Review
Singing and Making Music
Paul S. Jones
Phillipsburg, NJ: P&R Publishing, 2006

Paul Jones’s Singing and Making Music published by P&R is a diverse collection of essays on church music. Various topics Jones considers are payment of church musicians, the role and qualifications of church musicians, church music in small churches, the role of the accompanist in worship; ascriptions in the psalms, hymn writing, congregational singing, children’s music programs, and Martin Luther and Bar songs, to name just a few. Although this book doesn’t strive to be a comprehensive theology of music it examines a lot of the practical out-workings of a solidly Biblical foundation for music.

Jones is the music director at Tenth Presbyterian Church in Philadelphia, James Montgomery Boice’s former congregation. When Boice was still living he and Jones collaborated in composing a new collection of hymns which were published under the title, Hymns for a Modern Reformation. These hymns elaborate on the classic doctrines of the Reformed faith and the famous solas. Jones has gone on to complete other hymns with Eric J. Alexander. Jones is an organist, choir director, as well as a composer. His credentials render him a musician worth listening to in these days of confusion in worship.

In Singing and Making Music Jones writes many helpful insights into music making in the church. One such insight is found in the essay on accompanying congregational singing. Jones mentions that the pianist or organist must be careful to introduce a hymn at the speed the congregation is to sing throughout the hymn that follows. Jones recommends he not slow down too much or at all at the end of the introduction so that speed is lost and confusion ensues when the first stanza begins. Moreover, Jones encourages the organist to mind the meaning of the text being sung. Punctuation should not be ignored; registration and articulation should be explored to help the music match the meaning of the text. A congregationally-minded accompanist will pay heed to such advice. This essay alone should be read by all church accompanists, especially those new to the job. It is examples such as these that make Jones book indispensable advice for the church.

For those that are looking for an in-depth theological discussion of church music Jones’s book is likely to disappoint and certainly that sort of book was not his goal. Nevertheless, professional and volunteer church musicians, as well as pastors and elders would benefit from reading this book and considering Jones’s helpful insights.

Cantus Christi in Recordings, II

Another recording I recently discovered that contains selections also found in the Cantus Christi is a recording of Genevan Psalms sung in Japanese (of all things), performed by Masaaki Suzuki and the Bach Collegium Japan. I just got this in the mail yesterday and my wife and I listened to this as we were drifting off to sleep last night.

It's a really great CD. It contains versions of Genevan Psalms harmonized in four parts by Goudimel, in viruostic solo settings for recorder by van Eyck, in variation settings for organ by Sweelinck, and lute settings by Vallet. Many of the psalms are sung in unison accompanied from the organ by Masaaki Suzuki, the founder and conductor of the BCJ. (Suzuki is a member of the Tokyo-oncho Reformed Church.) I presume that Suzuki provides many of these wonderful arrangements himself.

For those unfamiliar with the BCJ they are a group of the highest merit and performance quality. I have a couple of their recordings of Baroque sacred music, one of which is their recording of Messiah. Their Messiah recording has received high marks and I agree that it is wonderfully performed. The BCJ is known for its recordings of Bach's Church Cantatas on the BIS label. These are also fantastic.

High-points on the Psalm disc are the elaborate and moving exploration of Psalm 36, the rustic and energetic rendition of Psalm 47, complete with hand clapping, and the awesome variation on Psalm 118 for solo recorder. This disc is well worth the money for anyone familiar with the Genevan Psalms. The fact that the pieces are sung in Japanese should not scare anyone off. Other recordings I've mentioned are sung in French,...so?

Of the fifteen Psalms on the disc ten are also found in the Cantus Christi. Cantus singers are encouraged get copies of it.

Enjoy!

Church Music as a Genre, II

One reason we need to think of church music as its own thing has to do with its distinctive sound. Psalm 92 v. 3 commands praise upon a harp "with a solemn sound." It is this solemnity of sound that makes church music sound the way it does, distinguishing it from other genres.

What does solemnity mean? I think it means what most of us think of when solemn church music is heard or mentioned. It does not mean the music is always quiet or controlled as most would the define the word itself (think Geneva Jigs). But the music must be fitting for the praise the Most High. Good church music is often loud and can be energetic. The bottom line is that it is to be solemn in a way that is fitting for worship of our Holy God.

Other kinds of music entertain and divert. Some music is even profound. Church music is not any of these although there is sometimes overlap.

Cantus Christi Selections in Recordings

Those unfamiliar with many of the selections in the Cantus Christi hymnal would be helped by acquiring some recordings of the psalms and hymns in the book. Below is a basic list of recordings. Over the coming months (and years) I hope to include some commentary on the common selections with the Cantus. Links to the recordings on Amazon.com are included. Some of these can be downloaded directly from there. The Cantus numbers listed be low are page numbers.

1. Tallis, Archbishop Parker's Psalter Selections, Cantus Christi nos. 92, 93, 218, 372, & 377

2. Tallis, Dorian Service Selections, Cantus Christi nos. 126, 386, 392, 393, 396, 398, 406, 410, 413, 416, 420, 425, 426, & 430

Comment: This recording is a download and includes the selections from Archbishops Parker's Psalter listed under #1. Both recordings are very fine although the Tallis Scholars are especially fantastic.

