Friday, March 16, 2018

Who Am I?

I am your constant companion.
I am your greatest helper or heaviest burden.
I will push you onward or drag you down to failure. I am completely at your command.
Half the things you do you might just as well turn over to me, and I will be able to do them quickly, correctly.
I am easily managed – you must merely be firm with me. Show me exactly how you want something done, and after a few lessons I will do it automatically.
I am the servant of all great people; and alas, of all failures as well. Those who are failures, I have made failures.
I am not a machine, though I work with all the precision of a machine plus the intelligence of a human being.
You may run me for a profit or turn me for ruin – it makes no difference to me.
Take me, train me, be firm with me, and I will place the world at your feet.
Be easy with me and I will destroy you. Who am I?
I am habit.

Monday, March 12, 2018

Listen, Learn and Lead and How will things be different with your leadership?

Listen, learn and lead

By Matt Norquist on March 8, 2018 

I’ve been thinking a lot about how to support the multitude of movements going on right now, like #MeToo and Time’s Up. Women are underrepresented at executive levels in organizations around the world—and this has big implications for us, for business and the world around us. There is ample data out there demonstrating that teams and organizations with an equal or greater proportion of women at the senior levels perform better. If we don’t get this right in our own organizations, we’re limiting our talent from achieving what’s possible—and ultimately, lengthening the road to gender parity.

There isn’t a simple fix. This is a complex, multifaceted issue that is bigger than you and me. And yet, we can take action and make a difference within our own areas of influence. I’m working to make sure that our organization has executive and organizational balance of men and women. In the last couple years, we’ve made remarkable progress—our executive team is nearly 50 percent female, and we went from 40 percent women in full-time positions to nearly to 60 percent.

But these indicators are not enough—we need to focus on actions and activities that will drive balanced outcomes. For example: We’ve differentially invested in the development of our women leaders here by offering internal training and learning opportunities in addition to supporting their attendance at conference and other learning events.

We’ve also continued to focus on expanding our point of view and have partnered with other organizations invested in advancing women. We’ve applied a lot of this thinking into trainings on inclusive leadership, bias, and harassment for our own talent. Also top of mind is finding the best talent for every position—looking inside and outside of the organization and ensuring that we have a gender balanced mix of talent to consider to make the best hiring decision.

What can I do?
All of this said, it’s incumbent upon each of us to think about how we show up for our teams each and every day. I’ve worked on developing greater awareness for how my own interactions—the way I’m communicating various issues—impacts my team. The way we communicate with one another is nearly as important as the decisions that we make.

Think about reframing your communications to be more inclusive by listening, inviting feedback, and acknowledging what you could do differently—in the moment and down the road. For example, in a recent strategic decision that we made, a few members of my team gave me feedback that it fell flat and unilateral—which allowed us to open up a dialogue and shift both of the actual outcomes, as well as the way we make decisions.

I’ve also come to realize that I have the unique privilege of working with leaders at dozens of organizations globally who are committed to advancing women into senior leadership positions. Participating in conversations and ideating with leaders who are tackling this very issue every day is a great learning opportunity.

An interesting conversation with a client recently got me thinking about inclusion and what it means to lead from a place where we are truly listening to all of our employees—becoming curious in ways that invite creativity, innovation and engagement. How can we make getting curious the cool thing to do? How can we catch people doing great things (instead of focusing on mistakes) and celebrate greatness in every individual?

Take, for example, Maureen MacInnis, the CHRO of Dentsply Sirona. Our team is partnering with her organization to create a more inclusive culture and build a pipeline of women in senior leadership positions. We were talking the other day about framing this effort as Listen, Learn and Lead. It starts with listening to the people around you, learning from what they have to say, and leading yourself, your team, and your organization differently—more inclusively.
Using this framework, we’re also trying to tackle the bigger issue of how to make inclusion and advancing women go viral inside of their organization. Said differently: How can we make doing the right thing go viral?

When we make a conscious effort to lead inclusively, we incorporate diverse experiences, opinions and perspectives into our decision making. This is the starting point to achieving gender parity in leadership. Today, as we recognize International Women’s Day, I’m reminded of all of the remarkable women leaders in my life and the profound impact that they’ve had on me personally and professionally. I’m also reminded that we have a long way to go to reach gender equality.

I’m thankful that we’ve made this topic an organizational priority and I encourage you to do the same—regardless of where you sit in your organization. Think about what you can do personally, within your sphere of influence, that will make a difference. What would our world look like if we each took the time to listen, learn and lead differently—starting today?

How will things be different with your leadership?

By Mark Hannum on March 5, 2018

Most leaders didn’t start out to become leaders; they started out trying to make a difference in something. In my last blog, I explored how we can create greater impact by maximizing our “podium.” Wait, isn’t leadership about getting the job done—and generating results? Yes, and not just status quo results or more of the same. Not just results with a small r, but Results that happen because the performances of many people are amplified over time to create a cascade of change. Taking all of this into account, the real question in my mind is: “How will things be different with your leadership?”

Vision matters
Your vision is foundational to making a difference. When you look around your organization right now, where does it need to go? Can you articulate a very clear change that needs to be made? Can you engage the right people to get behind it? Can you target a very clear innovation that needs to happen to make that change come to fruition? Can you organize a group of people to achieve that change?

Vision is key to leadership, and vision starts by understanding context, your organization, and yourself.  It’s important to understand who you are. Why do you want a leadership role? What about you is going to create that cascade of people doing the right things to achieve something bigger than themselves?

Well, first of all, it isn’t going to happen overnight. In fact, I would argue that you need to go slowly in order to go fast. When you spend time putting the vision, the right resources, the change required for the vision, and the right organizational structure in place, you will ultimately go faster.

Why, you ask? Because leadership begins with self-awareness, self-knowledge, and self-efficacy. Do you understand enough about your internal vision to articulate what you want to have happen? What difference needs to be made to make things more positive? Can you clearly articulate that difference? Can you say it in a way that inspires others to think, “Hey, I want to achieve that too!”
Leadership is not about perks and rewards for oneself. Leadership is about others.

One of my favorite stories of leadership is about a small-town automobile mechanic with three children. He saw a need for the town to build a playground. As he worked on customer’s cars, he talked to them, one by one, about his vision for a town playground. He asked for their help. He asked for their votes. He asked for their money. He got a pretty good segment of the community excited about a town playground. Together, that small army of people excited the rest of the town into building a first class playground for “their kids.”

Your purpose is your vision
The dictionary defines vision as “the power of anticipating that which will or may come to be.”  Articulating a clear, simple, inclusive vision has to start with an understanding of what you want to contribute to your team, your function, your organization, your community, your world. And remember, it’s not about you. It just starts with you!

Thursday, March 1, 2018

30 Quotes by Aristotle

Aristotle was an Ancient Greek philosopher who lived from 384-322 B.C.E. One of the most influential philosophers, Aristotle's work was the foundational building blocks of all Western philosophy to follow.

Courtesy of translator Giles LaurĂ©n, author of The Stoic's Biblehere is a list of 30 quotations from Aristotle from his Nicomachean Ethics. Some of these may seem like noble goals to live by. Others may make you think twice, especially if you don't consider yourself a philosopher, but are just looking for age-tested ideas on how to live a better life.

Aristotle on Politics
  1. Politics appears to be the master art for it includes so many others and its purpose is the good of man. While it is worthy to perfect one man, it is finer and more godlike to perfect a nation.
  2. There are three prominent types of life: pleasure, political and contemplative. The mass of mankind is slavish in their tastes, preferring a life suitable to beasts; they have some ground for this view since they are imitating many of those in high places. People of superior refinement identify happiness with honour, or virtue, and generally the political life.
  1. Political science spends most of its pains on forming its citizens to be of good character and capable of noble acts.
Aristotle on Goodness
  1. Every art and every inquiry and similarly every action and pursuit is thought to aim at some good, and for this reason the good has been declared to be that at which all things aim.
  2. If there is some end in the things we do, which we desire for its own sake, clearly this must be the chief good. Knowing this will have a great influence on how we live our lives.
  1. If things are good in themselves, the good will appear as something identical in them all, but the accounts of the goodness in honour, wisdom, and pleasure are diverse. The good therefore is not some common element answering to one Idea.
  2. Even if there be one good which is universally predictable or is capable of independent existence, it could not be attained by man.
  1. If we consider the function of man to be a certain kind of life, and this to be an activity of the soul implying a rational principle, and the function of a good man to be the noble performance of these, and if any action is well performed when it is performed in accordance with the appropriate principle; if this is the case, human good turns out to be activity of the soul in accordance with virtue.
Aristotle on Happiness
  1. Men generally agree that the highest good attainable by action is happiness, and identify living well and doing well with happiness.
  2. The self-sufficient we define as that which when isolated makes life desirable and complete, and such we think happiness to be. It cannot be exceeded and is therefore the end of action.
  3. Some identify Happiness with virtue, some with practical wisdom, others with a kind of philosophical wisdom, others add or exclude pleasure and yet others include prosperity. We agree with those who identify happiness with virtue, for virtue belongs with virtuous behaviour and virtue is only known by its acts.
  4. Is happiness to be acquired by learning, by habit, or some other form of training? It seems to come as a result of virtue and some process of learning and to be among the godlike things since its end is godlike and blessed.
  1. No happy man can become miserable, for he will never do acts that are hateful and mean.
Aristotle on Education
  1. It is the mark of an educated man to look for precision in each class of thing in so far as its nature admits.
  2. Moral excellence is concerned with pleasure and pain; because of pleasure we do bad things and for fear of pain we avoid noble ones. For this reason we ought to be trained from youth, as Plato says: to find pleasure and pain where we ought; this is the purpose of education.
Aristotle on Wealth
  1. The life of money-making is one undertaken under compulsion since wealth is not the good we are seeking and is merely useful for the sake of something else.
Aristotle on Virtue
  1. Knowledge is not necessary for the possession of the virtues, whereas the habits which result from doing just and temperate acts count for all. By doing just acts the just man is produced, by doing temperate acts, the temperate man; without acting well no one can become good. Most people avoid good acts and take refuge in theory and think that by becoming philosophers they will become good.
  1. If the virtues are neither passions nor facilities, all that remains is that they should be states of character.
  2. Virtue is a state of character concerned with choice, being determined by rational principle as determined by the moderate man of practical wisdom.
  3. The end being what we wish for, the means what we deliberate about and we choose our actions voluntarily. The exercise of virtues is concerned with means and therefore both virtue and vice are in our power.
Aristotle on Responsibility
  1. It is absurd to make external circumstances responsible and not oneself, and to make oneself responsible for noble acts and pleasant objects responsible for base ones.
  2. We punish a man for his ignorance if he is thought to be responsible for his ignorance.
  3. Everything done by reason of ignorance is involuntary. The man who has acted in ignorance has not acted voluntarily since he did not know what he was doing. Not every wicked man is ignorant of what he ought to do and what he ought to abstain from; by such errors men become unjust and bad.
Aristotle on Death
  1. Death is the most terrible of all things, for it is the end, and nothing is thought to be either good or bad for the dead.
Aristotle on Truth
  1. He must be open in his hate and in his love, for to conceal one's feelings is to care less for truth than for what people think and that is the coward's part. He must speak and act openly because it is his to speak the truth.
  2. Each man speaks and acts and lives according to his character. Falsehood is mean and culpable and truth noble and worthy of praise. The man who is truthful where nothing is at stake will be still more truthful where something is at stake.
Aristotle on Economic Means
  1. All men agree that a just distribution must be according to merit in some sense; they do not all specify the same sort of merit, but democrats identify if with freemen, supporters of oligarchy with wealth (or noble birth), and supporters of aristocracy with excellence.
  2. When a distribution is made from the common funds of a partnership it will be according to the same ratio which the funds were put into the business by the partners and any violation of this kind of justice would be injustice.
  3. People are different and unequal and yet must be somehow equated. This is why all things that are exchanged must be comparable and to this end money has been introduced as an intermediate for it measures all things. In truth, demand holds things together and without it there would be no exchange.
Aristotle on Government Structure
  1. There are three kinds of constitution: monarchy, aristocracy, and that based on property, timocratic. The best is monarchy, the worst timocracy. Monarchy deviates to tyranny; the king looks to his people's interest; the tyrant looks to his own. Aristocracy passes over to oligarchy by the badness of its rulers who distribute contrary to equity what belongs to the city; most of the good things go to themselves and office always to the same people, paying most regard to wealth; thus the rulers are few and are bad men instead of the most worthy. Timocracy passes over to democracy since both are ruled by the majority.

Monday, February 26, 2018

Learning to Speak Up When You’re from a Culture of Deference

JULY 07, 2014


Many of us are uncomfortable speaking with people of higher status. We can feel self-conscious, unsure of what to say, and afraid what we’re going to say — or what we’re saying — is the wrong thing. After these conversations, we often replay in our heads what we said, analyze what we shouldn’t have said, or realize what we should have said but didn’t.
But imagine what communicating up the hierarchy is like for people from countries and cultures where notions of hierarchy are much deeper and much more ingrained than ours. Where even as a small child you are taught to speak only when spoken to, and that in the presence of authority figures, like your parents, your teachers, or your boss, you should remain quiet, put your head down, do solid work, and hope to be noticed.

I teach and work with people from such cultures on a daily basis, and I can tell you that it is extremely challenging to learn how to function outside your cultural comfort zone when interacting with authority figures in different cultures, especially in cultures where the rules are much more lax and you are actually expected to voice your opinions, be assertive, and even establish relationships with these taboo figures. I call this the liability of deference: the fact that people from deferential and polite cultures often struggle quite significantly trying to make their way in less hierarchical cultures. This problem can be debilitating to the individuals and their careers, and it also hampers their organizations’ capacity to leverage the human capital that they have worked so hard to select, train, and cultivate.

The problem is a pervasive one. It manifests itself in the classroom, where students from cultures where participation is not a typical feature of classroom dynamics are forced to participate in the U.S. and some other cultures, and they struggle to make the cultural switch. Here, for example, are the words of a former MBA student from Vietnam who struggled with the difficulties of classroom discussion: “I know participating in the U.S. is required to get good grades but somehow deep inside I felt like I was doing something very wrong. I was trembling, sweating. I just couldn’t look at the professor or my classmates in the eyes. I felt guilty.”
This same issue also manifests itself during the job search process. The following is a quote from one of my former MBA students from Nigeria about the challenges of overcoming the liability of deference at networking events:

It felt very uncomfortable and artificial to be expected to participate in an informal conversation with this senior person. Thoughts going through my head were, “What can I possibly have to say to this man who has much more experience than I do?” The values that were instilled in me were to “speak when spoken to” and “children are to be seen and not heard.”
Finally, this liability of deference also impacts people at work. They can struggle to participate in meetings, can avoid calling senior partners by first names (and, as a result, can appear quiet or standoffish), and can struggle to cultivate rapport and relationships with senior colleagues, which is critical for their advancement.

So what can organizations and particularly leaders of organizations do to lessen the brunt of this liability of deference for their employees from other cultures?

The first critical thing is to educate themselves and their employees about these differences, and to develop a solid level of empathy for the challenges that their employees may face — especially those from hierarchically-oriented cultures — in adapting to the American workplace.
Sensitizing managers to these differences is critical for them to be able to make accurate attributions for their employees’ behavior. For example, if an employee doesn’t speak up in a meeting, it may not be because the employee doesn’t have anything to say. Or if an employee offers to take on a new assignment, but without the unbridled, “go-getter” type of enthusiasm the manager is used to from his American employees, this may just be a difference in communication style instead of a difference in motivation to do the work.

On the employee side, companies should develop robust training and mentoring programs to help their employees take the leap and learn to act outside their cultural comfort zone. Such programs should of course highlight the cultural differences that employees face in adapting their behavior to a new cultural environment. But to be successful, they must go beyond that, helping employees actually take this knowledge of cultural differences and then go the next step, learning to translate it into effective behavior in a new cultural setting.

Employees need to have opportunities to practice and hone their new skills, make mistakes in a forgiving environment as they work on customizing a style for interacting with authority figures that is effective and feels authentic, and then, having cultivated a new style, have opportunities to practice that new approach in realistic and challenging situations, ideally with feedback from a mentor or cultural coach. Intellectual understanding of differences and the capacity to develop global dexterity and actually shift their behavior are two very different challenges and skill sets. Training and education should follow accordingly.

For organizations to thrive in a global economy, everyone needs to pitch in. But when pitching in means speaking out, don’t forget the liability of deference

Friday, February 23, 2018

The Difference Between Internal And External Focus, And Why It Matters

Where is your focus directed? The difference can shift your whole life’s perspective.


If our Paleolithic ancestors visited 2014, they’d notice a few changes.
We’re mostly agrarian. We mostly live in buildings. We spend most of our days in small spaces staring at screens. Also, there are seven billion of us—up from a few hundred thousand—and a few of them inhabit a small capsule that flies around the planet. And those tiny rectangles everyone stares at? They’re capable of accessing the entirety of information known to man, but most people use them to look at pictures of cats and get into arguments with strangers.

And yet, I’m willing to bet that if our ancestors moved to New York City or Hong Kong and landed a desk job, they’d encounter an even bigger difference: The mismatch between how much information the mind can consciously process (not a lot) and how much information it is exposed to (a lot).
We don’t realize it, but we moderns are using a brain that evolved for an environment that no longer exists. If the past is a foreign country, it was a mentally peaceful one.

The confusing part is that despite warnings about the perils of information overload, we continue to multitask, obsessively check email, and text and drive. It’s like a statistician who enjoys playing the slots. He knows the house always wins, but near misses and occasional wins lure him back for more.
Is there a way to manage information overload? Or must we return to the savannah? Daniel Levitin is a psychologist who warns about information overload, but he thinks that the answer is the former, and he has written a big book explaining why. The Organized Mind clocks in at nearly 400 pages, but Levitin has wisely organized the tome into small, digestible sections.
I’d like to talk about one, “Organizing The Business World: How We Create Value.” In it, Levitin makes a helpful distinction between “internal locus of control” and “external locus of control” and explains why it matters.

People with an internal locus of control believe that they are responsible for (or at least can influence) their own fates and life outcomes. They may or may not feel they are leaders, but they feel that they are essentially in charge of their lives… Individuals with an internal locus of control will attribute success to their own efforts (“I tried really hard”) and likewise with failure (“I didn’t try hard enough”).

Those with external locus of control see themselves as relatively powerless pawns in some game played by others; they believe that other people, environmental forces, the weather, malevolent gods, the alignment of celestial bodies–basically any and all external events exert the most influence on their lives… Individuals with an external focus of control will praise or blame the external world (“It was pure luck” or “The competition was rigged”).

Here’s the most interesting tidbit.

The locus-of-control construct is measurable with standard psychological tests and turns out to be predictive of job performance. It also influences the managerial style that will be effective… This means that managers should be alert to the differences in motivational styles, and take care to provide individuals who have an internal locus of control with autonomous jobs, and individuals who have an external locus of control with more constrained jobs… By attributing shallow motives to employees, bosses overlook the actual depth of their minds and then fail to offer their workers those things that truly motivate them.

Sunday, February 26, 2017

The Little Black Boy by William Blake

My mother bore me in the southern wild, And I am black, but O! my soul is white; White as an angel is the English child: But I am black as if bereav’d of light.

My mother taught me underneath a tree And sitting down before the heat of day, She took me on her lap and kissed me, And pointing to the east began to say. 

Look on the rising sun: there God does live And gives his light, and gives his heat away. And flowers and trees and beasts and men receive Comfort in morning joy in the noon day. 

And we are put on earth a little space, That we may learn to bear the beams of love, And these black bodies and this sun-burnt face Is but a cloud, and like a shady grove. 
For when our souls have learn’d the heat to bear The cloud will vanish we shall hear his voice. Saying: come out from the grove my love & care, And round my golden tent like lambs rejoice. 

Thus did my mother say and kissed me, And thus I say to little English boy; When I from black and he from white cloud free, And round the tent of God like lambs we joy: 

I’ll shade him from the heat till he can bear, To lean in joy upon our fathers knee. And then I’ll stand and stroke his silver hair, And be like him and he will then love me.

Thursday, January 19, 2017

KO HA VAKAI ATU KI HE TEOLOSIA ‘O E HIVA. Fa’u e Rev. Sione Alo Fakahua


Oku tala ‘e he ‘iloa ko Eric Routley, ’i he’ene tohi ko e Church, Music & Theology, ‘o ne pehe – “ Na’e fa’ele’i hiva mai a ha’a Tangata, ka na’e ‘ikai fanau’i Kalisitiane mai kitautolu.” Ne tau toki hoko ‘o Kalisitiane, ka ne tau ‘uluaki hiva pe(the human race was born singing but was not born Christians).

Ko ia, ko e ngaahi fakamatala tatanaki pe eni , ‘i he vakai atu mo e to’oa, he koloa moana ‘o e hiva`, he le’o ‘o e tangata`, ‘a e tu’ungafasi nota`, ‘a e koloa me’alea kuo hake’uta he fonua`, ‘io, ‘a e ngaahi fakafofonga` ni kehekehe, ‘a ia ‘oku tatanaki, ‘o ma’anu mo ngaue ai, ‘a e fu’u me’alele fononga ‘o e ngaue ‘a e Siasi ‘o hotau ‘Otua`.

  • ‘Oku ou fakatapu ki he ‘Afifioo ‘i he Kilukilua`

  • Fakatapu ki he Hau ‘o e Fonua`, mo ni Fale ‘o Ha’amoheofo`

  • Tapu mo Hou’eiki mo Ha’a Matpule

  • Tapu mo e Tanga’eiki Palesiteni` mo ha’a Faifekau

  • Tapu mo ha’a Ako ‘o e ngaahi mala’ee`

  • Tapu mo e Siasi Tapu` mo si’otau kaunga fonoga`, pea tuku ke u malu telia ‘a e ngaahi matangi fe-angi-aki ‘o e ‘atimosifia`.

‘Oku ou lave’i lelei pe ‘eku si’ii`, pea matu’aki pulia, ‘i ha la’aa, ‘oku ta-ai-to ki he langi hihifo`. Ka kuo kumoa au ‘e ha mafana faka-e-taputa, ke u lave, mo fai ha feinga ke lohu mai, ‘ani fu’u koloa faka-Langi ‘a e ‘Otua`, ‘a ia, ne fakakoloa’aki ‘a e Tangata` mo hono le’o`, ‘o hilifaki he tu’ungafasi nota`, pea fakapuu ki tu’a ‘e he me’alea kuo hake he fonua mo e fonua. Ko ia, kapau leva, ‘e ‘ikai ha lukuluku fe’unga mo taau te u lava atu, pea manatu, ko e mafana faka-e-ipu tii pee.

Ko e ngaahi fakamatala` ni, ko e tatanaki mei he ngaahi tohi fakapapalangi, ‘ou taku ‘oku kainga ai a e Teolosiaa mo e Hiva`(‘a e le’o ‘o e tangata`, tu’ungafasi` pea mo e me’alea`), ‘a ee ‘oku tau ngaue’aki he ngaahi ma’unga kelesi ‘o ‘etau Lotu`. ‘Oku lahi pe ‘a e ngaahi feitu’u, ‘oku ou fakatou ngaue’aki pe ‘a e lea faka-Tonga` mo e lea faka-Papalangi`, koe’uhi pe ke tokoni ki ha’a` ne mahino ange, pea ka ai ha to-nou-nou, pea ko e vaivai pe ia o’oku toko taha, pea ko e ‘ai nai ke u toe fefee’i, ko si’i ngata’anga pe ia!. Pea kapau leva te ke fakatokanga’i ha ngali ta’e hokohoko lelei ‘a e tanaki fakamatala`, fakamolemole, lau atu pe, na’a ‘i ai pe ha ngaahi koloa ‘i he ngaahi peesi` na. 

Ko e tanaki mei he “O for a thousand tongues…” by James I. Warren, Junior. The history, nature, and influence of music in the Methodist tradition.

  1. Ko eni ‘a e lau ‘a Nietzsche – “’I he ‘ikai ke ‘i ai ha hiva`, pea ‘e lava pe ke hoko ‘a e mo’uii ia ko e fehalaaki.”(without music life would be a mistake).

  2. Pea ‘e lava pe ke tau pehe, ko e lotu ta’e kau ai ‘a e hiva`, pea ‘oku masivesiva leva ‘a e lotu ko ia`.

  3. Pea ‘e lava pe ke tui ‘e ha taha, kapau na’e ‘ikai ha hiva, na’e ‘ikai mei hoko ha nga’uta pe ngaue ke fakatupu ha founga fo’ou(movement) ‘a ee na’e hoko he kau Metotisi ‘i Pilitania`.

  4. ‘Oku kau ‘a e kau Metotisi he kau fa’u himi ‘iloa mo ola mo’ui ‘a ee na’e kamata mai ‘e Sione mo Salesi Uesilee.

  5. Ko e tukufakaholo faka-laumalie ko ia mei he kau Uesilee, ‘o muimui mai ai ‘a e fefine ko ia ko Fanny Crosby, Ira D. Sankey, Charles Albert Tindley pea mo Frank Mason North.

  6. Pea ko e tuku-faka-holo faka Metotisi ko ia ‘o e hiva`, ko e ma’u mai mei he kau faifekau na’a nau fononga takai(circuit riders) ‘o malanga he ngaahi vahenga ngaue ‘o e senituli hongofulu-ma-valu`, pea mo e ngaahi nofo’anga ‘apitanga mo e kau fakaakeake lotu(camp meetings and revivals) ‘o e senituli hongofulu ma-hiva`, pea fakataha ia mo e hiva ‘a e kau ‘uli’ulii ‘i honau ngaahi falelotu`, ‘o malanga ai ‘a e ongo ‘o e ngaue faka-‘evangelioo mo e ngaue fakamisinale ‘o e kamata’anga ‘o e senituli uofulu`, pea pehe mo e lukuluku ‘oku fai ‘e kitautolu, he lolotonga` ni, ‘o paotoloaki ai pe ‘a e tu’uola ‘a e ngaue hiva he loto Siasi`. 

