Music Performances and the Spirit

Hello. I’m Mel Windham, Composer and Owner of Melkim Publishing, and today we’re going to discuss music performances and inviting the Spirit.

This story begin in June 2025, when I attended a BYU Organ Traveling Workshop session in Raleigh, NC, which was a blast. You can read details in my personal music blog. I’ll provide a link in the description: here

The first session of this organ workshop was on “Inspiring Hymn Playing & Creative Registration,” which covered several tips, tricks, and techniques for making our organ accompaniments more interesting. And someone asked the question: “But what makes the difference between fancy playing and worshipping?”

The instructor gave an appropriate response, which took a couple of minutes. But to me, the answer is very, very simple, and I’ll get to that. But first, we need to unlearn a couple of incorrect concepts.

In a nutshell, the concern is: if we play too fancy, does it chase away the Spirit? This may seem like a strange question to some of you, but I’ve heard it at least a hundred times over the last two decades with slight variations. So, it’s a question worth exploring.

In my opinion, the question, itself, arises from misinterpretations of newer musical instruction the Church of Jesus Christ of Latter-day Saints delivered to us back in 2002. Let me read some of this instruction from this older Handbook.

Music in Church meetings should not draw attention to itself or be for demonstration. This music is for worship, not performance.

At a first reading, this may not sound so terrible. I believe I know exactly what our leaders intended, and I would agree with it. However, in hindsight, these word choices have lent themselves easily to some incorrect interpretations.

For example, many see the last sentence as describing a dichotomy: Worship vs. Performance. In other words, if you’re performing, you’re not worshipping. And as such, many in my church have gone out of their way to avoid saying the “P” word. Many have even suggested that it’s inappropriate to use advanced musical techniques, because then that would be a “performance.” So, often I hear some explaining that in order to invite the Spirit, you just need to have the right frame of mind. Like in: it isn’t a “performance,” but rather an “offering.” As in: “I’m offering this music to God and the congregation.”

Well, that’s nice, and some pretty impressive word soup, but frankly, it’s overthinking things. If we wish to play (perform) with the Spirit, there’s a much simpler answer.

First, I think we need to understand what a performance is, so that we can unlearn this false dichotomy. If we’re going to use English, we need to use the generally accepted definitions of these words.

Let me pull out my trusty Webster’s dictionary. What does it say for “performance”?

(2) the act of performing a ceremony, play, piece of music, etc.

Okay — we need to look up the word “perform,” too.

(1) to carry out; execute.

(5) to render (music), as if by playing or singing.

In other words, it’s literally impossible to do music without performing it. And each execution of music is a performance.

So, that’s step 1 of our journey of understanding. We shouldn’t be afraid to use the word “performance” because it happens to be a perfect word for the action of doing music. Other words do exist like “playing,” “presenting,” or “executing”. Avoiding these terms just skirts around and doesn’t answer the original question.

Here, I’ll offer a verse from the Book of Mormon to help us understand the power in being able to use the word “perform.” This is from 2 Nephi 32:9, a verse that someone had left on a notecard on our organ at our stake center:

… ye must not perform any thing unto the Lord save in the first place ye shall pray unto the Father in the name of Christ, that he will consecrate thy performance unto thee, that thy performance may be for the welfare of thy soul.

Suddenly, a “performance” is not only a good thing for us to be doing, but it’s something we’re expected to do “well.” Pray to the Father, and He will consecrate our performance.

So, what do I think the leaders meant to say in their instruction? If I were to add just one word, I think it would be clearer. “This music is for worship, not just for performance.” You see — I don’t think our leaders meant for us to see a dichotomy between “worship” and “performance.” But rather something that’s supposed to work together.

And we have one more concept to unlearn. Let’s hone in on the first sentence where they say:

Music … should not draw attention to itself …

What I think this was trying to say is: If the congregation is drawn more into the details of the performance rather than spiritual matters, then the effort has failed to invite the Spirit. I’m sure that you’ve listened to music, both classical and sacred, in which you feel teleported to some other world — kind of like being transfigured to a higher plane of existence. This is the magic of music reaching people’s souls and communicating directly. In a church setting, this can be quite powerful in inviting the Spirit.

And I’m sure you’ve experienced the opposite, where someone plays a lot of wrong notes, or the performance may seem impressive, but mechanical. Then there’s no transfiguration or direct lines of communication. Or in church terms, the Spirit is simply not there.

But let me ask you this. Think about one of those good musical experiences where you’ve felt the Spirit. Was it the music that drew you in? Oh wait — didn’t the instruction say that music should not draw attention to itself? So how could you have been drawn in to that spiritual experience?

