrical realism became the model for early church theaters. Realism’s approach which separated actors and audience with the erection of an invisible “fourth wall” managed to sneak its way into modern worship. Evidence of this is that the “performance vs. worship” conversation is a popular one in churches of the late 20th and early 21st centuries.

Still, there is one lingering question: What came first, the ritual or the building? In other words, do we develop our practices first and then build our structures to suit them, or do we build first the house of worship and then allow it to shape our worship?

The answer is: yes.

This post originally appeared on Creative Worship Tour, June 30, 2010.

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