  7. Pea mei he ngaahi ma’u’anga ivi fakahiva ko iaa, ‘oku tau lava leva ‘a e kau Metotisi`, ‘o hiva’aki ‘a e me’a ‘oku tau tui ki aii, pea ‘i he hiva tui ko iaa, ‘oku tau pavake atu ai ki mamani ‘a e sino ‘o e ‘amanaki lelei`, ‘o makatu’unga pe ‘i he ‘ofa ta’e-mamae ‘a e ‘Otua`, ‘a ee ne fou mai ‘ia Sisu Kalaisi`.

KO HONO HIVA’AKI HA HISITOLIA ‘O HA SIASI (singing the history of a church).

Ko e ngaahi fakamatala, ‘a ee ‘oku ngali fu’u hulu pe totu’aa`(overstatements), ‘oku` ne fakatupu fifili kiate kitautolu. Pea neongo pe nai, ‘e ‘ikai ke nau ‘aonga katoa, pea ngali taki hala’i ai kitautolu, ka ‘oku ‘i ai pe, ‘enau fakatokanga mai kiate kitautolu. Tau vakai ki he ongo sipinga ko eni` – “Ko ‘etau mo’uii, ‘oku faka-fotunga mai ia ‘e he me’a ‘oku tau kaii” (we are what we eat). Ko ‘etau vakai ki aii, ‘oku ‘ikai ke tonu kakato nai ‘a e fakakaukau` ni, ka ‘oku` ne ue’i kitautolu, ke tau tokanga ki he anga ‘o ‘etau ma’u me’a-tokoni`, pea ko e lau eni ‘e taha – “Ko ‘etau mo’uii, ‘oku fakasino mai ia ‘i he me’a ‘oku tau fakakaukau’ii”(we are what we think), pea mahalo pe, na’a ‘oku ngali fakalaa pe mo e fakakaukau` ni, ka ‘i he taimi tatau pe, ‘oku` ne fakatokanga mai, ke tau vakai lelei ki he fekau’aki ‘a e me’a ‘oku tau fakakaukau’i ‘i hotau loto`, pea mo hono faka-fotunga kitu’a ‘a e anga ‘o ‘etau mo’uii. Tau toe vakai faka’osi angee ki he fakakaukau ko eni` - “Ko ‘etau mo’uii, ‘oku faka-fotunga mai ia ‘i he me’a ‘oku tau hiva’aki`,”(we are what we sing). Pea neongo pe, ‘e ngali tala-ki-tu’a nai, mo e lau` ni, ka te ne tokoni’i kitautolu ke tau fakakaukau mo ongo’i ‘a e ongo mai, lave mai, pea ola mai, ki 

he’etau mo’uii ‘a e me’a ‘oku tau hiva’akii, pea mo’oni, ‘e lava ai ke mahino lelei ange kiate kitautolu pe kohai, pea ko e ha ko aa kitautolu tonu, ‘i hono masivi mo mahino kiate kitautolu ‘a e ngaahi hiva ko ia ‘oku nau fai fakakoloa ma’a tautolu ‘i he’etau hiva’aki kinautolu`.

Pea ‘oku mo’oni foki ‘a e lea ko ia`, na’e fa’ele’i ‘a e Siasi Metotisi` ‘i he lotofale ‘o e Hiva`, pea ko e talu pe mei hono kamata ‘a e lotu` ‘e he falukunga kakai` ni, mo e hoko ai pe ‘a e le’o ‘o e tangata` mo ‘ene ngaahi fa’uu` ko e ma’u’anga ivi mo e kelesi ‘a e ngaahi to’utangata ‘o e ngaahi kuonga kotoa pe. Pea ko e hiva` 

foki ‘oku hange ko e me’angaue(tools) mo e ve’eteka ia(tyres) ‘o e me’alele fononga’anga ‘o e lotu`, ‘o nga`ue ai mo lalaka ki mu’a. ‘Io, ‘i he mo’ui hiva pehe ‘a e kau Metotisi ‘o mamani`, ‘oku nau hiva’aki leva ‘a e Kosipeli`, ‘a ‘enau tuii mo ‘enau founga ngaue` mo ‘enau founga mo’uii(polity). Na’e lave foki a Sione Uesile ki he ngaahi Tohi Himi ‘a e Metotisi ‘o ne pehe,ko e ngaahi Tohi Himi`, ko e kau fetukuholo ia pe fakamafola(conveyors) mo fakahoko ‘a e tefito’i Tokateline`(orthodox doctrine) pea ko e ngaahi taki maama foki ki he fakahoko ‘o e mo’ui faka-Kalisitiane`, pea ‘i he talamu’a ki he Tohi Himi Lahi ‘o e 1780, na’a` ne tohi ai ‘o pehe – “Ko e fe nai ha toe tohi kuo paaki he fa’ahinga ‘o e tohi` ni, ‘a ia ‘oku ma’u ai ‘a e talanoa mavahe mo kakato ‘o e moui faka-Kalisitiane` ‘a ee ‘oku faka-Tohitapu? He ‘i he ngaahi himi ko iaa, ‘oku fakaha ai ‘a e ma’olunga mo e loloto, ‘o hoko ko e koloa ‘o e loto`, pea ‘oku ala ngaue’aki mo mo’ui’aki, pea ko e fakatokanga malohi foki, ke te teki ai ki he angahala`, kae tautefito ki he ngaahi angahala ‘oku hulu he mo’uii, pea ke ‘asinga’i ai ‘a e ma’oni’oni haohaoaa`, ‘a ee ‘oku ma’u, ‘i he mo’ui ‘apasia ki he ‘Otua`?”

Na’e toe mafao atu ‘a e lau ia ‘a J. Ernest Rattenbury ‘o kau ai pe ki he Tohi Himi ‘o e 1780 ‘o ne pehe, ko e tohi himi ni ko e “Tohi fakamatala kaveing ia pe taumu’a ngaue ‘a e Siasi Metotisi`”(a Methodist manifesto), pea` ne toe pehe, “ko e fe ha toe tohi kakato ange ki hono fakamatala’i totonu ‘o e Siasi Metotisi? Pea ‘oku toe tanaki atu mo e ‘ulungaa lau ‘a E.H.Sugden, ‘i he’ene pehe, “Ko e hisitolia ‘o e ngaue malohi mo mateaki ‘a Sione Uesile`, ko hono ‘ilo’anga` pe ‘a e Tohi Himi Metotisi kuo tau lave ki aii”.


(hoko atu ai pe mei he ngaahi peesi ‘o e For a thousand tongues to sing/ James I. Warren, jnr)

  1. Ko e kakai lau mano mo lau kilu, na’a nau fa’a fanongo ki he ngaahi malanga faka-‘evangelio mo malie ‘a Toketa Bill Graham ‘i he ngaahi ta’u ‘o e kuohili`. Ko e ha nai ‘a e tokolahi ‘o e fu’u kakai ko iaa`, ‘okapau, na’e fehu’i atu he hili atu pe, ha ‘aho nai ‘e ua pe tolu, pe ko e ha ‘a e malanga malie ko iaa? Ko hono mo’oni`, ko ha tokosi’i pe, te nau kei manatu ki aii`. Ka ‘oka ‘eke atu ki he kakai tatau pe, ke fai ha’a nau lau ki he himi tapuni ‘o ha taha ‘o e ngaahi po malie ko iaa, talaatu, te nau lau ma’uloto mai ‘e kinautolu ha taha ‘o e ngaahi veesi ‘o e himi ko iaa`. He ko e malanga e taha na’e himi tuku’aki ‘a e 

“Ko au pe e, he angahala, 

Na’e tala pe ke u ‘alu atu, 

Kae hao ‘i ho ta’ata’a, 

‘A e hia matea ko au.” (THB 442)

He ko hono toutou hiva’aki, ‘a e lau ko iaa`, “ko au ‘a e angahala`, pea mo e hiamatea ko iaa`, ke u ‘alu atu, ka u hao ai, mo mo’uii`, ‘io, ko ia ia ‘e mo’ui mo manatua ‘e he fu’u tokolahi, kae hange ‘e matangalo ngofua ange ‘a e malanga lelei mo ‘aonga na’e ongona`. Tau vakai ki he faikehekehe ‘o hono lau mai ‘o e ngaahi veesi ‘o e himi tatau pe, pea mo hono hiva’i maii. Pea na’e tokolahi ‘aupito pe, ‘a e fu’u kakai ia na’e ‘ikai ha’anau misi pe ‘uhinga kiate kinautolu ‘a e tokateline ‘o e Tolu Taha’i ‘Otua`. Ka ‘i hono toutou ngaue’aki ‘e he ‘Evangelioo lahi mo ongoongoa` ni ‘a e himi –

‘Ei Ma’oni’oni, Tu’i Toputapu!

Tali ‘emau pongipongi ‘oku ‘atu e.

‘Ei Ma’oni’oni! ‘oku mau hu atu,

Ko e Toko Tolu, ko e Taha-pe. (THB 361)

Pea ‘i hono toutou hiva’i, ‘e he ngaahi kauhiva lalahi mo pau ‘o e ngaahi fonua`, fakataha mo e tokoni ‘a e me’aleaa, talaatu, ‘oku hange ka nau ka avangi mai ‘a e ‘u’ufi fakamisiteli ‘o Loto Tatauu`, pea ‘uhinga malie mai ai ‘a e kaveing mo e ‘uhinga ‘o e Tolu Taha’i ‘Otua`, ki ha kakai, na’e ‘ikai ha’anau misi ki he Tokateline ‘o e Toko Tolu Toputapu`! Mole ke mama’o, ha no fakasi’isi’i heni, ‘a e ‘aonga, mo e mafai ‘o e fanongo ki hono malanga’i ‘o e Folofola`, ‘ikai ‘aupito! Kae manatu, ‘oku tau ‘a’avea he kapa mai ‘a e le’o ‘o e tangata`, mo e tu’ungafasi`, pea mo e molumalu ‘o e me’alea`, ke nau paotoloaki ‘a e ongo’i ‘i he loto ‘o e tangata`, ‘a e taumalingi mai ‘o e ‘ofa kafakafa, mo fungani langilangi ‘a hotau ‘Otua`, ma’a hono kakaii`. 

Ko ha’a Selupimi mo Selafimi, ‘oku nau hiva ta’etuku ‘i Ho fakafeta’ii`: Ma’oni’oni, ma’oni’oni, ma’oni’oni, ‘a Sihova ko e ‘Otua ‘o e mafai mo e ivi`, pea ‘oku fonu a Hevani mo mamani ‘i he teunga ‘o Ho langilangi`.(mei he fakakaukau ‘o e Titiume`).

‘I he po ko ee na’e hiva ai ‘a e kau ‘angelo` ki he kau tauhi sipi ‘o Petelihema`, na’a nau fakamamafa’i ai ‘a e kololia ‘o e ‘Otua`, pea mo e lelei ma’a ha’a tangata`. Ko ia, ko e Tohi Himi ko iaa`, ‘oku fakatapui ia ki he Kololia ‘o e ‘Otua` pea mo e ngaue ‘a ho No Siasi`(mei he Talamu’a ‘a e Komiti Himi ‘a e Uniting Church in Australia).

Ko e hiva`, ko e taha’i me’a ia, ‘oku tau kau fakataha ai katoa, neongo ‘a e tokehekehe ‘a hotau ngaahi tukufakaholo taautaha, he lotu faka-Kalisitiane`. Na’a mo e sipinga ‘o e ngaahi falelotu ‘oku tau lotu ai ‘i he otu konitineniti` na, ‘oku kehe ‘a e sipinga ‘o e taha mei he taha, pea kehekehe ‘a e ngaahi taimi(tempo) ‘o e hiva` ‘a ee ‘oku tau ngaue’akii`, pea pehe mo e ma’olunga(tone) ‘oku tau kehekehe ai pe, ka ‘oku tau toki felongoaki fakataha pe he koloa ‘o e fo’i hiva pe himi ‘oku tau hiva aii. Ka te tau ofo katoa, ‘okapau nai, ‘oku mahino kiate kitautolu, ‘a e hanga ‘e he hiva pe himi ko iaa`, ‘o vevete mai ‘a e ivi fakalangi ko ia ‘i loto, ‘a ee ‘oku` ne kasia ‘a e fu’u kakai ‘oku nau talolo ‘i Saione he ma’unga kelesi ko iaa.

Mahalo, he’ikai ke tau pehe pe ko e hiva`, ko e taha pe ia ‘o e ngaahi me’a’ofa ‘a e ‘Otua`, ka te tau pehe, Ko e Hiva`, ko e taha ia ‘o e me’angaue ivi lahi taha ‘a e ‘Otua` ki he ngaue ‘o hono Pule’anga`(but it is certainly one of His mightest means of ministry). ‘Oku ‘i ai ‘a e ivi fa’ele mo’ui(life-begetting power) ‘i he hiva`, pea ko e fanau tama ia na’e pani pe faka-topu-tapu’i(that’s born of His anointing), ‘io, ‘oku fofonga ua ‘ene lave ki he mo’uii`, ko e taha ko ‘ene fa’ele ivi mo’uii`(life’s birthing power), pea ko e tahaa, ko ho no ivi tuiaki atuu`(breakthrough qualities). Kuo laui miliona ‘a e fu’u kakai kuo nau toe fanau’i fo’ou tupu mei he lave mai ‘a e folofola ‘a e ‘Otua` ki he’enau mo’uii`, ka ko e fou mai he hiva`(as God’s word has come to them through music!). Pea ‘e lau ‘e hai, ‘a e toe laui miliona kuo veteange mei he’enau mo’uii ‘a e ha’amonga ‘o e loto tala’aa` mo e ilifia` tupu mei he’enau kau he ngaahi kau hiva, ‘o hiva mo fakafeta’i ki he ‘Otua`. ‘Io, ‘oku neka mo to’ulu ‘a e Siasi`, pea liuliunga mo laka ki mu’a, ‘i he angina mai ‘a e matangi mohu tapuaki ‘o e Laumalie Ma’oni’oni`, ‘a ee pe ko ee, ‘oku tau ui mo lau ko e hiva`(the Church thrills and thrives, multiplies and advances on a Holy Spirit breeze of blessing that we simply call song)

Pea ‘i he ‘uhinga ko iaa, mahalo pe na’a lelei aa ke lau ‘etau feinga fakamatala` ni, ko e toko taha to tenga(seeder), pea ko e mahafu tau foki. He ko e taimi ko ee ‘oku ho mai ai ‘a e Laumalie Ma’oni’oni`, pea he’aki mai mei he ngutu ‘o e kau hiki fakafeta’ii, pea hoko leva ‘a e hiva ko ia ko e fu’u ivi malohi kafakafa, ‘o hange ha ivi ‘atomi`. Ko ia, ko e hiva`‘oku ola to’ulu mo fua ko e tau’ataina, pea ene ke mafoa mai ko e koto kelesi ‘oku fonu kololia ‘o hotau ‘Otua`, he ‘oku fotu ta’e’ao’aofia mai ‘a e Folofola ‘a hotau ‘Otua ‘o pehe –

Ko e hiva`(song), ko e ‘ea ia, pe matangi(climate) ‘a ee na’e ngaue ai ‘a e ‘Otua`

‘i he’ene ngaahi founga fakaofo mo fonu kololia`, ‘i he’ene ngaohi ‘a mamani`.

(Siope 38:4-7)

Ko e hiva`(song)ko hotau kaume’a mamaee ia(companion), ‘a ee ‘oku ako’i ai kitautolu ke tau lava ‘o ‘ilo’i hono fakakoloa’i ‘etau mo’uii ‘i loto ‘e he Folofola ‘a e ‘Otua`, ‘a ee ‘oku feia ‘i he pauu` mo e ma’aa`(Kolose 3:16-17).

Ko e hiva`(song) ko e takinga vai ia(conduit) ‘a ee ‘oku fakaola ai ‘a e maama ‘o e ‘amanaki`, ke ne hulungia ‘a e mo’uii`, ‘oka kaupo’uli ‘a e laumalie ‘o e tangata`.

(Siope 35:10, Saame 32:6-7). 

Ko e hiva`, ko e makatu’unga ia pe tu’u’anga pau(claim) ‘o e pa’aa` pe ko ha kelekele kuo la’aa fua’a(barren), ‘a ee ‘oku folofola ai ‘a e ‘Otua`, ke tau fakaulu mo tau tatali ke tau toli to’ukai ai (‘Aisea 54:l)

Ko e hiva`, ko e me’a ngaue ia ‘o e ikuna`(conquering instrument) ‘a ee ‘oku fe’ao ai pe mo kitautolu ‘i he taimi kuo ‘akilotoa ai kitautolu ‘e he ngaahi tukunga faingata’a ‘o e mo’uii(2 Kalonikali 20:21-22).

Pea ko e fakapulipuli ‘o e hiva`, he ko e ma’u’anga ivi lahi ia mo malohi taha ‘o e mo’ui ‘a e Siasi`, pea ‘oku ‘ikai ko e pehe eni, kuo ma’olunga ange ‘a e hiva` ia he Folofola` pea mo e Laumalie Ma’oni’onii, ka koe’uhii, ko e hiva`, ko e founga ia(means) ‘oku fetaulaki felatani ai ‘a e Laumalie` mo e Folofola ‘a e ‘Otua`, pea ‘amo ange ‘ene he’aki mai mei he le’o ‘o e fanau ‘a e Tangata`.

Ko e ‘Otua`, ko e ‘Olovaha ia(Founder) ‘o ‘etau hiva`, pea ko Ia ‘oku tau omai ki aii.

Ko hono ‘Alo`, ko ia ‘a e Maka-tau-fatunga-motu’a(Foundation) ‘o ‘etau hiva`, pea ko Ia ‘oku tau kailangaki`!

Pea ko e Laumalie Ma’oni’oni`, ko e Matavai Mapuna(Fountain) ia ‘o ‘etau hiva`, pea ko ia ‘oku tau inu mei aii.

(ko e ngaahi fakamatala faka’uhinga ia ‘a Jack W. Hayford mei he Celebration Hymnal).

Ko e hiva ‘o e ngaahi hiva` - Hiva ‘a Solomone`

Ko e Kenoni` mo e Faka’uhinga`(Canon and Interpretation)

Koe’uhi`, ko ‘ene anga ongo fakakakano, mo fakamamani ‘a hono fakalea ‘o e tohi Hiva ‘a Solomone`, pea kau foki ki ai, ‘a e faingata’a ke fai ha faka’uhinga pau ki he ‘uhinga ‘o e ngaahi leaa`, na’e ‘ekea leva ‘e he kau Lapai` ki ha feitu’u ‘i he Kenoni ‘o e Tohi Tapu`, ‘e ngali fe’unga mo e tohi` ni. Pea ko e fakakaukau na’e ngali ola lelei he fakakikihi` ni, ‘a e fakamatala ‘iloa ko ia na’e fai ‘e Lapai ‘Akiva, ‘i he’ene pehe – “Na’e ‘ikai tuha ‘a e mahu’inga fakakatoa ‘o mamani` mo e fo’i ‘aho ko ia na’e foaki ai ‘a e “Hiva ‘o e ngaahi Hiva`” ki ‘Isileli`; he ‘oku toputapu ‘a e ngaahi tohii katoa, ka ko e hiva ‘a Solomone`, ko e Toputapu ia ‘o e ngaahi toputapuu(holy of holies).

He ‘oku mo’oni pe ia, ‘oku faingata’a, ‘a e fakakaukau ko ia ne aofangatuku, ke tali ‘a e Hiva ‘o e ngaahi Hiva ke hu ki he Tohi Tapu`, kae taukave ‘e he kau faka’uhinga e ni’ihi ‘o pehe, ko e Hiva ‘o e ngaahi Hiva`, pe Hiva ‘a Solomone`, ko ha talanoa fakatataa pe, pe ‘Alekoli(allegory) ‘o e ‘ofa ‘oku toka he vaa ‘o e ‘Otua` mo ‘Isileli`, pea afuhia mai, a e ‘uhinga mo e ongo tatau pe, ki he fakakaukau ‘o e fe’ofa’aki ko ia, ‘a ee ‘oku toka he vaa ‘o Kalaisi mo e Siasi`.

Praise (fakafeta’i, fakamalo pe fakahikihiki’i)

Ko e taha eni ‘o e ngaahi tali (responses) ‘a e tangata`, ki hono fakahaa’i mai ‘e he ‘Otua Ia ki mamani`. Pea ‘oku ‘ikai ngata pe ‘i ha’a Tangata`, ka ‘oku lava ke kau mai mo e kau ‘Angelo mo natula katoa, ‘e lava ke nau kau mo kinautolu, he fakahikihiki’i mo fakamalo’ia ‘a e ‘Otua`, ka ko kitaua, ‘a ha’a Tangata`, ko ‘etau fai fakafeta’ii mo fakahikihiki`, ko ia ia ‘a e tefito’i fakakaukau ‘a e Tohi Tapu`, ki he fakafeta’ia ‘o e ‘Otua`. 

Ko e lea ko e praise (fakafeta’i, fakamalo, fakahikihiki’i), ko e fou mai mei he lea Latina ‘a ia ‘oku ‘uhinga ko e mahu’inga(value) pe ko ha totongi(price). Ko ia, ko e fai fakafeta’ii pe fakamalo ki he ‘Otua`, ‘oku ‘uhinga ia ko hono fakahaa’i ho No leleii (merit) mo hono mahu’inga`(worth).’Oku lahi foki mo e ngaahi lea kehe ‘a ia ‘oku ngaue’aki ‘i he Tohi Tapu` kae ‘uhinga vaofi mo e mahu’inga` mo e lelei` ‘o hange ko e “kololia`” “tapuaki pe monu’ia” pea mo e “fai fakamalo” mo e “halelu’iaa”. Pea ko e halelu’iaa, ‘oku ‘uhinga ia ko hono kailangaki ‘o e fakafeta’i ‘o Sihova`. Ko e hingoa faka-Hepelu ‘o e tohi ‘o e ngaahi Saame` pe ngaahi fakafeta’ii(praises) ‘oku ha’u mei he aka tatau mo e lea “Halelu’iaa”, pea ko e Saame ll3 ki he ll8 ‘oku ‘iloa kinautolu ko e ngaahi Saame ‘o e fakafeta’ii(hallel psalms).

Ko e anga maheni pe faliunga ‘o e fai fakafeta’ii, ‘oku lahi hono ngaahi founga faii. ‘Oku kau ki ai ‘a e fai ‘o e feilaulauu(Levitiko 7:l3) pea pehe mo e fute pe ko e me’e ‘a e sino`(2 Samiuela 6:l4), pea hange foki ko hono fai ‘o ha lotu fakalongolongo pe fakalaulauloto, ‘o longotai ‘a e me’a kotoa pe(Saame 77:ll-l2), pea kau ki ai mo hono fai ‘o e lotu`(prayer)(Filipai 4:6), pea kau foki ki ai mo ha mo’ui ‘oku fakama’oni’oni’i(l Pita l:3-9). Ka neongo katoa kinautolu ‘a ee kuo tau lave ki aii, ‘oku aafe katoa ‘a e ngaahi founga fai ‘o e fakafeta’ii ke lave atu, pe lave mai ki ai ‘a e Hiva` ‘o hange ko ia ‘oku ‘i he le’o ‘o e Tangata` mo e le’o ‘o e me’aleaa`. Ko e ngaahi hiva fakafeta’i ‘a ee ‘oku ha he Tohi Tapu`(Biblical songs of praise), ‘oku kamata pe mei hono fai fakafo’ituituii, pea hoko atu ki hono ha’aki mai ha hiva fakamalo ‘a ha fu’u kakai ke kailangaki mo fakafeta’ia ‘a e ngaahi ngaue ‘ofa mo fakamo’ui ‘a e ‘Otua`(‘Ekesoto l5, Tohi Fakamaau 5, l Samiuela 2, Luke l:46-55,67-69). Pea a’u pe ki hono liliu mai ‘a e le’o ‘o e me’alea` ke ngaue’aki he Temipale`(2 Kalonikali 29:30), pea kuo a’u foki mai ki he ngaahi falelotu`(Kolose 3:16).


Ko Professor Allan Bacon eni mei he “THE TRUE FUNCTION OF CHURCH MUSIC,” 

  1. ‘Oku kehe ‘a e houa lotu`, mo hono toto’onga`, mei he faiva ‘oku fai he fale koniseti`(a difference between the service of worship and a theatrical performance)

  2. Oku tokolahi ‘a kinautolu, ‘oku ‘ikai ke nau tokanga, pe mahu’inga’ia ‘i he faikehekehe` ni.

  3. Na’a mo e kau faifekau`, ‘oku ‘ikai te nau fakatokanga’i ‘e kinautolu ‘a e mata-vaivai` ni, he ‘oku ‘ikai ke nau fakatokanga’i lelei ‘a e fekau’aki ‘a e Litesia ‘o e Lotu`(worship) pea mo e konga faka-e-hiva(musical part) ‘o e ma’ungakelesi` kakato(into an organic and well-rounded whole).

  4. Pea ko hono ola` leva, ko ha ma’ungakelesi ta’e fekau’aki mo to-kehekehe pehee, pea ‘e ola kovi leva ia, ‘i he ongo fakalotu mo’oni ko ee(worshipful attitude), ‘a ee na’e pau, ke ‘inasi koloa ai ‘a e kau fai ‘o e feingalotu ko iaa. 

  5. ‘Io, ‘oku matu’aki mahu’inga mo’oni, ke fakatokanga’i ange, ‘a e pau mo e faka’amu ko ia, ke a’usia tonu ‘e he kau lotu`, ‘a e koloa ‘o e ongo’i mo’oni ‘i he loto`, ha ongo’i lotu mo’oni(worshipful life).

Allan Bacon(ai pe)

  1. Kuopau ke ola mo fua mo’ui ‘a e fatongia ‘o e hiva` he lotu ‘a e siasi`(church music must be functional), ke ne lava ‘o fakahoko hono taumu’a na’e ngaue’aki ai ia, he lotu ‘oku faii.

