Chapel music: How loud is too loud?

By Rachel Terry, Opinion Editor

Recently the volume of Asbury University’s chapel music was called into question by a well-meaning professor, Martin Seitz. Seitz expressed concern for the well-being of both the faculty and students under constant exposure to that level of sound.

“I don’t want to be a part of supporting in any way a style of music that is damaging performers and the audience,” Seitz said. “How many students are suffering not because of the genre of music but because of the volume?”

Questions regarding the safety of Asbury’s students and faculty, the science behind decibels and volume levels and the education of the worship arts department have been flying every which way as students and administration alike have been trying to determine the validity of this potential danger.

[perfectpullquote align=”right” cite=”” link=”” color=”” class=”” size=””]“It’s upsetting to a lot of students that the decibel limit was changed without much research or information gathered, because it affects all of campus, especially the worship arts students.”[/perfectpullquote]

In the past, according to senior Levi Simonton, chapel bands had been playing at an average level of 93 decibels (dB), a level comparable to those in area churches. According to the Occupational Safety and Health Administration (OSHA), an average decibel level of 90 is safe as long as its duration does not last more than eight hours. Even a 100-decibel level is safe for a two-hour time period.

Worship in chapel rarely lasts for more than 15 minutes, with the exception of an all-worship chapel once per year. This is nowhere near long enough to cause permanent hearing damage (OSHA).

According to the University of Wisconsin Madison’s Trace Research Center, because decibels are used to measure sound perception, an increase in 10dB creates a sound twice as loud. For example, increasing chapel music from its original threshold of 93dB to 103dB would result in music twice as loud.

After receiving an email from Seitz expressing his concerns, President Sandra Gray issued a mandate to Andrew Miller, help desk and learning resources operations manager, and Jon Roller, worship arts program coordinator and assistant professor of worship arts, setting a limit of 85dB during chapel services.

Unfortunately, this decrease in 8dB is almost the equivalent of cutting the chapel music volume in half.

Additionally, according to senior worship arts major Stacey Ballinger, chapel is by far the largest opportunity that students studying worship arts have to practice and perfect their craft. By not allowing students to play at what is widely considered a normal sound level, the university could be hindering their education.

Simonton, a worship arts major, audio production major and drummer, has been hit especially hard by the mandate.

“I’m a drummer, so I get hit the hardest with that,” Simonton said. “I have to pretty much not play at all, so that’s there room for people to hear the words and any of the main instruments.”

According to Simonton, 85 dB is just too restricting to create an environment in which the music is both expressive and able to serve in tandem with the lyrics as a reminder of what God is like.

“Within 85 dB there is not a lot of room to create dynamics, and songs are all about the dynamics,” Simonton said. “[Without dynamics] it would be like writing a paragraph with an elementary schooler’s vocabulary.”

According to Seitz, the opinions of those involved in the worship arts department regarding the mandate are not relevant. He fears they have already been exposed to levels of sound that have damaged the hearing of Asbury’s worship leaders and caused them to play louder in order to hear their own music.

In reality, those leading worship up on stage are exposed to less noise than those in the audience. Most musicians wear in-ear monitors to adjust what they are hearing.

“It’s upsetting to a lot of students that the decibel limit was changed without much research or information gathered,” said Ballinger, “because it affects all of campus, especially the worship arts students.”

  1. As a worship leader for the last 15 years. I have been able to see both sides of this issue. Playing expressively requires change in dynamics. Soft and “Loud” can be equally moving to those playing and singing, as well as to the audience. There are preferences involved here, so what does the scripture say about preference? Phil. 2:3-4 say that we are not to be selfish, thinking of others more than ourselves.
    As a worship leader, consideration needs to be given to volume, as well as song choice, doctrine, etc.
    If one is intentionally playing louder, knowing that it bothers the listener, then there is a problem. This is also a two sided argument. Those in the congregation should understand that the musicians are coming from a different perspective, allowing their personal preference to take a back seat for a moment.
    I do believe there is a volume threshold for a worship service. Participants have to be able to hear themselves sing. If music is so loud that the congregation cannot hear themselves, it becomes a performance rather than corporate worship.

  2. There are multiple issues. Where do you measure the SPL? One location or an average of several locations? What weighting or filter do you use? Is the threshold an average or peak?
    How do you control acoustic instruments such as brass and drums which could easily go over the set threshold. The same with large choirs.
    Then there is the issue of people with sensitive hearing. Chapel is not an optional activity. Should they be forced to compromise their comfort and/or hearing so Worship Arts majors can practice their craft? Are there other optional worship opportunities/venues where these leaders can practice and people choose to gather? Is this situation also part of the learning experience where you need to play within restrictions of a facility, time frame or audience?
    All points to ponder.

  3. I mean absolutely no disrespect towards Dr. Seitz, but to say that the opinions of those involved in leading worship on the matter are “irrelevant” because of supposed damaged to their own hearing displays an ignorance of music production. As is stated in the article, most worship teams now use in-ear monitors which, while delivering a tailored volume to the musician, effectively blocks most outside volume.

    However, even if these were not used, the speaker arrangement in Hughes is designed to project the sound out over the congregation and not back at the musicians. There would separate speakers in place aimed at the musicians which would, once again, be tailored to an appropriate volume.

    I understand this was in response to one statement in the article, but if one side of the argument is not willing to listen to the other, then there are problems.

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