In my church, this line has been used over the past two decades to argue that we shouldn’t be using advanced musical techniques. Well — except for the Tabernacle Choir, but not in our local sacrament meetings. And again, I say that this is another misinterpretation.

It’s impossible for music not to draw attention to itself. Because — that’s kind of its job. When music is being performed in church to invite the Spirit, it demands attention so that we’re not talking amongst each other, or thinking about what we want to eat for lunch.

Let’s look at the instruction today as it appears in the new Handbook. This was revised as of a couple of years ago:

All music in Church meetings should be presented in the spirit of worship of Heavenly Father and Jesus Christ, not as a performance to showcase musical talent.

Look at that, Suddenly, it does seem to be a bit clearer now. The bit about “not drawing attention to itself” is gone. We still have a hint of that worship/performance dichotomy going on, but at least they clarified the types of performances that should be avoided.

So, we should also likewise let go of the whole “draw attention to itself” phrase, because it’s just technically paradoxically incorrect. Unfortunately, it has led to the incorrect concept that good techniques, such as arpeggios, trills, large or jazzy chords, and the like, all chase away the Spirit. But this just isn’t true.

Can you imagine Handel’s “The Messiah” without these advanced techniques? And can you say that you’ve never felt the Spirit listening to it?

I often point out how strange it would be for our Church to urge us to magnify our callings, develop our talents, and grow in all areas of the Church — but all except for music.

Think about the last time you’ve heard a great talk in sacrament meeting. Were you drawn in? Did the speaker use “advanced” techniques to catch your attention and present the message in a coherent manner? Did the speaker practice their talk before delivering it? Did they use eye contact, pitch and breathing control, and a well organized script? And if so, did anyone speak up later and say, “Hey, you shouldn’t be using those advanced techniques — how dare you bring attention to yourself”? And if you answer no, then why does it seem popular to say these things in the area of music?

In the case of the good speaker, they’re preparing themselves so as to increase the chances of connecting with the congregation — to have a direct line of communication, to help transfigure them a higher plane to feel the Spirit and learn.

And this is exactly what I do with my music in church. Whether I’m playing piano, or organ, or other instruments, or singing, I’m doing a lot of preparation in the background. I’m advancing my ability to use advanced techniques, and yes — they’re in my prelude/postlude — here and there. And because I’m inviting the Spirit to attend my performance, the congregation reacts positively. Sure — they can hear that I’m quite proficient, but it’s the message they receive while I’m playing, and not the advanced techniques, themselves. You see, those techniques are nothing more than a vehicle for increasing the chances of drawing the listener in so they can have that direct line and feel the Spirit.

So now, let’s summarize and get back to answering the original question. Chances are, you’ve already figured out the answer and you’re just waiting for me to hurry up and say it.

We’ve unlearned two incorrect concepts.

#1) There is no dichotomy between worship and performance. It’s okay to use the word “performance,” and performing is a fundamental part of worshipping. However, if one is performing music without the Spirit, then it fails to be worship, which is consistent with the instruction we’ve received from our leaders.

#2) It’s impossible for music to not draw attention to itself. Rather, it’s necessary to draw in the congregation so that you can help them to feel the Spirit and enhance worship. Musical talent shouldn’t be eschewed, but rather embraced and used effectively so as to increase the chances of helping others feel the Spirit.

I realize that each of us are at different levels when it comes to musical talent, and that’s okay. At one end, some of us can do all kinds of advanced techniques, and at the other end, some of us can only play one note at a time. And it doesn’t matter. We all do what we can in our own sphere of talent and influence. And we can all improve. We should not be afraid to practice in our own ways and in our own time to help reduce musical distractions and increase our abilities to help others feel the Spirit. We can magnify our callings. And at all different levels of talent, we can all be effective conduits of the Spirit. We are all called to this work.

Which finally leads to the answer. What was that question again?

What’s the difference between fancy playing and worshipping?

The simple answer: Worshipping is performing with the Spirit.

And how do we achieve this? Again, the answer is simple, and it was already provided earlier. 2 Nephi 32:9 gives us the answer …

… ye must not perform any thing unto the Lord save in the first place ye shall pray unto the Father in the name of Christ, that he will consecrate thy performance unto thee, that thy performance may be for the welfare of thy soul.

If you do this, the Spirit will be there. I wish you well.

Let me know what you think of this discussion. And let me know if it helps you in bringing in the Spirit.

I will continue to produce these videos, so make sure to Like this video and Subscribe to the Melkim Publishing Newsletter. And stay tuned for more fun.