  2. ‘Oku ‘alu foki ‘a e kakai` ki he lotu` mo e ‘amanaki, ‘e ‘ave ai kinautolu ki ha ‘ao ‘o ha mafai, pe ivi ta’e maata’ia(into the presence of an unseen power), ‘a ee, te nau a’usia ai ha mo’ui mo ha ongo fakalaumalie ‘oku ma’olunga mo loloto ange (deeper and higher spiritual life), pea ko hono ‘ai mahino ange`, ko ‘enau ‘aluu ke lotu ki he ‘Otua`. Pea kapau ko e kaveinga` ia, pea pau leva ke feinga’i ‘a e hiva ‘o e lotu`, ke ne a’usia ‘a e faka’amu ko iaa`. Pea he’ikai ke lau ia ko ha hiva lelei(good church music) ‘i falelotu, ‘okaupau ‘oku ‘ikai ke ne a’usia ‘a e kaveinga ‘oku fakahu ai ‘a e koloa hiva`, ki he ngaahi ma’unga-kelesi` ‘o hotau ngaahi falelotu`. Pea ‘oku totonu, ke tatau pe ‘a e tokanga ‘a e kau Faifekau`, kau faihiva`, kau ifii mo e kau ta-me’alea` ki he mo’oni fakalaumalie ko eni`, telia ‘a e ngaahi ma’unga kelesi ‘o e Saione ‘o hotau ‘Otua`.

  3. Ko e me’apango ke u lea pehe, ka ko e lau ia ‘a Allan Bacon, ‘oku` ne pehe – ‘Oku lahi ma’upe hono hiva’i ‘a e “veve”(trash) ‘i hotau ngaahi falelotu`, pea mahalo, ‘oku ‘ikai mama’o ‘a e lau` ni, mei ha no mo’oni. Manatu ko e ngaahi tohi fakapapalangi kuo tau ma’u fakamatala mei aii, ne laui senituli ‘a e ngaue fakahiva ‘a e Siasi ia ‘i mamani lahi, ka ‘i Tonga` ni, ne tau toki kamata hiva pe he laine hiva ‘a mamani`, mei he ha’u ‘a e ako Kolisi` he 1866 ‘o fai mai.

  4. ‘I he sivi hiva lahi ‘a e Siasi`, ‘i he ta’u l938, ‘a ia ko e Konifelenisi ia na’e fai ki Ha’apai. ‘I he Kalasi ‘Uluaki`, na’e ipu ai ‘a e kau hiva, ‘a ia na’a nau hiva fili ‘aki ‘a e Faha’ivalu ko ia, ko e “Peali`” (a chorus from the “Elijiah”). Na’a` ku ‘i he sivi hiva` ni tonu, ‘o fanongo he hiva` ni, pea u mamata tonu ki hono foaki ‘o e Ipu Siliva ‘o e Kalaisi ‘Uluaki` ki he ikuna ‘o e ta’u ko iaa. Me’a malie mo’oni ko e fu’u faha’ivalu` ni, ‘i hono fe-tukuaki ‘o e ngaahi fa’ahi`, ‘i he tautapa, mo e faka-hemata ‘a Sisipeli, mo e kau ‘Isileli`, ki he hingoa ‘o e ‘otua tamapua` ni. 

5. Ka na’e fofonga valea(fakatapu atu) fefe nai ‘a e kau taki ‘o e ngaahi ‘aho ko iaa, ‘o lava, ke hu mai ha hiva malie pehe, ka ko e lotu tautapa kia Peali, ke ma’u ipu he ha’oha’onga ‘o e Konifelenisi Lahi ni? Mahalo, na’e te’eki fakatoakanga’i ia ‘i Tonga` ni, ‘a e Teolosia ‘o e Musika`, mo e le’o malie ‘o e tangata mo e fefine Tonga`.

Na’a` ku tokoni kia Lea-’a e-peni-‘i-Maamaloa ‘i hono taki ‘o e hiva ‘a e Kolisi ko Tupou` he ngaahi ta’u ‘o e 1953-1959. Pea na’a mau ako ai ‘a e “Peali`” ‘i he Kolisi`, ka kuo liliu leva ‘a e lea`, ‘o fai ‘a e tautapa` mo e kole`, ‘o pehe – “’E Sihova e, ‘E Sihova e, me’a mai ‘emau punou,” etc. 

Kuopau leva ke ngaue fakataha ‘a e Faifekau ‘o e Vahenga` mo e komiti hiva`, pe ifi`, mo e kau faihiva`, pea pehe mo e ngaahi hiva ‘oku ako ki he To’utupu`, ke malu’i ‘a e Tokateline ‘o e Lotu Faka-Kalisitiane, pea faka-Tohitapu ma’upe ‘a e hiva ‘oku ako ki he ‘etau ngaahi feinga lotu`. Tokanga’i ‘a e hiva ‘a e Youth ke mahino ‘a e akonaki ‘oku nau hiva’akii`, he kuo kehe ‘eni ‘aho!

‘Oku fa’a hoko ‘a e vaa ia ‘o e Hiva ‘a e Siasi` mo e Faifekau`. Fa’a ma’uhala ‘a e kau faihiva mo e kau pule hiva ni’ihi, ‘o taku ko e hiva ‘a e Siasi`, ko e me’a ‘ata’ataa pe ia ‘a natolu mo e kau hiva`. Manatu kau faihiva, mo e kau pule hiva, ko ho’omou hiva ‘oku ako`, ko e me’angaue ia ki he ouau lotu ‘o Saione`, pea ko e Taki he ouau faka-Lotu ‘o Saione`, ko e Faifekau ‘o e vahenga`. Kuopau ke mou feongoi mo fevakai’aki, he kapau ‘e ‘ikai pehe, pea ‘e lava pe ia, ke tau toe hiva kia Peali.

  1. Kaikehe, ko e hiva`(music/singing) ‘o tatau ‘i ha feitu’u pe(‘i falelotu, pe ko mala’e faiva), ko e fa’ahinga poto ia, pe ko ha faiva(art), kuo toki fai kimui` ni mai, ‘a hono fakalakalaka`, ‘i he fakatatau mo e ngaahi faiva pe poto kehe`(other form of arts), kae hange ko ia ia(hiva`, musika`), ‘a e tumutumu ‘o e ngaahi faiva` pe poto`(art) kotoa pe, he ‘oku o’oo mo taungasino ‘a hono ola`, ki he tefito’i ongo mo’ui ‘a ha’a Tangata`, ‘o a’u ai pe ki he mo’ui faka-fo’i-tuituii`, he ‘oku` ne tutui atu hono ha’aha’aa` ki he uho mo e ‘elito ‘o e mo’ui(the most intimate and most personal of all arts, reaching, as it does, into our private emotional life).


  1. ‘Oku mahino lelei kiate kitautolu ‘a e toputapu mo e tapuha ‘a e feinga lotu kotoa pe, ‘o tatau, pe ko e lotu ‘aho ngofua mo faka-kolo, pe ko ha malanga huufi ‘o e Konifelenisi`. Pea ko ha feingalotu kakato mo toputapu pehee, ke mahino ki he Faifekau`, kau hiva`, kau ta ‘okani` pe kau ifi`, ko e polokalama kakato ‘o e feinga lotu` ni, ko e ‘uuni me’a lahi, kuo lalanga fakataha’i ‘o hoko ko e fo’i fala paongo pe ‘e taha kuo maau mo tu’utai. Pea ko e fala tokamalie ko iaa`, ko ia ia, ‘e fofola mai ke lotu ai ‘a e fakataha’anga ‘o e kakai ‘a e ‘Otua`.

  1. Tuku ke u lave ki ha konga pe, ‘o e lau ‘a e poto ‘iloa ko ia ko Albert Schweitzer ‘o kau ki he ni’ihi pe ‘o e ngaahi me’alea ke ngaue’aki ki he fatongia hiva ‘i he ngaahi falelotu`. ‘Oku ‘ikai fakaikiiki ‘a e lau` ni ia, ka ‘oku` ne lave pe ki he piano` pea mo e ‘okani`. Ko e piano` ia, ko e me’a ia ki he koniseti`, pea hoko atu a Schweitzer ‘o ne pehe – “Ko e ‘Okani`, ‘oku ‘i ai ‘a e ongo ‘oku faka’ei’eiki(majestic) ‘a ia ‘oku ‘ikai ma’u ia ‘e he piano`, pea ‘oku ‘ikai ko e lau le’olahi, pe le’osi’i, ka ko e ongo ‘o e ‘Okani`, ‘i he fakakaukau ‘a Schweitzer, ‘oku tatau ia mo e ongo ko ee, na’e ongona ai ‘e ‘Aisea mo Selemaia ‘a e le’o ‘o ‘Atonai`, kae tokua, ‘oku ongo mai mei he hikule’o ‘o e Piano` ia, ‘a e ongo ko ee na’e ongona ‘i he temipale ‘o e ‘otua Kalisi ko ‘Apolo`(god of music). Pea hoko atu ‘a Albert Schweitzer ‘o ne pehe – ‘Oku hange ‘a e ongo ‘o e ‘Okani`, ko e ongo ‘o e ngaahi vai ‘o Papilone`, pea hange foki ko e le’o, ‘o hono ‘ulu Uilou tangi`(weeping willows). 

Ko e ngaahi me’alea pe foki, ‘oku tau ala ma’u he ngaahi ‘aho` ni, ko e me’a lea ‘o e ifi palasa`, pea hange ko e hu mai ‘a e keyboard, ‘oku ngali ma’u ngofua ia, mo ma’ama’a fe’unga nai hono totongi, ka ‘oku ‘aonga pe ke tau fanongo ki he lau ‘a e kau tangata helo ‘o e musika`, mo e piano`, mo e ‘okani` he ngaahi ‘aho ‘o e ‘aneafii. Pea` ne toe pehe, ko e kikivi ke ma’u ha ‘okani lelei`, ‘oku tatau ia mo ‘ete fai feinga ke a’usia ‘a e “mo’oni`”(truth).

Ko Charles Gounod, ko e punake ‘iloa ‘o Falanise, pea ko e tangata lotu mo’oni. Na’a` ne ‘i Pilitania, lolotonga ia ‘oku pavake mai ‘a e tau ‘a Falanise mo Palusia(Franco-Prussian war), pea fa’u ai ‘e Gounod ‘ene hiva fakalotu he fa’ahinga ‘oku hingoa ko e moteti(motet) ‘o fakahingoa ‘ene fa’u ko ia ko e “Gallia”, ‘o hange ‘oku` ne kolenga mo tengihia hono fonua`(‘a Falanise), ke ne tafoki mei he’ene ngaahi angahala`, he ka ‘ikai, pea ko e tautea mo e ‘auha ‘e iku ki aii. 

Oku mahino mei he ngaahi fakamatala ‘a Allan Bacon ‘i he’ene tohi ko ia ko e “The True Function of Church Music”, ‘o mahino ai, na’e lahi ‘a hono fakaanga’i ‘o e ngaahi hiva ne fa’u mei he ngaahi fa’u’anga hiva ‘o ‘Eulope`, ‘o kau ai pe ‘a e kau laine mu’a ni’ihi hange ko Bach, Beethoven, Depussy, etc. Pea koe’uhi`, ko e faka-kalasi foki ‘e he kau Papalangi` ‘a e fa’ahinga faiva ‘a ee ‘oku hiva’i mo ta me’aleaa, pea mahino leva ‘oku kehe ‘a e fakakaukau mo e kaveinga ‘o e faiva ‘oku fakatataa’i(drama) mei he ngaue ‘a ee ‘oku fai he ngaahi fale faiva`(opera), pea kehe mo e fakakaukau ‘oku ui ai ha fa’u ko e ‘Olatolioo(oratorio), pea koe’uhii foki, ko e ngaahi faiva ni katoa, ‘oku huluni ai pe ‘a e hiva` mo e me’alea`, ‘i honau ngaahi konga lahi,pea ko hono mo’oni`, ‘oku ‘i ai leva ‘a e fetuiaki ‘o e ngaahi ongo faka-tu’ungafasi`, fakataha mo hono lea`, ‘o fetuiaki mo fepulingaki ai ‘a e ongo mo e lea ‘oku faka-e-mamani`, mo ia ‘oku taau mo e toputapu ‘o Saione`. ‘Io, talu ‘etau tutupu hake ‘i Tonga, mo ‘etau fanongo ki he hingoa ‘o Haniteli, Haitini, Mosa’ati, Mendelssohn, mohai fua ‘a e kau fetu’u ngingila ‘o e mala’e ‘o e musika, ka ta ko ee, ‘oku fonu faka-anga’ia ‘a ’enau ngaahi fatu ta’anga na’e faii`. Ko e ta’anga ‘iloa ko ia ‘a Mendelssohn ‘a ee ‘oku hingoa ko e ‘Ilaisiaa`, ‘oku taku ‘e he kau fakaanga hiva ni’ihi ‘o pehe, na’e ‘ikai totonu ke hu ia ki he Saione ‘o e Lotu`. Ka e pehe foki ‘e he ni’ihi ia, ko e fetaiaki malie ko ee ‘a hono tu’ungafasi` mo hono lea`, ‘oku fakahoko mai ai ia,‘a e ngaahi ngaue fungani ‘oku fakamatala ki ai ‘a e Tohi Tapu`. Pea ko e mo’oni foki ia, ‘e ‘ikai tatau ha faisivi hiva ‘a ha toko tolu ‘i ha sivi ‘o ha kau hiva tatau pe ‘e taha. ‘Oku fakaanga’i foki a Bach, tokua, ‘oku ‘ikai fu’u mahino ‘a e faikehekehe ‘o ‘ene ngaahi fa’u hiva faka-e-mamani`, mo ‘ene ngaahi ta’anga faka-lotu`(between his sacred and secular works). Ka ki he tangata ‘iloa` ni(Bach), ko e good music, ko e good music ia, ‘o tatau ai pe pe ko e lea fakalotu pe faka-e-mamani na’e fakapipiki ki aii. Pea na’a mo e ngaue lahi mo tu’utai ko ia na’e fai ‘e Bach mo Charles Gounod ‘i he Ave Maria(Katolika), ‘oku fakaanga’i ia ‘o taku ko e koto paetaku’i ‘o e ‘Otua(a quintessence of blasphemy), pea kapau ko ia, pea mahino ko e mamani pe eni ia ‘o ha’a Tangata`, pea ‘e kei ‘iloa ai pe, ‘a e to-nounou`, pea kei mama’o ai pe ‘a e haohaoaa ia mo e tu’utaii.

Ka ko e lau ki Kao`, kae fefe ‘a ‘Ao? He na’e fefe ‘a e ngaahi fa’u ‘a e kau tangata Tonga ‘o e ‘aneafi mama’o` na? Na’e fefe, pea hu’u ki fee ‘a e ngaahi ta’anga ‘o e Lakalaka` mo e Ma’ulu’ulu` he ngaahi ‘aho ko ee? Na’e fefe ‘a e fakalea ‘o e ngaahi Hahanu`, mo e lau ‘ofa`, mo e manatu ta’elata`, he ngaahi ‘aho ‘o e faka-tamaiki? Me’apango, mahalo pe, ‘oku ‘ikai tuku tohi mai, ha ngaahi fakamatala fe’unga, ke tau ma’u tala ai, ‘o hange ko e ngaahi tohi lahi ‘a e kau Papalangi` ‘a ee ‘oku tohi ai ‘a e ngaahi fakamatala ‘o e me’a kehekehe, fekau’aki mo e mo’ui mo e ngaue ‘a e Tangata`.

Ka ‘oku tau tui, na’e ‘ange’ange ‘a e Tama`, he Ta’ahine`. Manatu, ki hono fakahake mai ‘a e Lotu` ki Tonga` ni, kae kei toko ua, toko tolu pe ‘a e ngaahi hoa mo’ui ia ‘o e kau to’a ni’ihi. Pea talaatu ‘e he kau Misinale`, nga’ata, ‘oku ‘ikai hoa ee, mo e lotu kuo tau fe’ulungaki aii, pea ko e tali na’e maheni mo e kau Misinale na’e pehe – ‘Oua te mou tokanga kimoutolu ki ai, he ko homau anga faka-Tonga pe ia ‘o mautolu. Tokua,‘oku tuha-malie pe ia, he ko e anga faka-Tonga pe ia! Huanoa ‘a e ngaahi po Ula`, mo e ngaahi po ako faiva`. Pea tau faka’uta atu, ki hano ‘omai pe ‘a e ngaahi fasi ‘o e ngaahi hiva, mo e taua’alo, mo honau ngaahi lea`, ‘o palahi fakataha mo e ouau ‘o e Temipale`. Kae fefe ‘a hono laulau ‘o e ngaahi Sipi mo e Lalau ‘o ono’aho`.‘Io, ‘oku tau tui, ko e ouau ia ‘o e ngaahi senituli ‘o e kuohili` na, ‘o tatau ‘i ‘Iulope lahi, pea na’a mo e ‘otu motu iiki ‘o e Tahi Saute`, na’a nau tatau pe mo e kau to’a he faiva hiva`, ‘o too fakataha pe ‘a e Uite` mo e Teaa`, ka ‘i he malohi mai ‘a e poto`, mo e malohi ‘o e tokaki ‘o e Lotu Kosipeli ‘i hotau fonua`, he ko e sioo ia, na’e fai pe ki fa’itoka, ka ‘i he Ha’u ‘a Folofola`, pea maama mai! Manatu, ko ‘etau feinga`, ki he fatongia pe ngaue totonu ‘a e fatongia hiva` ‘i he Lotu ‘oku fai ki hotau ‘Otua`(the true function of church music) pea na’a tau lave ai ki he Teolosia ‘o e Hiva(musika`, Theology of Music). ‘Oku fakamatala foki a Dr Wood ki he fa’a loto mamahi ‘a Sione Tomasi mo e kau misinale ‘o e mu’aki ngaahi ta’u ‘o e Lotu` ‘i Tonga`, he mohe ‘a e kakai` he lolotonga ‘a e malanga Sapate`, pea nau tukuaki’i foki ko e tupu ia mei he mohe tomui ‘a e kakai he ngaahi po ula`, mo e faikava` mo e ifi tapaka ‘o e po Tokonaki`, kae tala’ehai kuo si’i ange he taimi ni, ‘ikai, kei fai lahia ‘a e faikava` mo e kalapu po’uli(night clubs)‘o toki li’aki lotu pe ‘i falelotu.

Kae mahino pe ia, ‘Oku kehe ai pe foki ‘a e ongo ‘o e ngaahi nota` ia, mei he 3(too) ki he 3 ki ‘olunga` ‘o ha fa’ahinga sikeili. Kei fai ai pe hono fakalakalaka he Toni` mo e Semitoni` pea vahe ai mo e ngaahi Tetalikoti`, ‘o ma’ulalo mo ma’olunga(‘a e tetalikoti ‘o ha sikeili), Ka ko e ngaahi nota` na mo honau ngaahi ongo`, hange ‘oku ma’a pe ia mo hao mei ha tolotolosia ‘e ha fa’ahinga angahala, ‘o hange ko e lau ‘a Bach ne tau fou mai aii` – ‘oku lelei pe ‘a e good music ia, ka ‘e toki fai ‘a e fakalea ‘o e ngaue ko iaa`, pea mahino lelei ai hono taumu’aa, pe ‘oku tuha mo Saione`, pe ‘oku ‘uhinga ia ki he Opera House ‘o e Taulanga Senee`.

‘I he Maa’imoa Hiva ‘a e La’aa kuo Unga he malu-fonua`(fakatapu ee), ‘oku` ne lave ai ki hono hanga ‘e he to’a Pilitania ko ia, ko Curwen, ‘o faka’uhinga’i fakafo’ituitui ‘a e ngaahi fo’i nota ‘o e sikeili maisoa`, pea na’e fakatataa’i foki ‘e he Tama Tu’ii, ki he kau faiako musika ‘o e 40 mo e 50 tupu, ‘a hono haka’i ‘e he nima to’omata’uu, ‘a e ‘uhinga ‘o e nota taki taha, pea ‘oku ou tui, ‘oku kei ma’u ‘i Tonga ‘a e tatau ‘o e ngaahi tohi ko iaa. Ko eni pe ha ni’ihi mei ai: Ko e 3(too), ke kuku ‘a e nima to’omata’u ‘o fakafo’ohifo, pea ‘ai fakafe’unga mai ki he ma’olunga ‘o e vakavaka`, he tokua, ko e ongo ‘o e 3 (toniki) ‘oku fakafiemalie (restful). Ko e 4(faa`) ‘oku ongo fakamafana ia(rousing), pea ‘oku vete ‘a e ‘ulu’ulu nima` mei hono kukuu` ‘o fa’utaha pe kae fakahanga katoa ki ‘olunga, pea fai atu he ngaahi nota` katoa, ‘o a’u foki ki he 8 (pe sapumitiani), ‘oku tukuange katoa ‘a e ‘ulu’ulunima ke tautau katoa ki lalo, pea ‘oku` ne hange ko e lou’ulu ‘o ha fefine ‘oku tengihia, pe ko e pulonga ‘o e lau ‘o e Uilou tangi`, he kauvai ‘o e ‘Eufaletesi`, he ko e sapumitiani ‘o e ki C he maisoa`, ko e nota ‘o e mamahi mo e tengihia, etc. 

‘Io, ko e fekau’aki leva ko ee ‘a e tu’ungafasi`(music) mo e lea kuo fakapipiki ki aii(wording), ko e me’a mahino mo’oni, mo fonu ivi, pea malohi, he malohi ‘oku ‘ikai mafuesia ‘e he fakakaukau` mo e sioloto ‘a e kakai tokolahi. Pea` ka tu’utanga-malie ‘a e lea kuo fatu`, mo ha tu’ungafasi ‘oku tuha mo fe’unga, ‘o kainga melie mo e lea kuo tuku maii, pea ko e langi ia kuo tau, he ‘e ta’emalava ke fakavetevete ‘a e taha mei he taha, kae hoko ‘a e ua ko iaa, ko e koto ngaue tu’utai.Pea ‘oku hanga leva ‘e ha ngaue tuu’utai pehe, ‘o fakavale’i mo fakamamahi’i, pe fakafiefia’i mo fakata’ela ta’i, pe faka-vela-mafana’i pe fakamokosia’i, pea mo e ha fua ‘a e tukunga ‘o e loto`, mo e mo’ui ‘a e kakai ‘oku nau fanongo ki ha koloa pehe fau.

‘I he ngaahi himi na’e fa’u ‘e Matini Lutelo`, ‘oku kei ngaue’aki ‘a e ni’ihi he ngaahi ‘aho` ni ‘o hange ko e “A Mighty Fortress is our God” pea mo e “Now Thank we all our God”, etc. Pea ko e taha ‘o e ngaahi ikuna ‘a Lutelo he tafa’aki ‘o e hiva`, ko ‘ene kamata ‘a e hiva faka-fai’anga-lotu`(congregational singing) ke nau ngaue’aki ‘a e lea fakafonua ‘a e kakaii(congregational singing in the vernacular). Na’e fiema’u ‘e Lutelo ‘a e ngaahi fasi, ‘oku kau ai ‘a e clan mo e verve, ‘a ia ko e clan mo e verve, ‘oku ‘uhinga ia ki he kauhiva kuo fakakulupu ‘e ha ngaahi famili`, ‘o hange ko e ngaahi kulupu fakasiosiale ‘o e Scottish Highlands, pea ‘oku longomo’ui foki mo malohi. Na’e manako a Lutelo ki ha fa’ahinga fasi ‘oku fakatutuu mo malohi(vigorous and energetic), ka na’e ma’u mei fe ‘e Lutelo, ‘a e ngaahi fasi` ni, ke hoa mo ho no loto` he ‘ene ngaue faka-faifekau? Ko e ngaahi fasi e ni’ihi na’a` ne ohi mai mei he kau konaa ‘o e hala pule’anga`. Na’e ‘i ai honau fa’ahinga lea, ‘a ia na’e ‘ikai fe’unga ia mo Saione. Kae toki faka-fa’ahi(harmonized) ia ‘e Lutelo, pea` ne fakalea kinautolu mei he Folofola`(sacred text), pea` ne ako kinautolu ki hono ngaahi potu siasi`, pea ko e toki me’a malie ia, ko e ha’u ko ee ‘a e kau hiva ‘o hala pule’anga`, ‘o ma’ulotu ‘i ha taimi,‘o nau ‘ilo ai, ta kuo ‘omai ‘enau fasi na’e lea ‘uli mo kovi`, ‘o ‘ai hono kofu fo’ou mo faka’ofo’ofa, pea ta kuo ‘aonga ia, ki he ngaue ‘a e ‘Eiki`!

Pea na’e fou faka-fefe mai leva, ‘a e Fasi Fakafonua ia ‘a ‘Amelika(Star-spangled Banner)? Ko e fasi konaa ia, ‘a e kau hu’a-kava-’ia ‘o e fonua`, pea na’e ‘iloa ia ko e fasi na’e hingoa ko e “To Anacreon in Heaven”, pea ko e hiva ia na’e manakoa he kamata’anga ‘o e senituli taha-hiva`, pea ko hono fuofua hiva’i faka-tu’ungafasi ‘o e fasi ‘iloa` ni, na’e fai ia ‘i ha fale-kava(its first performance as music was in a bar-room). Ka kuo hoko ia, ko e polepole’anga ‘o e pule’anga lahi` na he ngaahi to’utangata` ni.

Ko ia leva, ‘oku tau tui, ‘oku ‘ikai fotu angahala’ia ‘a e too`(3), mo e faa`(4), pea mo e tuu`(7) ia, pea ka toe tanaki atu mo honau ngaahi nota vaheuaa`, ngali ‘e kei ‘ata’ataa pe ia mei he hiaa`. Ka ko e kofu ko ee, ‘e ‘oatu ‘o tui hifo ‘iate kinautolu`(‘a e fakalea`), te nau toki fai-teunga kakato ai, pea ‘e mahino mai leva, pe ko e Uite pe ko e Tea. 

Ke tau toe talanoa atu pe mu’a, ‘i he fakakaukau ko ia`, ‘o e fetuiaki ‘a e tu’ungafasi`, mo e lea kuo fokotu’u ki aii`, koe’uhi` pe, ke tau toe fa’a vakai lahi ange mo tokanga, ki he ngaue fakahiva ‘o e Saione ‘o hotau ‘Otua`. Kovi ange ‘a e sipinga ko eni`, ‘oku ha ‘i he melotii(melody) ‘o e taha ‘o e fa’u faka-‘opela`(operatic) ‘a e ‘iloa ko ia ko Saint-Saens’ ‘i he “Samisoni mo Tilila`”(Samson et Delilah). Ka ‘oku fonu malie pe foki, ‘a e tu’ungafasi ia ‘o e melotii` ni, kae tautefito ki he taimi ‘oku hiva’i ai ia ‘e ha le’o faka-fefine ‘oku talotoloto pe(contralto), pea fa’a kau mai foki ‘a e Vaiolini`, ‘o lahi ‘ene hu mai fakataha mo e le’o kuo tau lave ki aii. Kae tokua, na’e ‘i ai ha taha ta Vaiolini kei talavou, ‘a ia, na’e ‘ikai ke mahino kiate ia ‘a e ta’efe’unga ‘o e fu’u fa’u` ni, mo e feinga lotu ‘o Saione`, pea hange ko e me’a kuo tau lave ki aii, ‘a e kofu na’e tui hifo ‘i he tu’ungafasi anga ma’a mo haohaoa` na, pea ko e lea ko ia na’e fakakofu’aki ‘a e tu’ungafasi malie` ni,‘oku ofi ‘i he fakakaukau ko eni` – “’a si’oku loto` ni(hoku mafu` ni), ‘i he malie ‘o e ongo mai ho le’o` na(my heart at thy sweet voice), pea kapau ‘e toe tanaki atu – “si’oku mafu` ni, mo si’o le’o` na, ko e vale’anga!”, ‘e kei tonu pe mo ia. Manatu foki, ko e opela`(opera) eni na’e ta ‘i falelotu, ‘e he talavou kei loto tau’ataina` ni, ka ‘oku fe’unga ‘a e taimi ‘o e ngaahi laine lea ko iaa`, mo hono hanga ‘e Tilia ko ee, ‘o vele’i, mo ngongohe’i a Samisoni`, ke ne tala ange ki ai ‘a e fakapulipuli ‘o e malohi faka-e-‘Otua ko ia, ‘a ee na’a` ne nasili ‘akii. Sai pe mo e nasili ia, ka ko e mata mo e kakamo ko ee na’e faii, he ko e ‘opela`, pea mahalo na’e pehe pe mo e ngaahi fakataupasi ‘o e po ulaa`, mo e po me’ee`.

Manatu foki, ne tau ‘osi lave ki he hiva’i ‘o e “Peali`” ‘i he Sivi Hiva Kalasi ‘Uluaki ‘i he Konifelenisi ‘o e l938. Ka na’e fefe nai, ‘a e ngaahi hiva ‘o Saione he l928, pea fefe ‘a e l9l8 mo e l908. Pea kapau ko e anga ena ‘o e fetuiaki mo e feto’oaki ‘o e fatongia hiva`, ‘i he ngaahi kauhiva, mo e ngaahi falelotu talaa, ‘o loto ‘Iulope`, pea mahino, na’e pehe pe mo e tu’u ‘a e “mahino`, mo e a’usiaa`” ‘i si’i ngaahi falelotu, ’o e ‘otu motu, ‘o e Tahi Saute`. Manatu ma’upe, ‘oku kehe a Saione mei he pa’ake ko Teufaiva`, pea mo e fale hele’uhila fuoloa, na’e ‘iloa ko Tali’eva`. Kae lolotonga iaa`, kohai he ngaahi ‘aho` ni, ‘oku` ne ‘ilo, pe tokanga ki he kakano fakakatoa ‘o e ‘opelaa ‘iloa ko ia ‘a Haniteli, ‘ a ee ‘oku ui ko e Suukusesi(zurk`sez)-(Xerxes) ‘a ee ‘oku kau ki ai ‘ene fa’u ta’e-ngatu-vai ko ia ko e Largo.

Mahalo pe, ne tau ‘osi lau ki he me’a` ni, ka neongo ia, te tau toe lave pe ki ai he ‘oku mahu’inga ----Ko e ngaahi nota`, mo honau ngaahi ongo taki taha(musical tones), ‘oku ‘ikai foki ‘iloa ia ‘iate kinautolu tonu, ‘a e ongo ko ee ‘oku “toputapu`” (sacred) pe ongo “faka-mamani`”(secular) pe “faka-Hevani`”(heavenly) pe “fakalielia`”(lewd), ‘io, ‘oku ‘ikai te nau ma’u ‘e kinautolu ‘i honau kano-loto taki taha, ha taha ‘o e ngaahi ongo kuo tau fakalau atu`(they do not possess any intrinsic or inherent quality which makes for any of these things), pea neongo pe foki, ne feinga ‘a Curwen, ke ne faka’uhinga’i ‘a e ongo ‘o e ngaahi nota`, ‘a ee na’a` ne faka-haka’i, ho nau ngaahi ‘uhinga`, ka ‘oku ‘ikai malava ‘e he ngaahi ‘uhinga ko iaa, ke sipela’i mai ‘a e “toputapu” pe ko ha “fakalielia” ‘o ha ongo ‘o ha nota, ‘oku hiva’i mai, pe ifi’i, pe taa’i mai. Pea mahino foki kiate kitautolu, ko e ngaahi me’a katoa, kuo tau lave ki aii, ko e ngaahi fakakaukau faka-e-tangta kotoa pe kinautolu ia, pea ko e ngaahi ongo ‘o e nota takitaha, ‘oku hiva’i pe ia mo ifi’i katoa kinautolu ‘i he funga ‘o e mamani ko eni ‘o ha’a Tangata`, pea ‘oku ‘ikai ha ivi ia ai, ‘iate kinautolu ke nau a’usia, ‘e he ngaahi ongo’i nota ko ia`, pe ‘ilo’i, mo mahino kia` te kinautolu ‘a e ngaahi faliunga ‘o e fakakaukau ‘a e Tangata`(musical tones exist entirely in the physical world and do not recognize human concepts). ‘Io, ‘oku mo’oni, he hili ange pe ha’atau fanongo ki ha ongo, ‘o ha ‘uuni nota ‘oku hiva’i, pe taa’i mai, ‘oku ngaue mai leva ‘a e ha’aha’a ‘o e ongo’i nota ko iaa, ki he loto mo e fakakaukau ‘a e tangata ‘oku fanongo`, pea ‘oku lava leva, ke aafe ‘a e loto`, mo e fakakaukauu`, ke faka’uhinga’i faka-e-kita ‘i loto, ‘a e ngaahi ongo kuo ongona`, pea ‘oku fai ia ‘e he kau fanongo`,‘i he ngaahi founga kehekehe(interpreting musical sounds, or groups of sounds, in a variety of ways). Pea` ka toki fakapipiki atu leva ‘a e leaa` ki he ‘uuni nota ko ia`, pea ‘oku toki mahu’inga malie leva ki he ongo`, mo e fakakaukau ‘a e kakai fanongo`, ki he mo’oni ‘o e natula ‘o e tu’ungafasi nota`, ka kuo sino kakato eni, ‘i he lea kuo fakakofu’aki`. Ko ia, ko e ivi mafai ‘o e tu’ungafasi`, ke ne lava ‘o fakaloto’i ‘a e loto mo e fakakaukau ‘a e tangata`, ‘oku fakatefito pe foki ia ‘i he ngaahi ivi fekau’aki ‘i he tangata taki taha, ‘o hange ko e poto, ‘a ee ‘oku fakakofu’aki ‘a e tangata ko iaa(sophistication), pea pehe ‘a e puipuitu’a ‘o ‘ene mo’uii(back-ground) pea mo e fekau’aki mo e ngaahi me’a kehekehe ‘o e fononga’anga`(associations acquired through the years).

‘Oku mo’oni foki, ‘oku hanga ‘e he hiva`(tu’ungafasi`, mo e lea`,’a e le’o ‘o e tangata` pea mo e me’aleaa, katoa kinautolu) ‘o fakahaa’i mo faka’uhinga’i mai ki he tangata fanongo` ‘a e fa’ahinga koloa ‘oku ta’e-mahaku-lea, pea faingata’a ke faka-matala’ia tu’unga he ‘uhinga ko eni` - He ko e hiva`, ko ia ‘a e fa’ahinga lea ‘a ee ‘oku` ne kapui ‘a e tangata mo e fefine ‘oku nofo, mo mo’ui he ‘univeesi` ni(music is the universal language), pea ‘i he’ene kapui fakalukufua ‘a e ‘univeesi ‘oku nofo ai ‘a e Tangata`, ‘oku` ne tolotolosia leva, pe inumia ‘a e anga’i tangata ‘o e tangata`, pea` ne faka-fe-latani ‘a ha’a Tangata(music also is a great humanizing and socializing agent) pea ‘oku hanga ‘e he ongo ivi mafai ko ia ‘o e hiva`(music), ‘o ne fakavetevete ‘a e ngaahi ‘elemeniti ‘o e mo’ui ‘a e tangata fanongo`, ‘o ne lava ke fiefia, pea lava ke tangi mo manatu ta’elata, lava ke mafana, pe ‘oku fonu manavahe mo ilifia, pea uoke, ‘oku lava noa ‘e ha tangata pe fefine, ke tu’u ‘o ‘alu mei ‘api, pe hola mei hono famili`, ‘oka kuo tohoaki ia ‘e ha hiva mo hono lea`, ‘a e loto mo e fakakaukau ko iaa.

Ko ia, ko e hiva`, ‘i he ngaahi ngaue’anga ‘a e Siasi`, kuopau ia ke ola mo fua mai ko e koto ngaue(church music should be functional), pea ko e ha leva ‘a e ngaue ‘a e hiva`, ka ko hono taki-e-kina pe ‘a e kakai`, ke fe’iloaki tonu mo honau ‘Otua`! ‘Io, ko ia ‘a e koloa na’e a’usia ‘e Pita, mo Semisi mo Sione, ‘i he’enau mamata ki he fotu fakalangi ‘a honau ‘Eiki` ‘i he mo’unga`, na’e ‘ikai ha toe fie hifo, he ne nau ‘avea katoa he langilangi ‘o e fotu na’e faii. Pea ‘oku pau leva ke tau feinga kau faihiva, kau faiifi, mo e ngaahi kau hiva`, ke ako ‘a e hiva ‘o e ngaahi falelotu` koe’uhii, ke tau lava ‘o fe’iloaki tonu ai mo hotau ‘Otua` ‘i he’ene koloa misiteli ko ia, ko e le’o mo e hiva ‘a e Tangata`.

‘O mou fe-alelea’aki ‘a e ngaahi same`, 

mo e himi`,mo e hiva fakalaumalie`, 

mo mou hiva, mo ta ‘i homou loto`, ki he ‘Eiki`.

‘Efeso 5:19

Ko e fakamatala foki ia ‘oku pehe - Na’e kamata pe ‘a e fononga ‘a e Siasi faka-Kalisitiane`, ‘o fononga hiva pe, koe’uhii, he ko e Tui faka-Kalisitiane` ko e tui ‘oku hiva’i(Christian faith is a singing faith). Pea ke manatu foki, ko e ngaahi fakalelei lotu kotoa pe(religious revivals) na’e fu’u fakamafana’i lahi mo paotoloaki ‘e he hiva`, pea ‘ikai ngata pe hono malanga’i atu ‘o e Kosipeli`, ka na’e hiva’i tonu ‘a hono ngaahi fekau` ki he uho’i loto ‘o e kakai`, ‘e he kau malanga ‘o hange ko ‘Amopalosi`, Hasi, Lutelo, Zinzendorf, Uesile pea mo Muti, pea mo e kau malanga kehe tokolahi. ‘Io, ko e siasi mo’ui hiva`, ko ia foki ‘a e siasi fonu laumalie’iaa`(a spiritual church is a singing church). Pea mo’oni, he ko e kau Uesilee, ‘oku pehe ‘a e lau ki aii, ko e toko taha kotoa pe ‘oku ului mo mo’ui mei he’enau malanga`, ka ko e toko hongofulu ia, ‘oku mo’ui mo mafana mei he’enau hiva`. Pea ko e lau foki ia, ‘a e ‘iloa ko ia ko Tennyson, ko e himi lelei`, ko e toki me’a faingata’a taha ia he mamani ni ke tohi mo fa’u! Ka e pehe foki ‘e ha’a taukei he faiva fa’uu`, ‘oku ‘i ai pe ‘a e fo’i taimi ia, kuo ta’emapuke ‘a e peni` ia, ‘o hange ‘oku lakuna mai pe ‘a e koloa lea`, pe tu’ungafasi`, ke hiki mo tohi.

Tokua na’e hoko ‘a e me’a ko iaa`, kia Salesi Uesile`(‘oku mea’i ‘a e talanoa` ni ‘e he ni’ihi). Na’a` ne ‘i hono ‘ofisi` he ‘aho e taha. Fe’unga mo iaa`, ‘oku ava ‘a e matapa-sio’ata ‘o e loki`, kae tokua, na’e mafasia ‘a e loto ‘o e punake` he faingata’a faka-laumalie, ‘o ne fefilihaki ai ‘i hono loto`. Fakafokifa pe, ‘oku hu lele mai ha ki’i manupuna ki he loto ‘ofisi`, ‘i hono tuli tamate’i mai ia ‘e ha manupuna lahi mo fekai(hawk, falcon). Na’e ‘ikai ufi ‘a e ki’i manupuna` ni, ‘o ne mole mai pe ‘o tu’u he uma ‘o Salesi`, pea mei he ‘aho ngali faingata’a` ni, na’e ‘ikai mata’ofi ‘a e peni ‘a e punake` ni, ‘i hono tohi, mo fakalea ‘o e taha ‘o ‘ene ngaahi himi ongoongoa he Siasi faka-Kalisitiane`:

Sisu na’e polo’i mo’ou Jesus, lover of my soul,

Hoku laumalie` ni, Let me to thy bosom fly,

Sio ki he tahi hou, While the nearer waters roll,

‘Eku meimei ngoto heni. While the tempest still is high,

Puke, Sisu, ‘o fufu, Hide me, O my Saviour, hide,

Lolotonga ‘a e afaa: Till the storm of life is past;

Pea` u ma’u taulanga uu Safe into the haven guide,

Faaki ki ho fatafata. O receive my soul at last.

Ko e ngaahi himi malie lahi, ‘oku meimei ‘i ai pe, ‘a e ngaahi talanoa malie ‘oku fekau’aki mo honau ngaahi kamata’anga`. Pea ‘oku ‘ikai foki ke ‘uhinga ia ke te toki masila he tu’ungafasi`, pea` te toki hiva, ‘ikai. Ko e kau Kalisitiane tokolahi, ko ‘enau kamata hiva`, ‘anautolu, mei he hiva ‘i he ngaahi Himi ‘o falelotu`. Ko e ‘uhinga foki ‘o e lea himi`, ‘oku ‘uhinga ia ko e hiva ‘o e fiefia mo fakafeta’i(song of praise), ko ia, ko e fu’u tokolahi ‘o kitautolu, ko ‘etau fuofua hiva mo ako hiva`, ko ‘etau kau ki hono hiva’i ‘o e ngaahi himi ‘o Saione`.

Pea ko e lau foki ia ‘a e to’a ko Matini Lutelo`, tokua ko ia ‘a e tamai ‘a e ngaahi ngaue faka-himi ‘o e ngaue faka-‘evangelioo, ko ‘ene lau` eni – Ko e hoko pe ki he Folofola tonu ‘a e ‘Otua`(Tohi Tapu`), hoko ki aii, ko e tukunga faka’ei’eiki ‘o e musika`, ‘a ia ko e koloa lahi taha ia ‘o mamani`. Pea toe pehe ‘e Francis Schaeffer – Ko e takaua fisifisimu’a(wonderful companion) pe ‘o e Tohi Tapu`, ko ha Tohi Himi lelei. He ‘oku mo’oni, ko e faifekau` ‘oku` ne fafanga ‘a e takanga ‘aki ‘a e folofola ‘a e ‘Otua` mei he Tohi Tapu`, ka ko kitaua, ‘a tangata mo fefine, mo hotau koloa foaki mai ‘i he le’o`, mo e tu’ungafasi`, ‘ikai ko aa, ‘oku tau tokoni ki hono fakanonga, mo fakafiefia’ai ‘a e ma’unga-kelesi ‘o falelotu`, he ngaahi hiva malie ‘oku faka-kaukaua-’aki ‘a e lotu ‘a ha’a Tangata ki hotau ‘Otua`? He ko e ngaahi hiva ‘o e ma’ungakelesi`, tokua ko e ve’eteka ia, ‘oku lava fononga ai ‘a e feingalotu taki taha ke a’usia hono kaveinga ‘oku faka’amuaa`. 

‘Oku lahi ‘a e koloa mana ‘o e hiva`

Ke ne faka-nonga e monumanu fita’aa`

Pea` ne fakamolu e fokotu’unga maka`

Mo ne peluki, e ‘uuni ‘oke, kuo ha’i taha`.

Music hath charms

to soothe the savage beast,

to soften rocks,

or bend a knotted oak. (William Congreve)


Mei he Music, Instruments and Dancing – Holman’s Illustrated Bible Dictionary – 

Na’e hoko tatau pe, ‘a e manakoa ‘o e hiva`, mo e mafana ‘o e loto’i tangata` ‘i hono le’o`, fakataha mo e le’o ‘o e me’alea`, pea pehe mo hono fai ‘o e me’ee` mo e faiva`, ‘io, na’e vela mafana ai ‘a e kakai ‘o e Tohi Tapu`, mei he kamata’anga ‘o e lotu`, mo e fakafeangai ‘Otua ‘a ha’a Tangata`, ‘o hange pe ko ia ‘oku hoko he taimi lolotonga` ni. Pea hange ko hono fetuku mai ‘e he kakai ngauee ‘a e fua ‘o e ututa’uu`, ‘oku faka-hoko’aki mai ‘a e ngaahi hiva ‘o e ututau’u`(vintage songs, ‘Aisea 16:10; Selemaia 48:33), pea hange, ko e keli ‘o e ngaahi vaii`, ‘oku ongo mai ai pe ‘a e hiva, ‘o e fa’ahinga ngaue ko iaa`(Nomipa 21:17), pea vakai ange, ko e katoa pe ‘o e mo’uii ia, ‘oku kau ai pe ‘a e hiva`, mo e le’o ‘o e me’aleaa, pea mo e faiva`, ki hono fakangaholo mo fakama’anu ‘a e mo’ui ‘a e tangata` ke mafana mo loto vekeveke. ‘Io, ko ‘Isileli ia, mo hono tuku-faka-holo`. Kaa, ‘oka ko e laka ki he mala’e tauu`, pea foki mai mo e ikuna`, pea hiva mo taa ‘a e kau fefine ‘Isileli`, ‘o hange ko hono tali mai ‘o Tevita, hili ‘a e totau ‘a e Filisitia ko Kolaiate`. 

‘I he talamu’a(preface) na’e fai ‘e Tevita Tu’ipulotu Toutaiolepo, ki he Tohi ‘o e Ha’ele ‘A’ahi mai ‘a Kuini ‘Elisapesi II ‘o Pilitania`, mo e Tiuke ‘o ‘Etinipua`, ki Tonga` ni he ta’u l953, ‘oku lave ai ‘a Tu’ipulotu, ki he fasi’a-anga tatau matematee mo ia ‘o e kakai Tonga`, ‘o fekau’aki mo ‘enau ngaahi ngaue lalahi mo mamafa`, ‘o hange ko hono toho ‘o ha kalia pe tafa’anga ki tahi, pe ko hono toho mai ha alangafale lalahi(pou, etc.) ki kolo, pea na’a mo hono toho ‘o e makakafu ‘o e ngaahi fonualoto`, na’e angi’aki pe ‘a e hiva mo e tau’a’alo. Pea ta ko e hiva`, mo e me’aleaa mo e me’ee, na’e ‘ikai ko ‘Isileli pe, ka na’e kau ai ‘a Tonga, pea ta ‘oku ha mai, ko e koloa` na, ‘a e hiva` mo e me’aleaa, faiva` mo e fiefiaa, ko e ‘uuni me’a’ofa ‘a e ‘Otua` ki he fa’ahinga ‘o e Tangata`, ke ve’eteka ai, mo faka-faingofua ‘a e mo’uii` ‘i he fai ‘o ‘ene fea-nga-inga mo hono ‘Otua`

‘Oku ‘ikai pe lava ke vete’i, pe fakamavae’i ‘a e mo’ui ‘a e Tangata` mei he hiva` mo e ongo ‘o e me’aleaa. ‘I he tohi Senesi` 4:21, ko e fuofua lave ia ‘a e Tohi Tapu` ki he hiva` - Ko e taha ‘o e ngaahi foha ‘o Lemeki`, ko Siupale, ko ia ia ‘a e ‘uluaki tangata na’a` ne ta ‘a e haape`, mo ifi ‘a e mimiha`. Pea ko e hu mai ia ‘a e hiva` mo e me’alea` ki he ngaahi ouau ‘o e mo’ui faka-e-matakali ‘a e Tangata`. Ko e hingoa “Siupale`” ‘oku felave’i ia mo e lea Hepelu ko ee ki he lami`(ram, yovel), pea manatu, ko e me’atui(horn) ‘o e lami`, ko ia ‘a e me’alea pe me’aifi ‘oku fai’aki ‘a e uii`, pe fanongonongo`, ‘i he mo’ui faka’aho ‘a e kakai ‘Isileli`. 

Ka na’e toe faka’ilonga kovi pe foki, mo e hiva` ‘i ‘Isileli. Na’e tuputamaki lahi foki a Mosese, ‘i he’ene foki mai, hili ia ‘ene fe-folo-folai mo e ‘Otua`, mo hono hiki tohi ‘o e Fekau-e-Hongofulu`. Kuo talitali kovi atu ‘a ‘Elone mo e kainga`, kuo nau konaa mo meleketu atu he me’ee`, mo e tau’olunga ki honau ‘otua fo’ou, ko e Kafi Koula`. Faka’uta ki hono laiki ‘e Mosese ‘a e Maka ‘o e Fekauu`, ‘a ee na’e tohi’aki ‘a e afi ‘e he Peni Mafimafi ‘a e ‘Otua`. Ta ‘oku toe hoko ‘a e hiva kovi`, ko e kofukofu ‘o e ‘uli mo e palakuu`, pea na’e ‘ikai hama ‘a e Tonga ‘o e ‘aneafi`, he sipinga hiva mo e meleketu ko iaa. 

‘Io, na’e huluni holo pe ‘a e ‘uli` mo e kovi` he ngaahi hiva ni’ihi ‘i Tonga, pea pehe pe mo mamani lahi, ‘o kau ai pe, mo e kau punake lalahi ‘e ni’ihi ‘o ‘Eulope`. Na’e ‘ikai mama’o ‘a e ngaahi maumau ko iaa`, mei he ngaahi ta’anga Lakalaka ni’ihi,pehe mo e ngaahi Hiva Kakala ni’ihi. Na’e fakalea ha fo’i fakakaukau, ‘i ha lea kehe, ka na’e ‘uhinga ia ki he me’a kehe, pea na’e lava pe ia ke ngali ta’e-faka-tokanga’i, he na’e fa’a poto pe foki ‘a e kau heliakii` ‘i hono fakakofu ‘o e ngaahi fakakaukauu`.

Manatu foki, ko ‘etau tefito’i fakakaukauu`, ko e ‘Otua` mo e Hiva`(teolosia ‘o e hiva`)‘Oku tau tui na’e ‘ikai hualela ha kovi, ‘o hiva’aki ‘i hotau ngaahi falelotu` he ngaahi kuonga atu ko ee. Na’e fa’u hiva pe ‘a e kau punake ni’ihi, ‘i he lea faka-Tonga` ki he ngaahi ma’ungakelesi ‘o falelotu`. Ne hoko mai ki he kuonga ‘o e ako tu’ungafasi ‘a e ngaahi kolisi`, pea hu mai mo e ifi palasa`, pea hiva faka-tu’ungafasi ‘a e kau tangata tokolahi tautefito, ki he kau tangata ako ‘o e Kolisi Tonga` mo e Kolisi-ko-Tupou`, pea pehe mo e ngaahi ako kehe`. Na’e fakatu’ungafasi ‘e he kau tangata masila he musika` ‘a e ni’ihi ‘o ‘etau ngaahi Himi`, pea ‘oku kei ngaue’aki mai ‘a e ngaahi fasi malie ‘o e ngaahi himi ko ia hotau ngaahi ‘aho`. Na’e maa’imoa foki he tu’ungafasi` ‘a hou’eiki, ‘o fa’u ‘a e ngaahi hiva lalahi ange hange ko e “Matapa ‘o ‘Iteni`” mo e “’Alamoti`”, pea kimui mai ‘a e ngaahi hiva fakalotu lahi mo ‘iloa, ‘o tauhi’aki ‘a e ngaahi ma’ungakelesi` ‘o hange ko e “Pule’anga ‘o e Langi`” mo e ngaahi hiva ‘o e “Fakaleleii`”, etc. Talaatu, ko e teka malohi, pea ma’anu ‘a e va’e ‘o e ngaue ‘a e Siasi`, ‘i hono fakalato ‘e he ngaahi hiva malie ‘o e le’o ‘o e Tangata` mo ‘ene me’aleaa`.

THE SACRED IN MUSIC by Albert L. Blackwell

Ko e Lotu`(religion) mo e hiva`(music) ko e ongo ma’u’anga ivi ‘oku` na feongoi felatani(complementary resources) ki hono fakahaa’i pe fakamahino’i ‘a e kano-loto ‘o ‘etau mo’ui`. He ‘oku hanga ‘e he hiva` mo e lotu` ‘o fakahaa’i ‘a e “toputapu`”(sacred) ‘i he ngaahi founga, ‘a ia, ‘e malava ke fakasino mai ki tu’a, pe hiva’aki mai. Pea ‘oku tui ‘a e tokolahi, ‘oku hanga ‘e he lotu` mo e hiva` ‘o tokoni’i kitautolu, ke tau fakahounga’i mo mahu’inga’ia ‘i he lahi kafakafa ‘o e ‘Otua`(God’s greatness).

Naught exists without voice: God hears always

In all created things his echo and his praise.

(Angelus Silesius)

‘Oku ‘ikai ha me’a mo’ui, ‘e ta’e ha no le’o, 

ka ‘oku fanongo mai e ‘Otua he taimi kotoa pe

He, ‘i he me’a fakatupu kotoa pe, 

ko hono hikule’o` ia, mo hono fakamaloo. (Angelus Silesius)

‘Oku fakamanatu mai ‘e Eric Routley – “Na’e fa’ele’i hiva mai pe ‘a e matakali ‘o ha’a tangata`, ka na’e ‘ikai fanau’i Kalisitiane mai kinautolu.” – The human race was born singing but was not born Christian.

Ko e tukufakaholo ‘o e Siasi faka-Kalisitiane`, talu mei a Sangato ‘Okusitino(Augustine), na’e taku ‘a e hiva` ko e mo’oni faka-Sakalameniti ia(sacramental experience) ‘o pau ko e lea`, mo e ‘uhinga ‘o e hiva ‘oku faii`, ‘oku faka-Tohitapu, pea ‘oku` ne kau tonu ki he litesia ‘o e lotu ‘oku faii. Pea ko eni ‘a e lau ‘a e Konisitutone ‘o e Litesia Toputapu`, ‘i he Vatikani hono 2, ‘i he l963, ‘o ne viki’i ‘a e hiva`, ‘o pehe –

“Ko e tukufakaholo faka-e- hiva ‘o e Siasi faka-‘univeesi`(universal Church) ko e koloa ta’emalau hono mahu’inga`, ‘o hulu ange hono mahu’inga`, ‘i ha toe poto pe faiva kehe ange(of any other art). Pea ko eni ‘a e tefito’i ‘uhinga ki aii, He ‘i hono ha’i atu ‘a e leaa`, ki he fasi toputapu` na, ‘oku fakahoko ‘inasi mai ai, ‘a e litesia toputapu mo kakato ‘o e feinga lotu ko iaa. Ko ia ai, ‘oku tupulekina ‘a e toputapu ‘o e hiva fakalotu`, ‘o ne a’usia ‘a e tu’unga, ‘e lava ai ‘o ta’emavete ‘a e mo’uii, mei he mo’oni ‘o e ongo fakalotu ko ia kuo ongona ‘i Saione`, pea` ne fakafonua ‘a e mo’uii ke mo’ui mo ongo’i lotu`(prayerfulness), pea sima’i ai foki pea mo e uo-ua-nga-tahaa`(solidarity), he kainga lotu`, pea paotoloaki foki ai, mo e ngaahi ouau tapu`, ‘i ha ma’olunga ‘oku fu’u toputapu.

Na’e pehe ‘e ha faihiva ‘o ha siasi fakakolo – “’Oku ongo mo’oni ki hoku loto` ‘a e mamafa mo e toputapu ‘o e fakakaukau faka-litesia ko ia kuo fakamatala’i ‘i ‘olunga.` Pea mahino kiate au foki, ‘a e to-nou-nou ‘o ‘eku ngaue`, mo e tokanga ‘oku fai ki he kauhiva ‘a e Siasi`.”

Na’e fa’u ‘e Sangato ‘Okusitino ‘a e tohi vete(commentary) ‘o e Saame 33(‘a ia ko e Saame 32 ia he Vulgate), pea ‘oku feinga ‘a ‘Okusitino, ke ne lave ki he mahu’inga fakalaumalie ‘o e me’a, ‘oku` ne ui ko e Jubilus. Pea ‘oku ‘uhinga ‘a e jubilus, ko hono hua’i mai ta’e faka-anga-anga mei he loto ‘o e tangata`, ‘a e fakafeta’i` mo e fiefia` ki he ‘Otua`(mahalo pe, na’a ‘oku ofi eni he fakakaukau ‘o e To-‘a e-‘Ofa ‘i Vava’u`) kaekehe, ko e mafana vela he loto ‘o e tangata`, ‘o ne hiva mo valelau he ‘ofa mo e langilangi ‘o e Ta’ehamaii`. Tuku mu’a ke u hiki atu ‘a e fakamatala` ni, he lea faka-Pilitania`, ke toe mahino ange ai:

Sing in jubilation – singing well to God means, in fact just this: singing in jubilation. What does singing in jubilation signify? It is to realise that words cannot communicate the song of the heart. Just so singers in the harvest, or the vineyard, or at some other arduous toil express their rapture to begin with in songs set to words; then as if bursting with a joy so full that they cannot give vent to it in set syllables, they drop actual words and break into the free melody of pure jubilation. The jubilus is a melody which conveys that the heart is in travail over something it cannot bring forth in words. And to whom does that jubilation rightly ascend, if not to God the ineffable? Truly He is ineffable whom you cannot tell forth in speech; and if you cannot tell Him forth in speech, yet ought not to remain silent, what else can you do but jubilate? In this way the heart rejoices without words and the boundless expanse of rapture is not circumscribed by syllables. Sing well unto Him in jubilation.

Ko ia leva, ‘oku mahino mai hono hanga ‘e he fai Teolosia lahi` ni(‘Okusitino) ‘o langi’i mai ‘a e mahu’inga fakalaumalie ‘o e hiva`. Pea toe lave mai foki mo John Calvin, ‘o ne lave ki hono mahu’inga fakalaumalie ai pe, ‘o hono fai ‘o e hiva`(singing) ke fetakinima mo e ngaahi ouau kehe ‘o e litesiaa`.

‘Oku kei hoko pe ‘a e hiva`, ko e lea fakalilo ia, ‘oku` ne unufoo, ‘o ne katoi ‘a e ‘elito ‘o e tapuhaa`, neongo hono ta’e-ma-a’usia ‘e he tokolahi, ‘o ne hoko ko e koloa ‘oku ta’e-ma-haku-lea………..’Oku ‘ikai malava ‘e ha taha, ‘o ‘auliliki kakato ‘a e ivi mafai ‘o e hiva`, pea ma-sive-siva ange, ‘ene fekau’aki mo e fakakaukau ‘o e toputapu` mo hono ‘uhinga faka-e-sakalameniti`(everything that is sacred and sacramental).


‘Oiau, ‘a e ifo melie ‘o e katoanga`! 

Hoko tonu e ‘Otua`, hange` ni, uaine mo’onia`

Ko e maa`, he tepile`, le’o e hiva`

‘O sevaniti ‘e Ia, lolotonga ‘eku mamaa.`

(and the server when I dine)

Na’e kolenga ‘a Sione Kalavini ki he kau lautohi`, ke nau fakalaulauloto ki he ‘Otua` mo ‘ene ngaahi ngaue`, koe’uhi` he ‘oku` ne ngaue mai, mo ofi kiate kitautolu ‘o ne lave tonu mai, pea ko e ngaue pau ko ia ‘a e ‘Otua`, ko e hiva` leva ia. Pea te tau lave ki he hiva`, ‘i he’ene kau ki he faka-laulauloto`(contemplation) pea mo ‘ene lave tonu mai ‘a e ‘Otua`, ki he tangata`, ‘i he ‘uhinga mo e fakakaukau ‘oku “faka-e-Sakalameniti”(sacramental). Tau feinga ke mahino ange ‘a e me’a ‘oku tau lea ki aii:

Ko e lea misiteli`(mystery), pe musterion ‘i he lea faka-Kalisi`, ‘oku ma’u mei ai ‘a e lea faka-Latina ko e sacramentum ‘a ee ‘oku tau ma’u mei ai ‘a e lea sacrament mo e sacramental(sakalameniti` mo ha me’a ‘oku ‘uhinga faka-e-sakalameniti). Pea ko e lea faka-Kalisi ko ia ko e musterion, na’e ‘ai ia, ki he lotu misiteli`, pe ko e kulupu fai-faka-mo’ui ‘o e lotu na’e ‘iloa ‘i Kalisi ko e Hellenism ‘a ia na’a nau fakakaveinga, ke tauhi malu mo faka-lilolilo ‘enau ngaahi to’onga fakalotu`. Pea ko e fakalilo ko ia ‘a e Hellenisim, ‘oku laine tatau mo ia, ‘a e fakakaukau ‘a e tangata ‘iloa ko ia, ko Schleiermacher, ‘i he’ene lave ki he muse of harmony(‘a ia ko e fa’ahinga ivi ia ‘oku` ne ue’i, ‘a e loto mo e fakakaukau ‘o e kau punake`, ke nau fa’u hiva mo fakafasi), pea ko e ivi mo e fakakaukau ko iaa, ‘i he’ene panaki, mo ofi mai ki he lotu`, ‘oku kei tu’u faka-misiteli ai pe ia, ‘o ta’e lava ke mavete. 

Ko hono ngaue’aki ‘o e musterion ‘i he Fuakava Fo’ou`, ‘oku faka’uhinga ia ki hono tatala mo fakae’a, ‘a e ngaahi kaveinga pe taumu’a ‘i he finangalo ‘o e ‘Otua`, tautefito ki he ngaahi kaveinga faka-tatala-pulonga`(ultimate or eschatological intention). Pea ko hono ‘uluaki liliu ‘o e sacramentum ‘i he lea faka-Latina`, na’e 

fakafoki hono ‘uhinga`(harkened back to) ke lave ai ‘a e fakakaukau, ‘o e fakakau mai pe tali mai ha taha ki ha kautaha, pe ko e fakahu mai ha taha ki he Siasi`, ‘o hange ko ia ‘oku fai ‘i he Sakalameniti ‘o e Papitaiso`.

‘I he pule’anga hau ‘o Loma`, na’a nau ngaue’aki ‘a e sacramentum ‘o hange ko ha kupu’ilea faka-tekinikale ia ki ha fuakava ‘a e kau sotia ‘o e pule’anga hau` na, pea nau toki hoko ki he laine tau`. Manatu ki he kava ‘o Taufa’ahau mo e Tau Tahi` ‘i ‘Atataa`, mahalo ko e fakakaukau ngali vaofi nai. Pea ko ia pe foki, ne puke mai ‘e he Siasi faka-Kalisitiane`, ‘o taki mai, ‘o fenapasi lelei mo e faka’ilonga’i ‘o hono tali mo fakahu mai ‘a e kau memipa fo’ou ‘o e Siasi he Sakalameniti ‘o e Papitaiso`, kau ai ‘a e Fakahu Lotufehu’i`, ‘o a’u ai pe ki he Hilifakinima ‘o ha’a Faifekau`, pea pehe ki he fakatoputapu’i ‘o e Mali`, pea pehe ai pe, ki he Hilifaki Kalauni ‘o ha’a Tu’ii, ‘oku katoi katoa kinautolu he faka’uhinga’i ‘o e musterion mo e sacramentum. Kaikehe, ko e lau ia ‘a Schleirmacher, ‘o ne pehee……..’Oku faka-e-natula fe’unga pe ia, ke ’ilonga ha lea pe fakakaukau kuo ohi mai mei ha naunau kehe, ‘o ngali ‘oku muli ia ki he Teolosia`, pea ‘oku ‘ikai leva, ha no fakangatangata pau hono ‘uhinga` ‘ona ia(it is natural enough that a term taken over from a realm wholly foreign to theology should have no exact delimitation). Pea ko ia pe foki ‘a e lau ‘a Philip Sherrard ‘i he Early Christian Language ‘o pehe, ko e sacramentum na’e ngaue’aki ia, ‘o hange ha sio’ata teuteuu`(mirror) pe ko ha me’alele(vehicle) ‘oku vaka mai ai ‘a e ‘Otua` ki ha’a tangata`, pea malie foki mo e ta’ota’o mai ‘a McBrien ‘o ne pehe, ko e fetu’utaki kotoa pe ‘oku fai mo e ‘Otua`, ‘oku fakamisiteli mo ongo faka-e-sakalameniti ‘a e feohi ko iaa.

‘Io, ‘oku hanga ‘e he hiva`(tu’ungafasi`, lea`, fakataha mo e le’o malie ‘o e tangata`) ‘o fai ‘a e me’a ko eni – ‘oku` ne ngaue’i mai, mo fakahaa’i mai, ‘a e toputapu`, pe ma’oni’oni`(‘o e ‘Otua`), ‘i he ngaahi founga pau mo mahino(music serves and manifests the sacred in different ways…..) kae pango`, he hange na’e, pea ‘oku kei fai` ni pe, hono ta’e fakatokanga’i ‘e he ngaahi ako’anga faka’atamai`, pea pehe pe, mo e ngaahi ako’anga ‘a e Siasi`, ‘a hono toputapu ‘o e koloa poto ‘o e musika`, kae hange ko e me’a lahi pe mo mamafa ange`, ke te poto pe hono ngaahi sivi`, pea mo lava ke ifi mo ta ‘a e me’aleaa, pea tau fiemalie ai(the profoundly erroneous abandonment of musical philosophy by the centres of religion). Pea ‘oku fakatokanga’i foki ‘e Lawrence A. Hoffman, ‘o ne pehe, ko e fatongia ko ee ‘o e musika` pe hiva` he ngaahi falelotu mo honau ngaahi ma’ungakelesi`, ‘oku ‘ikai fai ha fekumi fakatotolo ia ki ai, pea ‘ikai pe ke talanoa’i mo alea’i mo fevakai’aki(role of music in contemporary worship is practically unresearched and undiscussed). Mahalo pe ‘oku mo’oni nai ‘a e ngaahi to-nou-nou` ni, kae manatu foki, ‘oku kei si’i nai ‘apee, ha ngaahi sikolasipi kuo ako fakahangatonu ai hatau ni’ihi, fekau’aki mo e kainga fengaue’aki(interrelating) ‘o e lotu`(religion) pea mo e hiva`(music). 

Manatu’i ‘a e lau na’e fai ‘e Eric Routley kimu’a atuu – Na’e fanau’i hiva mai pe ‘a ha’a tangata, kae ‘ikai fanau’i Kalisitiane mai.

‘Oku ou tui, ‘e ‘ikai mahino ngofua, ‘a ‘etau pehe ‘i mu’a atu, ‘oku faka-e-Sakalameniti ‘a e hoko mai ‘a e koloa ‘o e Hiva` ki he tangata`. Pea na’a tau lave foki ki he tali ‘e Longani, ‘a e fuofua kava(fuakava) ‘a ee na’e uiaki mo tu’uaki ‘i ‘Atataa`, ke fai mai ki ai ha pole. Pea mahalo pe foki, ne nau fe-mo’u-e-kina he tauu`, ‘i he kolotau ko Hule`, kae ‘ohovale pe, kuo pa mai e kaila mo e fakaulu, he kuo ta-e-‘uluafi`, pea tokua, na’e ‘eke’i atu, pe kohai ‘oku fakaulu mai, pea ko e lea na’e ongo maii – “He kuo ngalo ‘a e kava ‘i ‘Atataa?” Ko e kava ia na’e tali, pea matua’i, pea inu foki, ‘o hange ko e tali ‘e he sotia Loma` ‘ene kava`, ka ne tau ma’a e fonua`, mo e ‘Emipola`. Mahalo pe, na’a ‘oku faka-sakalameniti ha no ongo, mo ha no ‘uhinga faka-e-loto, ‘a e tali mai ‘o e sino, mo e ta’ata’a ne tafe`, kae fakafo’ou, mo toe paotoloaki ai, ‘a ‘etau ‘ofa mateaki ma’a hotau ‘Eiki ‘ofa`, pea` ke tui foki, mo ke fai ha’o fakafeta’i.

‘Io, ‘e ngali muli pe nai ‘a e lau sakalameniti ki he hiva`. Ka ko e hiva`, ko e hiku- hikule’o ia ‘o ha fungani faka’ofo’ofa ‘oku ‘o e taukakapa`, pe ‘o e ta-upe-upe-atu-fau`(music as is of echoing trnscendant beauty), pea ko e hiva` ai pe, ‘a e halanga tapuaki mai ‘o e koloa faka-langi ki ha’a tangata. Pea ‘i he’etau fakalea pehee, ‘oku tau ofi ai ki he ‘uhinga faka-e-sakalameniti(sacramental) ‘o e fatongia mo e koloa hiva ki hotau ‘Otua`. Pea ko e lea sacramental foki, ko e hoa nauna ia (adjective), pea ‘e hanga ‘e he tu’unga hoa nauna ‘o e lea sakalemeniti` ni ‘o fakamatala’i mai, pe fakasino mai ki he misini ‘uhinga loto ‘o e tangata`, ha fa’ahinga a’usia tatau mo ia(familiar experiences) ‘a ia kuo tau masiva lea kitautolu, ke faka-hingoa-’aki. Yes, music is sacramental! ‘Io, na’e fanau’i hiva mai pe kiatutolu ia, pea tau toki lotu faka-Kalisitiane`(Eric Routley).

The Sacred in Music – Albert L. Blackwell(ai pe)

Ko e loto mafana` pea mo e ‘uhinga`, faka-e-hiva` mo faka-e-lotu`(emotional and meaning, musical and religious).

Ko e tala tukufakaholo(tradition), ‘a ee ‘oku` ne lave ki he ngaahi ‘ausia ‘o e mateliee, mo e ongo faka-e-kakano`, pea mo e me’a ‘oku lava ke ongo’i` ‘e he telinga, hange ko e lea` pe hiva`(material, senusal and audible experiences) ‘oku taku ’o pehe, ‘e lava pe ke nofo he fakakaukau ‘o e ‘uhinga faka-e-sakalameniti`(potentially sacramental). He ko e fakakaukau ko iaa, ‘oku lave hono tupu’anga` mei he fakakau faka-Tohitapu`, ko e fou mai mei a Taionisiusi(Dionysius). Ko Taionisiusi`, ko e fai teolosia ‘i he fa’ahinga kakai ‘oku nau vivili atu, ke fe’iloaki mo e ‘Otua` mo hono ngaahi mo’oni fakalaumalie`, ‘i he’enau mo’ui lotu lilo, mo fa’a fakalaulauloto(mystical theologian).

Pea ‘oku faka-ava-’aki ‘e Taionisiusi ‘ene tohi ‘oku ‘iloa ko e “Fakahokohoko ‘o e tu’unga faka’ei’eiki ‘o Hevani`”(The Celestial Hierarchies), ‘o ne ngaue’aki ‘a e lau mei he ‘Ipiseli ‘a Semisi`, vahe 1 veesi l7 – “’Ilonga ha foaki lelei, pea ‘ilonga ha me’a’ofa haohaoa, ko e ‘alu hifo pe ia mei he Tamai ‘a e ngaahi maama`, ‘a ia ‘oku ‘ikai ‘i he ’Ene ‘Afio` ha feto’oaki, pe ko ha nenefu tupu ‘i ha’a` ne liliu.” ‘I he Tohitapu faka-Papalangi`, ‘oku ngaue’aki ai ‘a e “every good gift” ki he “’ilonga`”, pea fai ‘a e fakamamafa ‘a Taionisiusi` ‘i he fakakaukau faka-e-sakalameniti ‘o e ongo faka-e-kakano`(sacramental importance of sensual experiences), ‘o ne pehe – 

“He’ikai lava ‘i ha founga, ke fakahangatonu’i ki he ‘atamaii, ‘a e

koloa fakalaumalie`, pea mo e tokanga ‘a e holonga ‘eiki ko ee ‘o Hevani`, 

kae ‘oua pe, ke ngaue’aki ‘a e ‘uhinga fakamatelie`, ‘a ee ‘oku tuha malie mo iaa`, ke lave mo mo kau ki he ngaahi faka’ofo’ofa`, ‘a ia ‘oku nau ha mai ko e ‘imisi 

‘o ha faka’ofo’ofa ta’ehaa, ‘a e ‘inisenisi kakala, ‘a ia ko e fakatata ia ‘o

e ngaahi koloa fakalaumalie kuo tufa maii, pea ko kinautolu`, ko e ngaahi

fofonga’i maama ‘o mamani, ko e faka-sino mai ai ia, ‘a e maamangia ‘oku 

ta’e faka-matelie.”

Pea hanga leva ‘e Taionisiusi, ‘o fakalea fakamahino, ‘ene mahino ta’e-faka-ngata-ngata ko ia`, ‘a e anga, mo e mahino faka-e-sakalameniti ‘a e me’a kotoa pe(sacramental encounter) ‘o ne pehe: “Ko e ngaahi fakakaukau toputapu(pe ma’oni’oni`), ‘e lava ia ke ma’u mai, mei he me’a kotoa pe”(holy contemplations can therefore be derived from all things), ka ‘e ‘i ai nai pe, ha loto tala’a, pea tau fehu’ia, pe ’e lava fefe, ketau ma’u ‘a e fakakaukau pe faka-laulau-loto toputapu mo ma’oni’oni`, mei he ongo ‘o e nota ‘o e tu’ungafasi? Vakai ki he Himi ‘iloa` ni, ‘o e Lotu faka-Kalisitiane` - “He masani ‘o e Fonua`”(for the beauty of the earth), pea ‘oku hanga ‘e he himi faka’ulia` ni, ‘o lakuna mai ‘a e naunau ‘o e ‘univeesi`, (ka ko e ‘Otua ai pe ia):

For the joy of ear and eye,

for the heart and mind’s delight,

for the mystic harmony

linking sense and sound and sight,

Christ our God, to thee we raise

this our hymn of grateful praise.

Ka ‘oku fokotu’u mai ‘e he ngaahi laine malie` na, ‘a e fakakaukau fekau’aki mo e fehu’i ngali faingata’a ne tala-humaki mai ‘i ‘olunga`, ‘a ia ko e ‘eke maii, pe ‘oku fekau’aki fefe ‘a e ongo fakalotu`(religious sense) mo e ongo ‘o e telinga`, pea mo e mamata`(sound and sight)? Ka ko e Mystic harmony foki, ko e felatani malie ia ‘a e ngaahi fa’ahi ongo`, kae pulonga pe ia he kapukapu ‘o e misiteli`, ‘o ta’emalava ke ui ha no hingoa, pe ko hano talanoa fakamahino, kae mahino pe, ‘ene o’o he loto` mo e ‘atamai`. Ka ‘e fefe leva ‘a e ongo ‘o e nota ‘o e tu’ungafasi ’a ee, te ne lava ke ‘omai ‘a e ongo’i fakalotu? ‘Io, kapau leva ‘e faka-kofu-’aki ‘a e nota ‘o e tu’ungafasi` ha lea ‘oku taau mo tuha mo e Kosipeli`, pea ‘oku lava lelei pe hono fatongia`, pea tuha faka-katoa ‘a e ngaue ‘a e kau hiva`, mo e toputapu ‘o Saione`.

Tuku mu’a ke tau vakai ki he tali na’e fai ‘e Romain Rolland kia Sigmund Freud(neongo na’e hoko a Freud, ko e fili ‘o e Lotu`, pea ‘ikai oli kiate kitautolu ‘ene ngaahi fakakaukau lahi), ka ‘oku ‘i ai ‘a e fakakaukau malie ‘a Rolland ‘i he’ene tohi kia Freud – Ko eni ‘a e fakalea ‘o e fakakaukau`, ‘o lave ki he hiva` - ‘o fekau’aki tonu eni mo e ma’u’anga totonu ‘o e ngaahi ongo fakalotu`(true source of religious sentiments), he ko e ongo ko iaa, ‘oku ake pe ia he loto`, mo e fakakaukau ‘a e tangata` he taimi kotoa, pea ‘oku femahino’aki ai, mo tui ki ai ‘a e kakai tokolahi, pea ‘oku ‘i ai ‘a e tui, ‘oku laui-miliona ‘a e kakai ‘o mamani, ‘oku nau lava sio mo fakakaukau ki ha misiteli pehe, pea tokua, ko e ongo mo e fakakaukau ko iaa, ‘e lava ke mahino, ‘o pehe ‘e Rolland, a e ongo mo e fakakaukau ko ia`, ko e velenga-ongo ‘o ‘Itaniti(a sensation of eternity), ko e ongo ‘oku ‘ikai hano ngata’anga(limitless), pea ‘ikai fakangatangata ‘e ha kau-’a-fonua(unbounded), pea ‘oku` faka’osi’aki ‘e Rolland, tupu mei he’ene masiva lea`, ke fakahingoa’aki ‘a e ongo faka-e-loto ‘o e hiva`, pea` ne pehe kuo hange` ni ha ‘oseni(as it were “oceanic”). ‘Oku malie ‘a e fetalanoa’aki ‘a e ongo tangata` ni, he kuo hiva-kava-’aki ‘i Tonga ha fa’ahinga me’a kuo fu’u lahi mo hulu, pea tala ia, kuo hange ha ‘oseni` hono ta’e-ma-a’usiaa`, hange ha tahi`(oceanic,vast,etc.).

Pea ko e fakakaukau ko ia ‘a Rolland, na’e pehe ‘a e mahino, na’e ‘ia Sangato ‘Okusitino`(St. Augustine) he ko e ongo ia ‘a ‘Okusitino ki he hiva` mo e le’o ‘o e tangata`, ko e ‘imisi-faka-e-‘oseni(oceanic imagery), he ko e velenga-ongo faka-e-‘Itaniti ko ia ‘o e hiva`, na’a` ne fafangu a ‘Okusitino mei he’ene vaivai mu’aa`, ‘o lave atu ki he ongo ‘o hono telinga`, mo e fakakaukau ‘o hono loto`, pea pehe mo hono lo’imata`, ‘i he taimi na’a` ne fakatomala’i ai ‘ene ngaahi angahala`, ‘o ne liliu ai ki he lotu`(Augustine uses to express sounding music’s effect upon his ears and heart and tears at the time of his religious conversion).

Kuo tau talanoa mai foki eni ki he ongo fakamafana ko ia ‘o e hiva`, mo e lotu`, mo hona ‘uhinga`, ‘a ee ‘oku takina ai kitautolu, ke tau a’usia ha tefito’i ongo ‘oku tautakele ‘a hono mo’oni fakalotu`, ‘a e ongo mo e mafana ko ia, ‘a ee ‘oku faka-e-‘osenii`, ‘a ia ‘oku` ne kafai mo ne haukafa ‘a e tui falala`, ‘i ha ha’i, ‘oku ta’emavete. Ko eni ‘a e lau ‘a Walhout ‘i he “Augustine on the Transcendent in Music”, ‘oku` ne pehe – “’Oku fa’a lau ‘a e kakai`, ‘o pehe, ko e ngaahi fa’u hiva(musical compositions) ‘oku hange ha tau’olunga`(pe me’e, dancing), ‘o ‘asinisini mo nonga(serene), pea hou mo hoha’a(agitated), pea fakamamahi(sad), pea faka-kavea-loto mo hakailangitau(ecstatic), pea kaupo’uli mo faka-umi-umi-noa(sombre), pea hange ha mate’anga`(death-like), pea fonu fiefia(joyous), pea ‘ikai ha malolo pe nonga(restless), pea laulotoa(pensive), pea loloto(deep), pea fiefia ‘o hakailangitau(exultant), pea, ‘e ‘ikai kei hoa-nauna ‘aki, pea ‘e ‘osi, mo e ngaahi kupu-kupu-’ilea faka-hoanauna`, ‘e ‘ikai topono ‘a e loto`, mo ‘ene puha fa’o’anga lea`, ke fakamatala’i ‘a e koloa` ni(and by a thousand other adjectives and adjectival phrases).

Ko e lau foki ia ‘a Thomas Twining, ‘i he fakamatala na’a` ne fai ‘o kau kia Aristotle, pea ko Thomas Twining, ko e tangata fa’u ‘esei ‘o e senituli hongofulu-ma-valu`, pea ko eni ‘ene lau fekau’aki mo e ao-fanga-tuku ‘a Aristotle kau ki he hiva` – “Pea na’a mo e tu’ungafasi kuo te’eki ke fakalea`, ka ‘oku fotu mai pe hono teunga(expression), pea ‘oku tokolahi ‘a e tui ki he fakakaukau ko ia`, pea kau foki ai ‘a e ‘iloa ko Soren Kierkegaard ‘i he’ene lave ki he konga talateu(overture) ko ia ‘a Mosa’ati ‘i he’ene fasi ‘iloa ko ia ko e Don Giovanni, ‘o pehe ai ‘e Kierkegaard – “’Oku fonu mafai mo ivi’ia ‘a e konga tu’ungafasi ko iaa`(overture) ‘o hange ko ha lea, pe le’o ‘o e ngaahi ‘otua`(gods’ ideas,voices), pea ‘oku ongo fakamaveuveu ‘o hange ko e mo’ui a mamani`(turbulent like a world’s life), pea ongo fakamamahi mo faka-kafo-loto he’ene to-to-kaki maii(harrowing in its earnestness) pea toe tatupe mo tautaa takai holo ‘i he’ene anga holi mo ango’ii( palpitating in its desire) pea anga laiki mo momosi ‘i he to mai ‘ene tuputamaki`(crushing in its terrible wrath) pea longomo’ui mo sekisekia ‘i he fiefia kuo totu’a(animating in its full-blooded joy), pea ‘oku toe ongo nge’esi ‘i he’ene fakama’opo’opo ao-fanga-tuku`(it is hollow-toned in its judgment), pea toe ongo le’o kikii ‘i he’ene loto faka-e-kakano`(shrill in its lust), pea ‘oku toe mafatukituki mo faka’ei’eiki ‘i he’ene langilangi’ia mo faka-mafana loto`(ceremonious in its awe-inspiring dignity), pea ‘oku ne uesia ‘a e loto`, ke mafana(stirring) pea` ne hoko atu, ke ulo mo puho ‘i ha mafana ta’e faka-tata-ua(flaring) pea talu ai ‘ene me’e mo tau’olunga ‘i he’ene fiefiaa`(dancing in its delight).

Divine artistry and Human artistry – Albert L. Blackwell 

Oku ‘uhinga ‘a e Divine artistry- ko e ngaue pe poto mea’a faka-Langi pea ko e human artistry ‘oku ‘uhinga ia ko e ngaue pe poto faka-e- tangata,’a e tapinga-‘a-maama` ’a pee. Mahino pe ia, na’e ‘i ai ‘a e kakai mo e ngaahi fonua, na’e faikovi’i ai, ‘a hono ngaue’aki ‘o e hiva` mo e me’aleaa. Na’a tau ‘osi lave pe ki ai ‘i mu‘a atu, koe’uhi ko e mahino kiate kitautolu ko e hiva`, ko e toe founga pe ia ‘e taha, ‘a hono fakahoko atu ‘a e talanoa loto`, mo e fakakaukau ‘a e tangata`, ‘o kau ki ha toe me’a kehe. Ka ke tau foki ki he Divine artistry mo e Human artistry.

Na’e tui ‘a e poto mate-ma-tika Kalisi, ko Paifakolasi(Pythagoras) ki he mahu’inga lilo mo ta’eala tataea, kae vivili hono mo’oni`, mo e ‘uhinga faka-e-poto ‘o e hiva`(music)

Ka na’e ‘i ai pe foki, ‘a e hu’uhu’u he loto Siasi`, ‘o kau ki he ngaahi hiva ni’ihi, ‘o hange na’e ‘ikai ko ha me’angaue tonu ia ki he ngaahi ma’ungakelesi`, ka na’e ‘ikai faingofua hono faka-tala-tala atu ‘a e tukunga hiva ‘o e ono’aho` kae a’usia mai ‘a e hiva ‘oku fe’unga mo e Kosipeli`.

‘Oku tatau ‘a e fakakaukau ‘a e lotu faka-Siuu mo e lotu faka-Kalisitiane` ‘i hono taku ‘a e ‘Otua` ko e Toko Taha faiva hiva(musical artist), pea ‘oku hanga ‘e he tuku-fakaholo faka-Kalisitiane` ‘o pehe, ko Sisu Kalaisi`, ko ia ‘a e toko taha hiva pea ko e me’alea ia ‘a e ‘Otua`, ‘a ee ‘oku` ne hiva’i mai ‘a e toputapu faka-e-‘Otua`(Christ as God’s divine instrument and human musicianship as echoing divine). Tau vakai tahataha ki he ngaahi fakakaukau ko eni`:

‘Uluaki`, ko e ‘Otua ko e Artist, ‘a ia leva, ko ‘ene ngaue faka-tupu-me’a`, ‘a ee ‘oku e’aa`, ‘a e mamani ‘oku tau nofo ai`, ‘a ia ‘oku faka-e-Tohitapu pe ia. ‘Oku hanga ‘e he poto ‘o Solomone`, ‘o tala ko e ‘Otua`, ko e toko taha tufunga ia ‘o mamani`(world’s artisan), pea ko Ia ‘a e fai foaki ‘o e “faka’ofo’ofa`”(the author of beauty – Wisdom of Solomon 13:l mo e veesi 3), pea ‘oku fakatou lave a ‘Aisea mo Selemaia ‘o tala ko e ‘Otua` ko e taha ta maka, ka ‘oku ngaue he ‘umea`, ko e tufunga ipu ‘umea(a sculptor working in clay)

Pea ko eni, ‘e Sihova, ko ‘emau tamaii koe; ko kimautolu`

ko e ‘umea, pea ko koe ko ‘emau tufunga; pea ko e ngaue

‘a ho nima`, ‘a kimautolu kotoa pe. (‘Aisea 64:8).

Na’e fakatatau ‘e Sangato ‘Okusitino ‘a e fakakaukau faka-palofita ‘a ‘Aisea`, ‘o ne tuhu ki he ngaahi sino faka-toetu’uu`(resurrection bodies), ‘a ia ko e tufunga faka’ingo’ingo ia ‘a e Tufunga Mafimafi`(sculpted by the Almighty Artist). Pea ‘oku hanga foki ‘e he Palofita ko Sefanaia`, ‘o fakatataa’i mai ‘a e ‘Otua`, ko e taha faiva hiva, ‘o ne taku, ko e toko taha ‘oku hiva ‘i he katoanga:

‘Oku lotolotoi ‘iate koe ‘a Sihova ko ho ‘Otua`,

Ko e helo ia ‘oku fai fakamo’ui

Te ne patapatakaa ‘iate koe, he ‘ene fiefiaa

Kuo a’u ‘ene ‘ofa` ki he nonga`

‘Oku` ne tome’e ‘iate koe mo mavava`. (Sefanaia 3:l7).

Ko hono Uaa` – Na’e fu’u mahino lelei ‘a hono hanga ‘e Kelemeni ‘o ‘Alekisanitia`(Clement of Alexandria) ‘o hiki ‘a e fakamamafa faka-e-hiva`, mei he ngaue’aki ‘a e huafa ‘o e ‘Otua`, ‘o ‘ai tonu kia Kalaisi. Ko Kalaisi`, ko e poto ma’oni’oni mo toputapu ia ‘o e ‘Otua`, ‘a ‘ene folofola`, pea ko e me’angaue ia ‘a e Mafimafi`. “’O ne fakapapau’i mai, ko Kalaisi`, ko e me’alea ia ‘a e ‘Otua`, ‘oku fonu ‘o na-panga-panga-malie he ngaahi fa’ahi hiva`, pea fonu he melotii`, pea ma’oni’oni, ko e poto ‘oku tau’olunga he funga ‘o mamani, ‘a e Folofola ‘o loto Hevani`.”(assuredly he himself is an all-harmonious instrument of God, melodious and holy, the wisdom that is above this world, the heavenly Word). Pea ‘oku fakafano atu ‘e Kelemeni ‘ene viki`, ‘o pehe – ‘Ikai ngata pe he hoko ‘a Kalaisi ko e me’angaue(pe me’alea) ‘a e ‘Otua(God’s instrument), ka ko Kalaisi`, ko e tufunga poto he hiva(musical artist), pea ko Kalaisi ai pe, he sani ‘a Kelemeni`, ‘oku` ne pehe, ko Kalaisi` ko e punake, ko e taha hiva ‘oku fononga hiva mei he feitu’u ki he feitu’u, pea ko Kalaisi`, ko ia ‘a e “hiva fo’ou`” ‘a e ‘Otua`(Christ is God’s minstrel and new song), ko e Punake, ‘oku` ne fakaongo mai ‘a e hamonii ‘o e ‘api ko mamani`(cosmic harmony) mei he ngaahi ‘elemeniti ‘o ha afo ‘oku ongo fepaki, ‘o ne toki ‘uuni taha’i ‘a e fakakatoa ‘o e ‘univeesi`, fakataha mo ha’a Tangata`, ke nau hoko ko e melotii, pea ko ‘ene me’angaue ia kuo tu’utai mo felatani(who composes cosmic harmony out of dissonant elements and tunes the universe and mankind to be his own harmonious instruments). 

Vakai aa, ki he fakaofo mo e mafai ‘o e hiva fo’ou` ni(how mighty is the new song!), he ko e ivi ia ‘o e Laumalie Ma’oni’oni`, ‘a ee ‘oku` Ne fatu mo fokotu’utu’u ‘a e fu’u mamani kafa-faka` ni, ke ongo malie, pea fe-ma’u-ma’u-taki ‘ene tonu mo ongo malie faka-hamonii(harmonious order) pea kau ai foki ‘a e ki’i mamani si’i ange ‘o e tangata`, ‘a hono sino`, ‘atamai pea mo e laumalie`. Pea ‘i he’ene fe-ongo-aki pehee, ‘o hoko a e ‘univeesi ko ha me’alea ongo faka-e-hiva`, pea ta ‘oku hiva mo taa ‘a e fu’u hosite ko iaa` ki he ‘Otua Toputapu mo Poto`, ‘a ee ‘oku ‘afio ko e ‘Olovaha ‘o e seakale, ‘o e matakali ‘o e me’a-mo’ui kotoa pe.

Pea ko hono toluu` - Pea ko e lave ko ee ki he faiva nima mea’a ‘o e tangata`(human artistry), pea ‘oku faka-fotunga mai leva ‘e he Tohi Tapu` ‘a e poto mo e nima-mea’a ‘o e tangata` ‘i he tapa kotoa pe, ‘o taku ko e ngaahi me’a ’ofa ‘a e Laumalie ‘o e ‘Otua`. Vakai ki he folofola na’e fai ‘e he ‘Otua` kia Mosese he tohi ‘Ekesotosi` - “Pea folofola ‘a Sihova kia Mosese, ‘o pehe, Vakai kuo` u ui hingoa ‘a Pesalili ko e foha ‘o ‘Uli`, ko e foha ‘o Hua, ‘i he matakali ‘o Siuta`: pea kuo` u taumalingi kiate ia ‘a e laumalie ‘o e ‘Otua`, ke fakapoto mo faka’atamai’i , mo faka-loto-matala, mo faka-alafua, ke ne fakakaukau’i ha no anga ‘o e ngaahi me’a`, pea` ke tufunga koula mo siliva mo e kapa, pea ke tongi maka fonofono, pea ke tongi ‘akau, ke fai ‘a e ngaue kotoa pe ‘oku faingata’aa`(‘Ekesoto 31:l-6).

Pea ‘oku pehe ‘e Sangato ‘Okusitino, ko e koloa poto faka-e-hiva ‘o e tangata`, ‘oku hange tofu ia ko ha mali fe-nofo-’akii`(intimate marriage), ‘a e laumalie ‘o e tangata` mo e laumalie ‘o e Ta’ehamaii`(of human and divine spirit). Pea hoko atu a ‘Okusitino, ‘o ne pehe – Ko e ‘uunitaha ‘a e hiva` mo e laumalie`(music and the soul), ko e fekau’aki ia, ‘oku lilo(hidden affinity) ‘o ta’emalava ke fakamatala’i, pea ‘oku hange ia, ha mana` nai, ‘o anga fakaofo, ka ‘oku ‘eke ‘e ‘Okusitino, pe kohai nai na’a` ne ‘omi ‘a e koloa fakalilo ko iaa` ki he tangata`? Kapau he’ikai ke tau lava tali ‘a e hu-hu-mama ko iaa`, pea pehe leva ‘e ‘Okusitino, ko e hunuki ‘a e koloa lilo ko iaa`, ko e fai pe ia ‘e he ‘Otua`, ‘a ee na’a` Ne fa’u, mo fakatupu ‘a e Tangata`.

He ‘oku hanga ‘e hotau ivi fakatupume’a ‘i he lotu`, pea mo e hiva`(our religious and musical creativities) ‘o fakahaa’i ‘a ‘etau fu’u kainga fekau’aki mo e ngaue fakatupu ‘o mamani`, pea hulu ange, ‘a ‘etau hoko ki he ‘Otua Fakatupu`(our conjunctive relation with creation and the Creator). Pea ‘i he ‘uhinga ‘o e fekau’aki faka-e-mamani pe faka-e-‘univeesii(cosmic conjunction), ‘a ee kuo tau lave ki aii`, ‘oku fu’u vaofi ia mo e ongo’i fakalotu tu’umo’unga(fundamental religious feeling) ‘a ia na‘e a’usia ‘e Sikaleimaka(Schleiermacher), ‘o ne pehe, ko e koloa ‘o e hiva` ‘oku ofi ki he mafu-tefua ‘o e lotu`(near the heart of religious worship). Ko ia, ‘i hono fai ‘o e lotu`(worship), ‘oku ongo, pea e’a mai ai, ‘a e hikule’o ’o e mo’ui mea’aa`, pea mohu faiva ‘o e ‘Otua`, ‘i he funga ‘o e faka-kukafi ‘a e tangata`, he ko e ‘Otua` ‘oku` tupunga mo tefito mei aii(underlies), pea ko e ‘Otua ai pe, ‘oku` ne faka-ma-feiaa`(enables), pea ko e ‘Otua` ai pe, ‘oku` ne taki-e-kina’ii(inspires it), ‘io, ko e ‘Otua` pe ‘oku tupu mo tefito mei aii, ko Ia ai pe ‘oku` ne mafeia hono fakahoko maii, pea ko Ia ai pe ia, ‘oku` ne taaimu’a hono taki-e-kina’ii.

Ko e Fakamo’uii`, ko e ‘Uunitaha ‘oku fai tokonia(Salvation sustaining harmony).

‘Oku ‘ikai ha ongo faka’ofo’ofa ia, he kotoa ‘o ‘Itaniti`

Kae’oua, kuo kafataha ‘a e loto’i tangata`, mo hono ‘Eiki`.

There can in all eternity no tone so lovely be

As when the heart with God in full attunement doth agree.

E lava fakahaofi kitautolu ‘e he Faka’ofo’ofa?(can beauty save us?)

Ko ha me’a ‘oku e’a ai, pe na’e ha ai, ‘a e faka’ofo’ofa`(a sense of beauty), pea neongo pe kuo maumau, mo piko’i holo, mo ‘uli, ka ‘e kei malave pe ia he loto ‘o e tangata`, ‘a e fakakaukau ‘o e faka’ofo’ofa, ‘a ia na’e sio mo tui ki aii`(as a powerful incentive). Kapau na’e mo’oni mo ma’a ‘a e faka’ofo’ofa ko iaa`, ‘a ee ‘oku tau feinga talanoa ki aii`(if it were made true and pure), tokua ‘e hanga ‘e he fo’i ongo ‘o e faka’ofo’ofa mo’onia ko iaa`, ‘o pae katoa atu ‘a e mo’ui faka-e-mamani ‘a e taha ko ia na’e mamata tonu he faka’ofo’ofa` na, ‘o tafi’i atu ‘ene mo’ui` ki he to’ukupu kelekele ‘o e ‘Otua`(it would sweep all secular life in a body to the feet of God), pea ‘e hoko ‘a e kaupeau, ‘o e faka’ofo’ofa ko ia`, ke faka-kau-kaua ange ai ‘a ‘etau tuii,`pea ko e lau ia ‘a Weil - tokua ‘oku hanga ‘e he “faka’ofo’ofa`” ‘o fakamo’ui pe fakahaofi kitautolu. Tau ‘ai ke mahino mo pau angee – ‘E malava ‘e he faka’ofo’ofa ’o e “hiva`” ‘o fakahaofi ha mamani na’e hinga pe kuo hinga?(can the beauty of music save a fallen world?). Ko e tali ‘a Albert L. Blackwell ‘i he The Sacred in Music, ‘oku` ne pehe, ‘e ‘ikai lava toko taha ‘e he “faka’ofo’ofa`” ‘o fai hotau malu’i, pe fakahaofi`. Ka ‘oku tui tatau a Blackwell pea mo Sherrard, ‘o pehe – “Ko e fakamo’ui ‘oku fou mai mei he faka’ofo’ofa`, ‘oku tupu ia mei he liliu(transfiguring), ‘o fakakehe ‘a e ngaahi me’a kehekehe, ‘o fou mai he fo’i faka’ofo’ofa ko iaa`(the transfiguring of things through beauty)kae manatu, ko e faka’ofo’ofa ko iaa, ‘oku ‘ikai ko ha tefito’i lao ia, pe tu’utu’uni tau’ataina ia ‘o e art(he poto`, pe mea’a faka-mateliee), ka ko e fakapapau mo e ongo’i faka-e-lotu, mo faka-laumalie ia(it is a religious affirmation).

‘Io, ko eni ‘ene fotu fakalotu`, mo fakalaumalie` - ‘io, ‘oku tatau ‘a e ngaahi me’a ni’ihi, pea ‘oku mo’oni ‘a e faka’ofo’ofa ko iaa, pea fotu mahulu atu foki ‘a e faka’ofo’ofa ‘o e hiva`(musika), ‘a ee te ne malava ke kilala hake, ha mamani kuo fe-nga-tali-akii. Ka ‘oku taukave foki ‘e Theodor Haecker, ‘o ne pehe – he’ikai lava ke tau ‘amanaki lelei, koe’uhii, ‘I he mamani` ko e ni, ‘oku ‘ikai ha toe me’a ia ‘e ngali mahino ange ‘ene vaivaii, mo masivesiva he ivii, ka ko e “faka’ofo’ofa`”(nothing is apparently more helpless and powerless than beauty). He ko e ngaahi me’a ‘oku ha maii`, ‘oku ‘ikai ha toe me’a ia ‘e pelepelengesi ange, pea ‘ikai ha toe me’a ia ‘oku vave ange ‘ene to ki he angahala`, ka ko e “faka’ofo’ofa`”. ‘Oku ‘ikai ha faka-e-tevolo ia he mo’oni`(no demonic truth), pea ‘oku ikai ha faka-e-tevolo ia he leleii(no demonic goodness), ka ‘oku ngali mo’oni, ‘oku ‘i ai ‘a e fanga tevolo toko lahi ia he “faka’ofo’ofa`”(does seem to be a demonic beauty).

Kuo lahi ‘a e lau ki he ivi fakamo’ui ‘o e hiva`, kae ‘ikai lelei fe’unga ‘a hono fakamatala’i`, pea ‘i he’ene pehe, te tau lau pau heni, ki he felave’i ‘a e hiva` mo e ngaahi fiema’u pau ‘a e Lotu faka-Kalisitiane`, he ko e koto angahala’ia ‘o ‘etau mo’uii`, ‘oku ala fakamolemole’i pe ia(redeemable), ‘aki ‘a e ngaahi lea ‘o e matu’aki fai tokanga(words of caveat). Tau ngaue tokanga, ke tau vakai ki he ngaahi faka-ngata-ngata ‘o e hiva`(musika`) ‘i he’ene lave ki he leleii(goodness), mo e mo’oni`(truth) pea mo e faka’ofo’ofa`(beauty).

Ko e hiva` mo e Lelei`(music and goodness)

Tau manatu foki ki he kau Palofita`, mo ‘enau lea mamafa ki he hiva` mo hono ngaue’aki he uho-uho-nga ‘o e malaki lao`(injustice). Tatau pe a ‘Emosi mo ‘Aisea ‘ena fakatou tala-kaa’i ‘a e hiva`, ‘i hono fai hake, he lolotonga ‘o e maumau kovinanite ‘a ‘Isileli mo Siuta`.

‘Oiaue ‘a kimoutolu, ‘oku tu’u hengihengi hake

Ko e fakaki-kava malohi; ‘oku nau lavaki nofo efiafi

‘O fakamafana ‘aki kinautolu ‘a e uaine`!

Pea ko honau soo` ko e ha’ape` pe mo e helefilo`

Ko e nafa fangongo pe mo e fangufangu` mo e uaine`

Ka ‘oku ‘ikai te nau tokanga’i ‘a e me’a ‘oku fai ‘e Sihova`

Pea ko e ngaue ‘a hono nima`, ‘oku ‘ikai te nau sio ki ai.

‘Aisea 5:ll-12.

‘Oku ha mai ai, ‘a e faka’ofo’ofa ‘o e ngaue’aki ‘o e hiva` mo e mea’a ‘o e me’alea`, kae me’a-pango, he ‘oku na ngaue fakataha kinaua heni, ki he mo’ui ‘oku iku ki he ‘uli mo e angahala`, pea mahino leva, ko e to’onga eni ia ‘o e hiva` mo e me’aleaa`, ‘oku takina ai ‘a e tangata` ia ki he fanga tevolo`, ‘a ee ‘oku huluni he me’a lelei kotoa pe. Pea ‘e lava pe ia, ke tau sio ‘o mahino, ko e konga lahi ‘o ‘etau ngaahi nima mea’aa(hotau ngaahi faiva manako`, (arts) ‘oku nofo-fale ai ‘a e tevolo`(a great deal of our art is of the devil). He ‘e lava pe ki ha taha ‘oku manako mo’oni he hiva`, kae vakai atu iaa`, ko e taha ia, ta ‘oku si’i lolotonga hee mama’o ia mei he hala totonu ‘o e mo’uii(perverted person).

Ko e fakafuofua ko ee ‘a Weil ki he fekau’aki ‘a e manako ngofua ki he “faka’ofo’ofa`”(aesthetic beauty) mo e olo mai ‘a e loto faka-tevolo`, ‘oku` ne pehe, ko e me’a ko iaa, ‘oku fu’u mamafa ke fai ki ai ‘a e tokanga(sober and sobering). Pea ko eni foki ‘a e lau ‘a William Shakespeare, ‘o ne lave ki he ngaue lelei ‘a e hiva`, pea ‘oku` ne toe fakatupu foki mo e kovii`:

‘Io, ‘oku fa’a ‘iloa, ‘a e faka’ofo’ofa faka-e-mana(a charm) ‘o e hiva`

‘O ne fakalelei’i e kovi`, pea` ne langa’ia e leleii, ki he faingata’aa`

Music oft hath such a charm

To make bad good, and good provoke to harm.

Ko e Musika` mo e Mo’oni`(music and truth)-

‘Oku tatau pe ‘a e hiva`, mo e mo’ui ma’aa`(morality) ‘ena fiema’u ha mo’ui ‘oku fai mateaki, mo faka-’utu-mauku ma’a naua faka-tou’osi(na fakatou fiema’u ha commitment), ka ‘oku kehe ‘a e fai mateaki, ‘e fiema’u ki he taha ko ee, pea taha kehe ‘a ee. Pea te tau pehe nai, ko e fai mateaki ma’a` e hiva`, ‘oku ta’e hano fu’u ‘uhinga mahino, pea fai pe ia, ‘o fakatatau ki he manako ‘o ha taha faka-e-ia pe(arbitrary), kae lolotonga ia, ‘oku pau ange, mo mamafa a e fai mateaki ‘a ee ‘oku fiema’ua ma’a` e ‘ulungaanga mo’ui ma’aa`(moral commitments are more compulsory). Ko ia leva, te tau lave mo kau ki he hiva(musika`) pe te tau faka’ehie’ehi mei ai, pea ‘oku hange leva ia, ‘e ‘ikai ke tau fakakaukau pehe he ngaahi me’a, ‘a ee ‘e iku ki ha ola pe fua ‘oku fekau’aki mo e ‘ulungaanga ma’a mo totonu` (we cannot say the same of decisions having ethical consequences), he ko e ‘ulungaanga ma’a mo leleii` ia‘oku ‘ikai ha toe talifaki ia ki ai, kae toki fakahoko ia ha taimi kehe(morality offers no rain checks). He, ‘i he ‘ulungaanga ma’a mo lelei` ia, ko kitautolu tonu pe ia ‘oku tau ‘atita’ii(auditors), ko kitautolu pe ia ‘oku fakahoko ngauee(performers), kitautolu pe ia ‘oku fa’u me’aleaa(instruments makers), ko kitautolu pe ia ‘oku punake mo fa’uu(composers), ‘o tatau ai pe, pe ‘oku` te loto ke fai pehe, pe ‘ikai, ko kita tonu pe ia.

Kae tokanga’i ange`, ‘oku lahi ange, mo malohi ange, ‘a ‘etau tukupa mo tokanga ki he ngaahi me’a ‘o e ‘ulungaanga ma’aa`, ‘i he tukupa(commitment) ‘oku tau foaki ma’a` e hiva` mo e musika`, ‘a ia ‘oku tefito ia, mei he ngaahi malohinga mo e ‘uhinga ‘oku(na’e) mo’ui talu mei mu’a pe ia ’iate kitautolu(preexisting), pea kuo taungasino ia mo hu-vaia ‘i he ’etau mo’uii`(permeating), pea toe tolonga mo tu’uloa he mo’uii(perduring….. principles), ka ‘oku ha mai pe foki, ‘a e ngaahi mo’oni taauma’u mei he hiva`, ka ko hono ngaahi tefito’i mo’oni`, ‘oku ue’i holo ngofua pe ia(flexible) ‘o lava pe ia ke fa’o ki he fa’onga koloa ‘a e tangata`(accommodating to human creativity). Ko ia, ko e hiva`, musika`, ‘e lava pe ia ke li-ki-‘uta, pe li-ki-tahi, ‘e kei mo’ui pe ia(can thrive under the most extreme applications – even defiance of its basic principles).

Ko e Musika` mo e Faka’ofo’ofa`(music and beauty)

Ko e tokolahi ‘o e kakai manako mo mo’ui hiva`, ‘oku nau tui, ko e mo’oni, ko e hiva`, ‘oku fonu he faka’ofo’ofa`, kae ‘oua na’a tau pehe ‘oku faka’ofo’ofa ‘a e hiva kotoa pe, kaekehe, kuo tau mamata, he faka’ofo’ofa ko ia ‘o e hiva`, ‘oku lava pe ke ngutuhua mo angamalu(amiable), pea toe lava pe ia ke pango(terrible). He ko e lau ‘o e faka’ofo’ofa`, ka ko e faka’ofo’ofa` foki, ko e fo’i fakakaukau ia ‘oku angakehe atu ‘ene faingata’a mo fihi(yet beauty is a concept of notorious complexity). ‘Oku pehe foki ‘a e fakatokanga mai ‘a Wittgenstein ‘o kau ki he ‘uhinga ngali sesele ‘o e lea faka’ofo’ofa` ‘i hono ngaue’aki ‘o e fa’ahinga fakakaukau faka-e-poto, ‘a ee ‘oku lave mo kau ki he faka’ofo’ofa(beauty, beautiful). Ko ia, ke tau siofi mu’a ‘a e faka’ofo’ofa ko ee ‘oku fai fakamo’uii`, pea mo e faka’ofo’ofa ko ee ‘oku` ne taki popula’i ‘a e mo’ui ‘a e tangata`(the beauty that saves and the beauty that enslaves).

Ke tau sio angee, ki he fakakaukau faka-e-Teolosia ko eni ‘o e hiva` mo e faka’ofo’ofa(music and beauty), ‘o tau pehe – Ko e tala-tuku-fakaholo faka-e-Tohitapu`(biblical tradition), ‘oku` ne fakahaa’i mai, ‘a e si’i, mo ‘ene fe-’amo-kaki, ha no fakatokanga’i lelei, mo tokanga-e-kina’i, ‘a e ngaahi faka’ofo’ofa faka-e-me’a-mo’uii ’o e tangata`(pea mo e monumanu`foki). Pea ‘oku ‘ikai lea’aki foki, ’a e faka’ofo’ofa` ia ‘i he ngaahi tefito’i fungani’i lea ‘o e Tohitapu(Bible’s cardinal virtues) ‘o hange ko e fai fakalao`(justice), manako ki he meesi`(mercy) pea` ke taka anga vaivai ‘i ho’o feangai mo ho ‘Otua`(and to walk humbly with your God), ko Maika vahe 6:8 ia. Pea ko e lau ‘a Paula`, ‘oku` ne lave pe ki he tui`, ‘amanaki`, pea mo e ‘ofa`(faith, hope and love – l Kolinito l3:13), pea ‘ikai pe ke ‘asi a faka’ofo’ofa ia ‘i he fu’u katiloka lea ‘o e Folofola`, ‘o hange ko e: ‘ilo pe ‘atamai-vave`(discernment), kitaki pe katekina`(endurance), kataki mo anga malu`(forbearance), anga fakamolemole`(forgiveness), anga vaivai mo faka-to-ki-lalo`(humility), anga vaivai`(meekness) mo’ui ma’a`(purity) pea mo hono mapule’i lelei ‘o e kita`(self-control). ‘Oku lea pe ‘a e ngaahi tohi ia ‘o e Poto`(Wisdom books) ‘oku nau lau pe ki he faka’ofo’ofa ‘o e poto ‘o e ‘Otua`(beauty of God’s wisdom), pea lave ‘a e ngaahi Saame ni’ihi ki he ma’oni’oni ‘o e ‘Otua`(God’s holiness), pea ‘oku fai foki, ‘a e lave ia ki he ‘afio ‘a e ‘Otua` ‘i ha feitu’u(God’s presence – Saame 27:4; 50:2; 96:6).

Kae fakatokanga’i ange, ‘oku toki fai mai ‘e he ngaahi fakamatala ‘a e Poto`(wisdom tradition) ‘a e lave mai, ‘o kau ki he faka’ofo’ofa faka-e-me’a-mo’uii(creaturely beauty), ‘o ne fakatokanga mai ki hono ngaahi ‘ahi’ahii(to warn against its temptations)

Ko e mata-mata-lelei`, ko e me’a ‘e ‘ikai ala falala ki ai

Pea ko e hoihoifua`, ko e me’a ha-mo-lofia.

Palovepi 31:30a

Na’e fehi’a’ia foki ‘a e kau Palofita`, ‘i hono fai hake ‘o e hiva`, lolotonga ‘o e faikovi ‘a e kau takii mo e kau pule ‘o e fonua`(music amidst injustice), he ‘oku tatau pe ia mo e faka’ofo’ofa faka-e-kakano`(creaturely beauty) ko ee, ‘oku launga ki ai ‘a ‘Isikeli` -“Kuo mahiki ho loto`, koe’uhi ko ho faka’ofo’ofa`….. your heart was proud because of your beauty ”(‘Isikeli 28:l7).

Pea, ka tau` ka fakakaukau atu, ki ha anga fai fakamo’ui ‘a e hiva`(saving virtue of music), kuopau leva ke tau manatu’i, ‘a ‘ene matu’aki ofi ki he mafu tefua ‘o e tui faka-Kalisitiane`, ‘a e ‘i ai ‘a e fu’u faka’ofo’ofa to-atu ‘o e fepaki ‘a e ongo` mo e fakalongolongo`(a terrible beauty of dissonance and silence). Ko e lea Kalisi ko ia ko e ‘akapei(agape) pe ko ha ‘ofa ‘oku foaki mola mo tu’unga’a pe(self-giving love) ‘a ee ‘oku taku ‘e he tui faka-Kalisitiane` ko e ‘Otua` tonu ia, ‘a ee ‘oku fotu mai ‘ia Sisu Kalaisi`(Christian tradition identifies with God as revealed in Christ), ‘oku ‘ikai sino tatau ia mo e hamonii`(harmony) ‘o hange ko ‘etau fa’a fakakaukau pehee, he ko e hala mo e founga na’e hoko mai ai a Kalaisi` ia, ko e hala faingata’a ia mo fonu he mamahi`(the way of Christ is the way of affliction), ka ko eni ‘a e fakamatala ngali hu’u faingata’a ‘o kau ki ai ‘a Weil( in a paradoxical image of harmony and dissonance):

Ko e tangi(tutulu) ‘a Kalaisi`he funga Kolosi`, pea mo e fakalongolongo(silence) ‘a e Tamai ‘Otua`, na’e hanga ‘e he ongo fo’i me’a ko iaa`, ‘o fa’u mo fakatupu ha hamonii ‘oku tu’umo’unga pea taupe-upe-atu-fau(supreme harmony), ‘a ia, ko e hamonii ko iaa`, ‘oku toki fa’i-fa’i-taki pe ki ai ‘a e ngaahi hamonii kehe,’o hotau mamani`, pea toki lave mai ai pe, ‘a e ngaahi hamonii ko iaa`, ‘o faka-vale-loto(most heart-breaking), pea melie he malie ange fau(most sweet) kae ‘ikai ala fakatataua kinautolu ia, ki he hamonii ‘o e fekau’aki ‘a e ‘Otua` mo hono ‘Alo`Pea ko e katoa ‘o e ‘univeesi`, fakataha mo ‘etau mo’uii, ko e fanga ki’i kongokonga pe ia, ‘o e hamonii faka-Langi kuo tau lave ki aii`. Pea ko e ivi fakamo’ui ‘o e tui faka-Kalisitiane`, ‘a ee ‘oku ngaue’aki ai, ‘a e faka’ofo’ofa ‘o e hamonii ‘o e hiva`(musical harmony), ‘oku ‘ikai ke vaha’a-teunga-‘ia ai(cannot substitute) ‘a e hala mamahi ia ‘o Kalaisi`(Christ’s way of affliction), ‘a e hamoni mo’onia, ‘o ‘Itaniti`.”

Ko e ivi fakamo’ ui mo e ivi fakatu’utamaki ‘o e Hiva`(Music’s power to heal and to harm).

Mo’oni, ‘oku tau ma’u ‘a e ngaahi fakamo’oni faka-hisitolia(historical testimonies) ki he ivi fakamo’ui ‘o e hiva`. ‘Oku ongoongoa foki ‘a e fakmatala ‘a e punake ‘iloa ko ia ko Beethoven, ‘i he’ene fakamatala he l802 ‘i he’ene fakamatala ‘oku ‘iloa ko e Heiligenstadt Testament. Ne iku foki ‘o fu’u malu ‘a e fanongo(tuli) si’i tangata` ni pea ko eni ‘ene fakamatala`: 

“Ne u a’u, ‘ou matu’aki tu’atamaki, pea` u a’u foki ki he fakakaukau ke u 

faka-ngata aa ‘eku mo’ui`, ka ko e me’a pe ‘e taha na’a` ne kei pukepuke

auu, ko hoku faiva hiva`(my art). He na’e mo’oni kiate au, ‘e ‘ikai lava ke

u mavahe mei he mamani` ni, kae’oua ke u lava ‘o fakahoko ‘a e ngaue ‘a

ia na’e pole ‘eku mo’uii ke faii`, ‘a e fatu`, mo e fa’u`(felt the urge to compose) pea ko ia, na’a` ku tohoaki atu ai pe, he mo’ui fonu faingata’a’ia` ni, ‘io, he mo’ui mamahi` ni(a truly miserable existence).”

Ko eni foki ha talaloto ‘e taha. Pea ‘oku ou kole fakamolemole heni, na’a kuo` u fu’u lave ki ha ngaahi me’a na’e te’eki hoko tonu ‘i Tonga, ka ‘oku ou tui pau, ‘oku malava noa pe ke a’u ‘a e ngaahi fakakaukau` ia, tupu mei he koloa hiva ‘o e tangata mo e fefine Tonga`. 

Ko e lau eni ‘a Steiner – “Na’e fakamatala’i ‘e Wittgentein ‘a ‘ene a’usia ko eni – Ko e fo’i konga mamalie ko ee, he Kuateti fika tolu ‘a Brahms(Brahms’s third Quartet)ko ia ‘a e ongo mo e fasi, na’e tu’oua, pe lahi ange, ‘ene fakahaofi au mei he loto mamahi ’a ia, na’a` ne kumoa ‘eku mo’ui`, ‘ou fakakaukau tao-na-kita ai.

‘Io, ko e hiva`, ko e taha ia ‘o e ivi fakalaumalie(spiritual force) ‘i he’etau mo’uii, ‘a ee ‘oku tau malava ke tau ‘ataa, mo a’u ki aii. Kae lolotonga pe ia, ko e ngaahi faingamalie faka-laumalie kehe`, ‘oku mapuni mai ia, kae avangi mai ‘e he hiva` ha manava fo’ou ke tu’u ai ha ‘amanaki, ‘io, ne mahu’inga ia kiate au, ko Wittgentein ia mo ‘ene talaloto mai`, he ne u hao ai mei he to’o ‘eku mo’uii.”

Ko ha lea fungani hake 

Alu ki he feitu’u ‘oku ‘ikai ala ‘alu’ii, pea` ke sio ki he me’a ‘oku ‘ikai ala sioa`, pea` ke fanongo he feitu’u ‘oku ’ikai ongona ai ha le’o`, ka ko e fe ‘a e feitu’u ‘oku ongonga ai ‘a e folofola ‘a e ‘Otua`, ko e potu ia ke ke ‘i aii`.

Na’e fa’u ‘e Aldous Huxley ‘e ne ‘esei(essay) ‘oku ui ko e Hiva he Po’uli`(music at night), ‘o ne lave ai ki he fiefia lahi faka-e-hiva mo e fiefia faka-e-misiteli(‘o e fakakaukau faka-e-‘Otua`(musical and mystical bliss) ‘a ia na’a` ne a’usia he’ene fanongo ki he Benedictus ‘i hono fai ‘i he fa’u ‘a Beethoven ‘oku ‘iloa ko e Missa Solemnis, pea ko eni ‘ene lau`:

“’Io, ‘oku ‘i ai, pea ‘oku ‘i ai ‘a e ngaahi taimi pau, ‘oku mahino pea e’a ‘a e mohu tapuaki mo fonu monu, ‘a ia ‘oku toka he lotolotonga ‘o e ngaahi me’a ‘oku hoko`(at the heart of things), ka ko e ngaahi tapuaki ko iaa, ‘oku hange pe nai ko ha misiteli(mysterious blessedness) ‘ene hoko mai kiate auu. Na’e ‘ikai fu’u ‘uhinga mahino kiate au, ‘a hono fou’anga maii, hange pe ha koloa faka-tu’u-pakee ‘ene ongo mai ki hoku loto`, pea hange kiate au ha koloa faka-palovitenisi nai(accidents or providences), kae hange pe foki ha mahu mole`, ‘a ‘ene mata-ngalo atu`(but always fleeting), ka ko e koloa` ni, ‘a ee na’a` ku fanongoa mo a’usia`, na’e masivi pea mo fakaikiiki ki ha fa’ahinga ma’a, na’e haohaoa hono ma’olunga`(refined and separated out into its quintessential purity). Ko ia, ‘oku fakamahino’i pau ‘e Huxley ‘a ‘ene masiva lea, ke ne hanga ‘o fakamahino’i lelei ‘a e koloa ne ne a’usia`(Huxley then speaks of the impossibility of conveying his sense of bliss in his own words).”

Pea hoko atu a Huxley, ‘ene lave ki he Benedictus ‘i he Missa Solemnis ‘o ne pehe – Ko e talateu pe ia ki he Missa Solemnis, ka kuo ‘ikai ke lava ‘e he’etau puha fa’o’anga lea`, ke ‘auliliki ‘a e koloa`, ‘a ee ‘oku ‘i he ‘elito ‘o e ngaahi me’aa`(blessedness at the heart of things), pea talamai ‘e Huxley, kapau pe ‘oku tau fie’ilo, pea kuopau ke tau fanongo(if we want to know, we must listen), ka ko e ‘aii, ke tau fanongo mei fe, pea ‘i fee? Ke ‘a Tonga-mai-ee! Mahino, ‘e lava ia ‘e he kaha’u` na!

Ko hotau aka faka-Kalisitiane`, ‘i he tuku’au faka-e-Tohi Tapu`, ‘oku fou mai ia mei ha fa’ahinga monu, mo tapuaki kehe atu ia(from a different ideal of blessedness). Fakatatau ki he ‘uhinga faka Fuakava Fo’ou` ‘o hotau ‘imisi`, na’e ‘ikai ko ha ngaahi laumalie kitautolu, na’e mo’ui talumu’a(not pre-existing immortal souls) ‘o hange ko e tui faka-e-Palato`, ka ko e kakai taha-kehe-atu kitautolu ia ‘i hotau hisitolia`, ‘o sino pea mo laumalie(unique historical persons, body and spirit) ‘a ia na’e fa’u kitautolu mo fakamanava’i ‘i he taimi pau, mo hono momeniti(conceived at a point in space and a moment in time), pea ko e poa ia mo e fakalea ‘a e litesia ‘o e lotu faka-Kalisitiane`, ko ha’a tangata`, ‘oku tau tolonga ta’engata(in the traditional language of Christian liturgy, we are everlasting). Pea ‘i he’ene pehee leva, pea ‘e ‘ikai ko aa, ke pau ke fai ha’atau tukupa mo fakapapau ‘i he’etau mo’ui faka-e-Kalaisi`, ‘o mahino kiate kitautolu, ‘oku pau ke tau fai feinga ke tau iku ko e polopolo ki ha mo’ui ‘e faka’itaniti, ‘o ola ki he mo’ui ta’engata? Koe’uhi` pe, he na’e pehe, hotau ta-faka-‘ingo’ingo`!

Pea ‘i he taimi ‘o e ala mai, ‘a e ta’ehua, ko mate`! ‘Ikai ko aa, te tau momoi hake, ha mo’ui na’e tonunga, mo kakato, pea fakatupu hooifua ki hotau ‘Otua? Pea ‘oku fakamanatu mai foki ‘e Mother Teresa ‘i he’ene fakhinohino` -“Te tau lava pe ‘o fai ‘a e ngaahi ngaue iiki`, kae fai’aki ‘a e ‘ofa ‘oku lahi”(we can do small things with great love), ka ki he ‘Otua` foki, ‘oku ‘ikai ha lelei ia, ‘e si’isi’i kiate Ia, he ko e taimi pe ‘oku momoi hake ai ‘etau ki’i feilaulau ngauee, pea ‘oku nau hoko kinautolu, ko e lahi ‘oku ta’e faka-ngatangata(infinite). He ko e misa ko ia ‘oku hufekina ai ‘a e kau pekia`, ‘oku fai ‘a e lotu ko ia`, ‘o kole ki he ‘Otua` ke hifo, ‘e Ne kelesi` ki he kau pekia`(God’s grace upon the deceased), ‘o pehe hono fakalea` - 

Fakamolemole’i(fakatau’ataina’i), ‘alaa, ‘e ‘Otua e, ‘a e ngaahi laumalie ‘o kinautolu katoa, ‘o e kau mo’ui tonunga`(faithful) mei he ha’isia ‘o e angahala`. Pea ‘i ho’o kelesi fai tokoniaa, fakatauange ke nau ‘ataa mei he fakamaau fai sauni ‘a e ‘Afiona`(avenging judgement), pea` ke nau fiefia ‘i he koloa ‘o ho’o maama ta’engata`.” 

Pea ‘oku hanga ‘e he lotu misa tuku-faka-holo ko iaa`(traditional mass), ‘o ‘ai ke tau sio loto(envisions) ki he maama ta’engata ko ia ‘o e monuu`, ‘i he’ene ulo ‘asinisini mai he ngaahi mo’ui ‘a kinautolu, ‘a e kau mo’ui tonunga`(faithful) ‘enau fetaiaki mo e kelesi faka-‘Otua`(divine grace), pea` ne fakamanatu mai ai ‘a e fakakaukau fungani ko ia faka-Tohitapu ‘o e fai fakamo’uii(biblical ideal of salvation) ‘o laine tatau mai ia mo e faitotonu`, pea mo e melino`(an espousal of justice and peace).

Tau afe si’i ange, ki he lau ‘a e Saame` - “Kuopau ‘oku ofi ‘ene fakamo’uii` kiate kinautolu ‘oku ‘apasia kiate Iaa`; kae nofo ‘a e sikaina` ‘i hotau fonua`. Ko ‘Alo’ofa mo Mo’oni kuo` na fetaiaki kinaua`; ‘a Angatonu mo Melino kuo` na fekita`.”(Saame 85: 9 mo e 10). 

‘Oku fotu mei he koloa faka-Tohitapu kuo tau lave ki aii, ha fakakaukau ‘oku faka-e-Tatala-pulonga(expressing an eschatology), ‘o ‘ikai ko ha mavahe, pe hola mei he taimi`, kae hange nai pe ha kakato ‘oku faka-e-taimi pe(temporal fulfilment). Pea ‘oku` ne fotu faka-e-visone pe, ‘o ne fakamanatu mai ‘a e hamonii ne mole pe na’e ongo fepaki, ka ko eni kuo toe fakaola fo’ou, ‘o fefe leva? ‘I he tui faka-Kalisitiane`, ko e simifonii faka-hisitolia(historical symphony) ko ee, na’e kamata ‘e ‘Atama mo ‘Ivii`, ‘o hoko ko e fasi talateu pe(prelude) ‘a ia na’e toki fakakakato ia ‘e he Taaupo’ou`, mo hono ‘alo’i mai ‘o Sisuu`(fulfilling movement with the story of Mary and Jesus), he ko eni ‘a e lau ‘a Hildegard – “He na’e tu’itu’ia ‘e ‘Ivi ‘i he mamahi` mo e tangi`, kae ongona mai ‘a e hiva ‘o e fiefia`, ‘ia Mele(he ‘Alo’i`), pea mo e le’o ‘o e ha’ape`!”

‘Io, ko e hamonii ongo malie ko ee ‘o e feohi ‘a e ‘Otua` mo e Tangata` he ngoue tapu ‘o ‘Iteni`, ne hoko ia, ko e afo ongo fe-hala-aki mo fepaki, ‘i he angahala ne hoko he Taua ‘i Pepeli`(Senesi ll:9), kae malie, ne ‘ikai ngata ai, kae toe fakaola mai, he fekau’aki ‘a e Laumalie ‘o e ‘Otua` mo ha’a tangata`, ‘i he hifo fakalea, ‘a ee na’e ‘uunitaha ai ‘a e ngaahi lea ‘o mamani`, he ‘aho ‘o e Penitekosi`(Ngaue 2: 4). He na’e le’ohi ‘a e ‘Akau-‘o e-Mo’uii ‘e he heleta ulo` ‘a e Selupimi`(Senesi 3:22), ko ia pe eni na’e toe haa`, hange` ni ha ulo’i-afii, ‘a ee ‘oku lave ki ai ‘a e tohi ‘Apokalifa`, (vahe 22: 2).

Ko e ngaahi fa’ahinga kehekehe ‘o e a’usia fakalaumalie`(varieties of mystical experience)

‘Oku fakatahataha’i ‘i he lotu faka-Kalisitiane`, ‘a e ngaahi tala tukufakaholo ‘o e ‘amanaki` pea mo e misiteli`, ‘o tatau he Tohitapu`, pea mo e ngaahi tohi motu’a ‘o e ngaahi kuonga`(classical and biblical), ‘o tau ma’u mei ai ‘a e ngaahi koloa fakalaumalie fungani, ka ‘oku lahi hono li’aki, mo ta’etokanga’i ‘a e ngaahi koloa` ni. Pea ‘i he’etau fekumi atu ki ha ma’u’anga ivi pehe` ke ma’u leva`, pea ‘oku fa’a tafoki leva ‘a e kakai ni’ihi, mei he tuku’au faka-Kalisitiane` ki he ngaahi mo’oni tuku-fakaholo ‘o e ngaahi lotu ‘o ‘Esia`(tau lepa si’i hee, ka tau toki vakai mei mui, he me’a ni, ka tau vakai ki ha me’a kehe ange).



Ko e lea “’anitema`”(anthem) ko e ma’u mei he fakapapalangi’i ‘o e lea Kalisi ko e antiphon pea ko hono ‘uhinga`, ko e fetalanoa’aki(conversation) pe ko e tali ‘o ha ui pe fekau(response). ‘Oku hala ‘a e ma’u ‘a e ni’ihi ‘o taku ko e ‘anitema(anthem) ko e ha’u mei he lea Kalisi ko e anathema ‘a ia ‘oku ‘uhinga ia ko e foaki pe feilaulau(offering). Pea ko e ‘anitema` ‘i hono kamata’anga`, ko ha kupu’i lea, pe fakakaukau faka-Tohitapu, ‘a ia na’e fa’a vahevahe ke hiva’i fetaliaki ‘e he toko taha ‘oku ne hiva’i solo ‘a e litesia ‘o e lotu`(cantor), pea mo e kakai ‘o e siasi`.

Pea ko e kaveinga ‘o e ‘anitema`, ke folahi mai, ‘e hono lea`, ‘a e ngaahi kaveinga ‘a ia ‘oku tuha mo e ngaahi feinga lotu ‘oku fai ‘e he siasi`.


(a) Ko e ngaahi mo’oni’i me’a eni(facts) ‘oku mahino mei ai ‘a e fononga mai ‘a e hiva` ‘i he lolotonga ‘o e ngaahi kuonga kimu’a ia, he lotu faka-Kalisitiane`: (1) Ko e hiva`, ko e koloa pe ia, pe ngaue(activity) na’e hoko faka-e-natula mai pe ia ki he Tangata`, talu mei he kamata’anga`. (2) He, ‘i he malava pe, ‘e he Tangata`, ke ne a’usia ‘a e ngaahi laakanga a’usia mo fakavela loto he mo’uii(exalted and even ecstatic modes of life), lolotonga ‘oku` ne taku ia, ko e ngaue faka-lotu`(religious), pea ‘iloa leva ‘a e hiva`, ‘oku` ne lalafi ofi pe fakataha mo e ngaahi ongo mafana kuo tau lave ki aii, ‘o hange ‘oku` na fetakinima vaofi pee. (3) Ka ‘i he fonua ko Kalisi`, kimu’a ia he lotu faka-Kalisitiane`, na’e taku ai ‘a e hiva` ia, ‘o ‘ikai ko ‘ene fakavela loto` pe, kae toe fakahoko mai ‘e ia, ‘a e va’a kehe ‘e ua, ‘a ia ko e fa’ahinga fakakaukau ki he tefito’i anga mo e tefito’i ‘uhinga ‘o e ‘univeesi (metaphysics), pea ko hono ua`, ko e kau tokua ‘a e hiva` ki he ngaahi me’a ‘o e ‘ulungaanga ma’a, mo totonu ‘a e tangata`(moral judgment). Mahalo pe, ‘e faingata’a ke ‘auliliki katoa, ‘a e ngaahi poini kuo tau fokotu’utu’u atu`, ka ko kinautolu katoa ‘a e kau poto he mala’e ‘o ha’a fakatotolo ki he matakali ‘o Tangata`(anthropologists), pea mo kinautolu kau paionia he ngaue fakamisinale`(pioneers on the mission field) ‘oku nau fakaha, ko e hiva`, neongo, ‘i he ngaahi kuonga ‘o e moli-Tonga`, ka na’e mahino pe ia, ko e me’angaue mo e koloa ‘a e tangata`, ‘o lalaka pe ia mo ia, mo fai ai ‘ene kumi fonua he ‘uhinga ‘o e fakalakalaka`. Pea ‘i he’ene lave ‘a e hiva` ki he lotu`, pea mahino na’e kamata’aki pe ‘a e ngaahi fo’i fasi(melody) pea mo hono fa’ahinga laulalo, pea mo hono fa’ahinga ongo, na’e matu’aki, ‘o ono’aho atu(bass of the most elementary kind). Pea mahalo, ‘oku ofi eni he lotu ‘a e kau ‘Initia`, he ‘oku ongo taha pe ‘enau hiva(monotonous) pea ka nau ka hiki, ‘e fai ai pe mo e ongo taha ko ia`, pea hange ka faka-tafi-‘ofa` kiate kitautolu, ka ko e ouau ia, ‘o ha’anautolu`, pea ‘oku tau ai pe ho’onautolu` langi.

Mei he Tohi Tapu`

Faitatau mo e tukunga hiva ‘a e kau ‘Initia`, ‘oku ha mai foki mei he tapa lahi ‘o mamani ‘a e ngaahi me’a tatau pe, hange pe ko e fa’ahinga fasi ‘oku ongo ‘alamuhu pe, ‘a ee ‘oku ifi’i ‘e he kau ifi paipa ‘o Sikotilani`(Scottish bagpipes), ‘a ee ‘oku hanga ai ‘e he le’o ‘alamuhu ko iaa`, ‘o fakamanatu mai ‘a e le’o ‘o e ngaahi nafa mo e hiva faka-‘Initia`, ka tala-’e-hai, ‘e apa-apa-ngofua ia ke hu ki he ngaahi hiva mo e me’alea faka-e-ono-pooni ‘o hotau ngaahi ‘aho` ni. Pea kapau te tau tali ia ‘o pehe, ko e ngaahi hiva moli-Tonga ‘o ono’aho`, na’e faka-e-natula pe ia ki he tangata`, pea na’a` nau ‘ave ai ‘a e tu’unga ‘o e mafana` mo faka vela loto ‘o e tangata`, ‘o tatau pe, pe ko e me’a faka-e-lotu pe faka-e-mamani, pea hange leva, te tau ma’u ha poupou mei he Fuakava Motu’a`, ‘i he’ene lau ‘oku pehe, ‘I he fakatupu ‘o mamani`, na’e hiva fakataha ‘a e ngaahi fetu’u ‘o e pongipongi`, pea lave mai ‘a e tangata tohi same, ‘o kau ki he hiva fetaliaki ‘a e ngaahi mo’unga mo e ngaahi tele’a`(Siope 38:7 mo e Saame 65:13), ‘a ia, ‘oku lava pe ke tau tui ‘o pehe, na’e hoko pe ‘a e hiva` ia, ko e fe’unu la`langa(strips of pandanus leaf ready for weaving), ‘i hono fatu mo lalanga’i(weaving)‘o e ‘univeesi`, ‘o fakapu mai ai, ‘a e fakafeta’i mo e fiefia ‘a natula mo ha’a tangata`, pea ko e fakahounga’i foki ia, ‘o e ‘ofa fakatupu me’a ‘a e Toko Taha ‘o e Fakatupu`(Creator). ‘Ikai ko ia pe, ka ‘oku lea foki ‘a e Fuakava Motu’a`, ki he kau Palofita`, ‘o tatau a tangata mo fafine, ‘o hange ko ia na’e ongo mai mei a Meliame mo Tepola`, pea mei a ‘Ana pea mo Tevita, pea neongo, ‘i he fakakaukau ‘e taha, ‘e taku ai ko e lea pe(stylised sort of oratory), ka ko kinautolu na’a nau tuku mai ia ki hotau ngaahi ‘aho`, na’a nau taku ko e ngaahi hiva kinautolu(songs).

Pea, ka tau` ka vakai ki he Tohi Fakahaa`, ‘oku lahi ai ‘a e ngaahi lave ki he hiva ‘a e kakai ‘o e fu’u komiunitii ‘o Hevani`, ‘a ee kuo huhu’i kinautolu, ‘i he pekia talangofua ‘a Kalaisi`, pea ko e mapuke mai mo mapuke hake ‘a e fakafeta’i ko iaa, ko hono ve’eteka pe ke ne hoko mai aii, ko e koloa pe ‘o e Hiva`(‘o nau hiva, hiva, hiva, ki he Lami na’e pekia!) can only be done justice by music, pea na’a moe kau ‘angelo, na’e, pea ‘oku nau hiva foki mo kinautolu.

Pea te tau toe tokanga pe foki, ki he me’a ko eni ‘e ua(2), fekau’aki mo e hiva he Tohi Tapu`. Ko e ‘uluaki`, ko e lave ‘a e hiva` ki he me’a faka-litesia ‘o e lotu`(liturgical). Ko e Tohi ‘o e ngaahi Saame(Psalter), ko ia ‘a e makatu’unga ‘o e ouau faka-litesia ‘o e lotu Sinakoke`, ‘o a’u mai ki he ngaahi ‘aho` ni, pea mei he litesia ko iaa, pea`ne fou mai mei ai, ‘a e hiva`, ki he ngaahi Siasi faka-Kalisitiane`, mo ‘enau manako hiva`. Pea ko e lau ko ia ‘a Paula` - “‘o mou fe’alelea’aki ‘aki ‘a e ngaahi same, mo e himi, mo e hiva faka-laumalie, mo mou hiva mo taa, ‘i homou loto` ki he ‘Eiki….etc.”, pea na’e ‘i ai foki , ‘a e ngaahi motu’a’i fasi, mei he lotu Sinakoke`, ne toki fakalea fo’ou ia ‘e he Siasi faka-Kalisitiane, ‘o ngaue’aki, pea ke tau manatu foki, peheange mai, na’e ‘i ai ha tepi lekooti(tape recorder), he na’e mei ongo, mo ma’u ai, ‘a e le’o ‘o e ‘Eiki`, ‘i he’enau hiva ko ia`, kimu’a, pea nau toki hifo ki he vai Kitiloni`, ‘o nau fai atu ai, ‘i he ouau ‘o e poo`, ki he ngoue ko Ketisemani`.

Te tau fakamanatu foki, ‘a e ngaahi talanoa ‘a e Tohi Tapu`, pea ‘e manatua ai ‘a e hanga ‘e Tevita, ‘o taa, mo hiva he ha’ape`, pea ma’u ai ‘e kingi Saula ha fiemalie mei he laumalie kovi na’a` ne hufia ia`. Pea tau vakai foki ki he ngaahi talanoa kehe, ‘o e maama motu’a`. Pea mei he ngaahi talanoa ko iaa`,’oku tau fanongo ai kia ‘Ofiu mo ‘Alioni(Orpheus and Arion), mei he ngaahi talanoa ‘o Kalisi`, mo e mafai faka-e-mana ‘o e hiva`(musical charming nature), pea na’a mo e kau faka -lalata ngata ‘o e ngaahi ‘aho` ni(snake-charmers), ‘oku nau ala’aki pe ‘a e ngaahi founga tatau, ‘o hange ko e ola-mana mai ‘a e hiva`, ki he loto mo e mo’ui ‘a ha’a tangata`. Ko ia, ko e hiva`, ‘oku ‘ikai ngata pe ,‘i he’ene lea maii, kae hili ‘ete ongo’i ‘ene lea maii, pea uoke, ‘oku toe ngaue mai ia, ki he loto mo e mo’ui ‘a e toko taha ko ee na’e fanongo atu`! Pea mei he Folofola` foki, ‘oku tau sio ai ki he hiva`, kapau ‘oku ‘ikai tupu ‘afa’afa, ka neongo ia, ‘oku fotu ma’uma’uluta ke hoko atu hono ivi`, mo hono mafaii(if not fully grown, at any rate fully formed in potentia)

Tau foki mu’a kia ‘Ofiu. Na’e ‘i ai ‘a e tamaiki ako he Kolisi ko Tupou`, na’a nau hingoa “‘Ofiu.” ‘Oku maamaloa ‘a e ‘Ofiu ‘e taha, ‘i he l945, ‘i he hingoa ko e Halilala Vamani, ka ko hono hingoa faka-Tonga`, ‘a e ‘Ofiu`, ka ko e tauhingoa ki he ‘Ofiu hiva ko eni ‘o Kalisi`, pea toe ‘i ai mo e ‘Ofiu ‘e taha, ko e falala’anga ‘o e potu siasi ‘e taha ‘o e kakai Tonga`, ‘i ‘Amelika, pea ke tau foki a ki he ‘Ofiu ta-ha’ape ‘o Kalisi`. Ko e talanoa` ni foki, hange ha talanoa talatupu’a pe, ka ko e hiva mo e me’alea ‘oku ha aii`, ke fai ki ai ha fakamanatu. Tokua na’e to-kehe atu ‘a e ta mo e hiva ‘a ‘Ofiu he Ha’ape`, pea tokua, ko e ‘uluaki ha’ape ‘a ‘Ofiu`, ko e foaki ange ‘e he ‘otua Kalisi ko ‘Apolo. Pea ‘i he malie pehe fau ‘o e ta mo e hiva ‘a ‘Ofiu`, na’e hopo mai ‘a e monumanu`, mo e ‘akau`, pea mo e maka ‘o e loto manafa`, ‘o me’e mo tau’olunga, ‘i ha natula, kuo ongo ai ki he me’amate`, mo e monumanu`, ‘o ue’i kinautolu, ke nau kau ‘i ha fakafeta’i mo ha fiefia pehe. Na’e mali a ‘Ofiu mo ha ta’ahine faka’ofo’ofa ko ‘Elitisi(Euridice), kae vave pe si‘ena mavae`, he na’e pekia ‘a e fefine faka’ofo’ofa` ni, mei he kona ‘o ha u’uu ‘a ha ngata fekai. Na’e ‘ikai ma-tu’u-aki ‘e ‘Ofiu, ‘ene mamahi`, mo ‘ene ‘ofa ki hono uaifi` ni, pea ne tutui atu leva tokua, ‘o ‘alu ki he fonua ‘o e kau mate`(pulotu, fa’itoka), mo ‘ene ha’ape`. Na’e fononga atu tokua a ‘Ofiu, he’ene tutui atu ki he fonua ‘o e fanga tevolo` na, ‘i ha lafalafa, ‘a ia na’e pule’i ia ‘e ha tangata mo ‘ene kuli le’o, he ko e vaitafe eni ko Sitikisi(River Styx), pea na’e fanongo foki mo e tu’i ‘o lalo mamani`, ko hono hingoa` ko Hetesi(hades) ki he malie, mo e fakamamahi ‘a e hiva ‘a ‘Ofiu`, pea mo e le’o ‘o e ha’ape`, pea nau loto lelei ke fakamo’ui mai ‘a ‘Elitisi, pea ke na foki mo ‘Ofiu ki maama. Pea ko e lao ‘o ‘ena foki`, ‘e matu’aki tapu, ke na toe sio ki mui lolotonga ‘ena fononga atu`. Ka ‘i he’ena kaka hake, ‘o ofi ki funga mamani`, na’e lave mai ‘a e huelo ‘o e la’aa` kia ‘Ofiu, pea hanga kimui a ‘Ofiu, ke na ‘inasi fakataha mo ‘Elitisi, he fiefia ‘o e tapa mai, ‘a e huelo’i la’aa ‘o maama`, ka ko e tapu foki ia, na’e fonosi’aki kinaua`, ke tapu ha toe sio kimui. Kaikehe, kuo maumau’i ‘a e tapu`, pea tokua, ko e momeniti pe, ‘o e toe sio ‘a ‘Ofiu ki mui`, ko e kala-’iloa ia si’i ‘Elitisi`, ‘o ne puli, pea talu ai. 

‘Oku toe pehe foki, na’e ‘i ai ‘a e motu, ‘o e kau fefine fa’ahikehe hiva, ‘i he taha ‘o e ‘otu motu ‘o Kalisi`. Tokua, na’e ‘ikai tu’u-‘o-puna ha folau, ‘o hao mei he motu ‘o e kau hiva` ni. Ko e kakai faka’ofo’ofa tokua, pea ko honau le’o` mo ‘enau hiva`, na’e ‘ikai matu’u-e-kina ‘e he ngaahi kau folau ‘o e halanga-vaka` ni, kae pau ke nau afe ki ‘uta, pea ko e afe ko iaa`, ko e ngata’anga ia ‘o e kau folauu`, ‘o taku, ne tamate’i kinautolu, ‘e he kau hiva` ni. Ka ko e kalofanga`, ko ‘Ofiu, mo ‘ene ha’ape`. Na’e totongi’i mai a ‘Ofiu, ke ne taa ‘i vaka, mo hiva, ke fakafepaki’i’aki ‘a e hiva malie mei ‘uta`, pea ko e hao’anga ia ‘o e ngaahi kau folau lahi, talu e ha’u ‘a ‘Ofiu mo ‘ene ha’ape`, ‘o fakangata ‘a e mole ‘a e ngaahi mo’ui lahi` ni, mei he motu faka’auha, ‘o e kau hiva` na.

Pea ‘oku iku ki he mo’ui`, ‘a e hiva` mo’o fai fakalangilangi, pea toe ngaue’aki ki he mate`, mo e angahala`. Fefe leva ‘a e hiva ‘oku tau fa’a ngunguu aii? Tokanga’i pau mo e hiva ‘anitema`, mo honau ngaahi lea`, ‘a ee ‘oku hiki’aki ‘a e ngaahi lotu` mo e fakalangilangi`. Manatu’i ‘a e ‘anitema ‘o e “Peali`”, ‘a ee ne tau ‘osi lave ki ai ‘i mu’a atu`. 


Mei he “The Art of Singing: Based on the Pricniples of the Old Italian singing –masters, and dealing with Breath-Control and Production of the Voice, together with exercises, entirely re-written - by William Shakespeare.

Boston - Oliver Ditson Company – New York & Chicago

KO E TALATEU – Ko e koloa, pe faiva ‘o e hiva`(art of singing), ‘oku tatau pe ia mo e ngaahi faiva pe koloa kehe`, he na’e ‘i ai pe, hono vaa’itaimi na’e fai ai hono fakalakalaka`(development), pea a’u ki he tumutumu` pe iku’anga`(culmination), pea ‘oku pehe ‘e he talateu` ni, pea a’u pe ki he’ene motu’a pe popo`(decay). 

‘E fai pe ‘etau tokanga, ‘atautolu heni`, ki he fetu’utaki ko ee ‘a e hiva`, mo e tukunga ‘o ‘ene tupulekina` pea mo e tukunga hiva ‘o onopooni`(modern music), pea hange nai ko e fakalakalaka ‘o e fa’ahinga sitaila ‘o e hamonii ‘i ‘Itali he senituli 17(modern harmonic style in Italy in the 17th century). Ko e faiva hiva` na’e to tenga’i, pe fakatupu ‘aki, ‘a e ngaue lahi, mo e feinga na’e faka-ma-kukanga mo e ikuna(cultivated with great assiduity and success) pea a’u ki hono tumutumu` he lolotonga mo e faka’osinga ‘o e senituli l8, pea talu mei ai, kuo taumu’a leva ‘a e hiva`, ki he ngaahi halanga vaka kehekehe, kae tautefito ki hono fakakau ‘a e hiva`, ‘o ngaue fakataha mo e ngaahi tame’aleaa(ochestra), pea kamata leva ‘a e kau punake`, ke fakalili’aki ‘a e tokanga ki he le’o ‘o e tangata`, ‘a ee na’e pau ke fai mavahe pe hono ako’i ‘ona, pea mo ‘e ne fakalakalaka`. Pea ‘oku pulia fakataha foki mo e ako’i ‘o e fatu hiva mo tu’ungafasi`(school of composition) ‘a ee na’e ako mahino ai ‘a e kau punake`, ‘o fakataumu’a ki he ngaahi hiva ma’a` e le’o ‘o e tangata`, pea molia ai pe mo e tokanga’i ‘o e le’o`, ‘i hono fai ‘o e hiva`.

He’ikai ‘aupito, ke fai-fai-ange`, pea lakasi ‘e he me’alea`, ‘a e faka’ofo’ofa ‘o e le’o ‘o e tangata`, ka kuopau ia, ke fai hono ako’i lelei, pea he’ikai ke faifai pea mole ‘a e koloa mana ko iaa`, ko hono hanga ‘e he le’o ‘o e tangata`, ‘o te’ia ‘a e afo ongo ‘i he mafu mo e loto ‘o e tangata`, ‘a ee ‘e ‘ikai lava ia ‘e ha me’alea`. Pea lolotonga ‘a e taimi ‘o e kau palofesa lalahi-taha mo e kau faiako hiva ‘i he va’a ko eni ‘o e hiva`, he senituli ‘e ua kuo hili`, na’e si’isi’i, pea fakamamahi, ‘a e me’a na’e lava ke tuku mai ‘e he kakai ko iaa, ‘o kau ki he ‘enau founga ako’i mo fakahinohino ‘a e ngaahi me’a ‘o e hiva` mo e le’o`. Pea ‘i he’etau feinga ko ee ke tanaki mo tufi ha ngaahi me’a ke tau ako mei ai`, pea te tau fakafalala pe he tala-tuku-fakaholo`, ‘a ee ‘oku tau ala ma’u`, mo ha ngaahi fakamatala mei he kau tangata lalahi ‘o e musika`, ‘i he kuo hili`.


Ko e hiva`(singing), hange pe ko ‘ene mahino kiate kitautolu`, ‘e ala pe ke tau fakamatala’i ‘o pehe – Ko e ongo ‘o e le’o ‘o e tangata`(sound of the human voice) ‘i he taimi ko ee ‘oku fakatonu ai ki he ngaahi nota ‘o e sikeili faka-musika`(tuned to the notes of the musical scale), pea ‘oku na vakavakaua pe foki mo e lea`(associated with speech). Pea ‘i ha toe fakakaukau ange ‘e taha, te tau pehe pe, ko e hiva`, ko e faiva pe ngaue(art) ‘o hono fakataha’i pe fakapipiki ‘a e fasi`(tune) fakataha mo e lea`(speech) ‘i ha founga ‘a ee ‘oku kamata ai ‘a e ngaahi nota` ke ongo mai ‘i hono kakato`, pea mo ‘ene ongo mahino`, pea ongo mai foki ‘i he ma’olunga ko ee ‘oku fakataumu’a ki ai`(in fullness and purity exactly on the pitch indented); pea ‘e faka’aulolongo nai ‘a e lea` ia, kae fai ‘e he ongo`(sound) ‘i hono faka-e-natula`, ‘a ‘ene lea mai ki he loto mo e fakakaukau, ‘o kinautolu ‘oku fanongo atu`(expressive talking to hearers), pea ‘oku hanga leva ai ‘e he ongo kotoa pe ‘o tufaki mo fakamafola ‘a e fa’ahinga ongo’i(emotion) ‘a ee ‘oku kaveinga ki ai ‘a e toko taha ‘oku hiva`, pe kau hiva`.

Pea ‘i he feinga ke malava ‘a e kaveinga ko iaa, ‘oku fotu mahino mai leva ‘a e ongo me’a lalahi ‘e ua – ‘Uluaki`, Ko e manava`(breath) ‘oku pau ia ke haohaoa hono mapule’ii(under perfect control), pea ko ho no Uaa`, Ko e ngaahi ‘okani ‘o e hiva` mo e le’o`(vocal organs) kuopau ia, ke ako’i ke nau lava ‘o ngaue matu’aki faingofua faka-e-natula pe ia(to act with unconscious ease). Pea kapau ‘e ikuna’i ‘a e ngaahi fiema’u mahu’inga ko iaa`, pea he’ikai ha faingata’a’ia ia ‘e taha fekau’aki mo e hiva ko iaa`, ‘i ha feitu’u pe.

‘Oku ‘i ai pe ‘a e tokosi’i, ‘oku ‘ikai te nau ongo’i ha’isia pe faingata’a’ia honau kiaa`(monga, throat) ‘i he’enau kamata ke fuofua hiva`, pea pehe pe ‘i he’enau feinga ke le’olahi ange mo ma’olunga ange ‘i he kaka ‘a e tu’ungafasi`.

Ko e hiva ko ee mo e kia ‘oku faka-kekeva`, pea ‘oku toe fefeka ai mo e ‘elelo` ia, pea ‘oku hoko leva ‘a e ongo ‘o e hiva`, fakataha mo e pu’aki mai ‘o e lea`, hoko ia ‘o ongo ‘efihia mei loto, mo ongo kovi ‘a e le’o`(tone and pronunciation are impeded, pea ko e ongo kaungao`(jaws) mo e ongo loungutu`(lips) pea mo e ongo mata`(eyes) kuo tu’uma’u katoa, ‘o hange kuo sila’i kinautolu ke ‘oua ‘e toe ngauee, kae manatu, ‘oku ‘ikai ko e faka-e-natula ia ‘o e sino`. Pea ko e katoa ‘o e ngaahi faliunga ko iaa, ‘e faingata’a leva ke kamata’i ha fo’i nota ‘i he too, pe ma’olunga ko ee ‘oku fiema’uaa`, pea ‘oku palai mo nenefu ‘a e me’a kotoa ‘i he ngaue ‘oku teu ke fai`.

‘Oku si’i he ngaahi ‘aho` ni, ke tau kei fanongo ki ha le’o faka’ofo’ofa ‘i hono hiva’i ‘o ha nota loloa ‘a ia ‘oku kamata le’o si’i mo vaivai, pea fakautuutu ki he le’o lahi`, pea toe foki pe ‘o piano, ‘a e fa’ahinga me’a ko ia na’e ‘iloa ko e messa di voce ‘a ia ko e fa’ahinga hiva ‘oku ‘ohofi(attack) ‘e he le’o`, ‘a e nota` ‘aki ha le’o piano mo vaivai(sustained vocal tone pianissimo) pea fakaakeake ai ki he le’olahi`(fortissimo) pea toe fakaholoholo vaivai ki he pianissimo kae mamalie ange. Ko e me’a pe ‘oku tau fanongo ki ai he nagaahi ‘aho` ni mei he kau hiva`, ko hono hahamu ‘a e kamata’anga ‘o ha hiva(scooping up) ke ongo mai, ‘a ee na’e totonu ia ke kamata lelei mei he ma’olunga totonu`(pitch) pea mafola palalaa ‘a e ongo ‘o e ngaahi nota`, pea koviange, ko ‘ene iku ‘o le’oua`(and emitting notes painfully out of tune).

‘I he taimi ‘oku tau hiva ta’etokanga ai, mo tukunoa’ia hotau kia` ’o ta’e teuteuu`, pea ‘oku mahua noa’ia leva ‘a e ‘ea ‘o ‘etau manava`, pea pau leva ke tau toe feinga ke fa’o ha manava fo’ou ke ne fakaa’u ‘a e manava`, mo e le’o`, ki he ngata’anga ‘o e vaa’ihiva, pe kupu ko iaa, pea ko e lahiange faka-e-natula ko ia ‘o ‘etau fie hiva`, pea ko e lahiange ai pe ia ‘o ‘etau feinga ke ‘ilo lelei ‘a e pau ke mapule’i lelei ‘etau manava`.

Pea ko e faka’osi ‘o ‘etau fakafe’iloaki`, ‘oku pehe` ni – Kapau he’ikai ma’u pau, mo tonu, ‘e he tangata mo e fefine hiva` ‘a e founga totonu ke pule’i ai ‘ene manava`, pea talaatu, he’ikai te ne lava ke hiva ‘i ha kia(monga) ‘oku ta’e teuteu ‘ene tu’u` mo ‘ene manava`, he ‘oku fu’u mahu’inga ke tu’u lelei ‘a e ngaahi ‘okani hiva ‘o e tangata`, he ka ‘ikai, pea ‘e ongo mai ‘a e le’o ‘oku palala mo makaka, pea ongo faka-e-monga mai, pea ka ‘ikai, ‘e ongo mai ko e hiva ‘oku fai’aki ‘a e ihu`(harsh, throaty or nasal sound).

Ko ia, ko e ako pe fakahinohino te tau ‘uluaki tokanga ki aii, ko e ako ‘o kau ki he manava`(breathing), ‘a ia, ko e founga ke te ngaue’aki ke ma’u ai ha fo’i uta manava fe’unga ‘o fakahu ki loto pea mo e founga ke tuku mai ai ‘a e manava ko ia kae toe fetongi mai, pea ke kei lava foki ke tuhani ‘a e manava ko ia ke ne lava’i lelei ‘a e fo’i kupu’i hiva loloa taha(longest phrase) ‘i he me’a ‘oku` te hiva’i`. Pea ko e hoko ki aii, ko hono ako’i ‘a e founga ke fai ai ‘a e hiva’i ‘o e nota kotoa pe, ‘o fai ‘i he makatu’unga ko ia, kuo tau lave ki ai`, pea lolotonga katoa pe ia`, ‘oku ava lelei pe hoto kia`(monga`) ‘i hono faka-e-natula totonu`. Pea te tau toki sio leva, he ko ha no fakalakalaka ‘o e ngaahi konga kimui ‘o e hiva`, ‘e makatu’unga ia, ‘o ka kuo tau mapule’i lelei ‘a e ngaahi ‘uluaki me’a`(depends mainly on whether we have mastered the former), pea ko hono mo’oni kakato`, ko e kuopau, ke matu’aki li’aki ‘aupito ‘a e founga fakafefeka mo makaka ‘o hotau kia`, pea pehe mo e fefekatoa ‘o e ‘elelo`, pea pehe foki mo e anga ‘o ‘etau lea`, he ‘oka tau ka talanoa, pea fu’u kehe leva ia, ‘o hala ‘i he taimi ‘oku tau hiva aii, koe’uhi` pe, he na’e ‘ikai te tau ‘ilo, mo mahino kiate kitautolu ‘a e o’i ‘o e manava`(art of respiration).

Tuku mu’a ke tau lepa hee, mei he fakamatala kuo tau kamata mai mo ia ‘i he fakamatala fekau’aki mo e founga fai ‘o e hiva`. ‘Oku tau tui ‘oku fu’u mahu’inga

lahi ‘a e fakakaukau` ni, ka e mahalo ‘e tuku ia ke tau toe sio ki ai mei mui ange. 

Fakamolemole atu!