3. Vaughn Williams, Hymns, Cantus Christi nos. 31, 66 (100), 154 (206), 214, 272 (288), 278, 280, 294, 301, 369, & 378

Not all the tunes listed are Vaughn Williams own arrangements. Vaughn Williams arranged a whole variety of sturdy and memorable tunes for the English Hymnal of 1906.

4. Scottish Psalter Selections, Cantus Christi nos. 38, 78, 84, 105, 134, 139, 144, 159, 162, 167, 193, 298, & 360

It appears that copies are only available from independent sellers. This is a nice disc. I hope its availability doesn't disappear.

5. Anglo-American Psalmody, Cantus Christi nos. 160, 266, 370, 382

This popular album, originally released under the title 'Goostly Psalms' hardly needs mention. There is some fun and unusual music on it. The first eight or so tracks are fantastic.

6. Genevan Psalms, Cantus Christi nos. 15, 36, 58, 72, 178.

The performances on this CD are all first rate. The Cantus numbers noted above are found in homophonic settings on the CD with the melody in the tenor. There are polyphonic settings on the CD of other Cantus selections but the tunes are harder to hear as they have been elaborated upon in such settings.

7. More Genevan Psalms, Cantus Christi nos. 15, 42, 58, 168, 178, 425

This CD I recommend with reservations. The arrangements of the psalms are interesting in that they feature Goudimel's several styles of psalm settings including monophonic, homophonic, and polyphonic. The listener gets a good idea of the breadth of Genevan psalm styles. But the performances themselves aren't great making this CD non-easy listening.

8. Lutheran Music, Cantus Christi nos. 208, 225, 231, 232, 404, 408

This CD is another interesting study in Reformation music particularly because it pits the rich polyphonic music of the conservatives Luther and Walter against the simple music of the radical, Thomas Muentzer. Walter's polyphony is thick and being that the hymn tune is in the tenor voice most of the pieces won't sound recognizable. Nevertheless, this is a CD worth having, if for no other reason than blasting on Reformation Sunday.

Book Review:
Church Music in History and Practice by Winfred Douglas
revised by Leonard Ellinwood
Scribner's, 1962

note: the original edition of this book was published in the 1930's. References to The Hymnal, 1940 are Ellinwood's.

Canon Winfred Douglas has written a thorough and very helpful book on church music and its use in liturgy. It is indeed a foundational work for those wanting the "what's what" in liturical music. Douglas, a devoted Episcopalian, shows his true colors a number of times in the book. This blog has already highlighted a couple of these. Many a recovering low-churchman will be further enticed by his rhetoric. Yet, at the same time, Douglas is very ecumenical (if the reader permits the term). He expresses a great debt of gratitude to guys who have broad, evangelical appeal like Luther, Bourgeois, Watts, Newton, and Wesley. This is not a book that dwells in the remote past, although much value is placed there. On pages 199-200 he digresses into a discussion of the meaning of the word "catholic." Briefly, he says "...all who praise [Christ] may be catholic members indeed. No mere being a high churchman of a low churchman of a broad churchman, an Episcopalian or a Roman Catholic, a Baptist, a Methodist or a Presbyterian, can give us a right to that lofty name." Whereas there is room to take exception with this statement if too broadly applied, Douglas, whose apparent audience is Episcopalians and Anglicans, strengthens his argument by drawing others in.

Douglas was a high churchman, to be sure, valuing the bells and whistles of elaborate liturgy. At the same he was appalled by the state of the modern Episcopal church's worship, where congregations were made mere spectators to the drama. We who favor sturdy congregational singing find an ally here. Douglas frequently speaks in pastoral tones in his book, desiring a music of God's people, not merely aesthetics.

It could be said that this book is a commentary on The Hymnal, 1940, of which Douglas is listed among the editors. Those unfamiliar with the music Douglas mentions in his book will find a The Hymnal a supplement to Douglas (indeed, Douglas a handbook to the Hymnal). The Hymnal, 1940 is an outstanding piece of practical scholarship as Douglas's book well demonstrates.

Winfred Douglas on the Psalms

“Few churches sing the Psalms at all. Fewer follow any order which insures the regular use of the entire Psalter…I know of at least one small country church where for years the daily Evensong Psalter has been sung through every month, and the Matins Psalter read. A certain degree of adaptability to conditions, of reasonable flexibility is good but the permissions granted in the rubric have further worked out disastrously in our Offices. Not only our people but some of our clergy, are slowly losing any spiritual knowledge of the Psalter as a whole. The spiritual knowledge has, in every age, been the main sustainer of the soul of man apart from the sacraments and prayer, and the vehicle of the praise of God even in the sacraments.”

What a sorry state of affairs. Douglas wrote this back in the 30's. We Presbyterians should be ashamed; we who claim to value the psalms so highly. Even if we don't revive the daily office we'd be doing well if we had regular contact with the psalms.

Psalm 96:1-4

O sing unto the LORD a new song: sing unto the LORD, all the earth. Sing unto the LORD, bless His name; shew forth His salvation from day to day. Declare His glory among the heathen, His wonders among all people. For the LORD is great, and greatly to be praised: He is to be feared above all gods.

Here we are exhorted to sing a new song. A less-evident understanding holds that old songs are to be sung as if they are new, in a fresh and winsome way. But the more obvious meaning certainly applies. During David’s and Solomon’s times lots of brand new songs were sung. We continue to sing new songs unto God because His mercies are “new every morning.” God has not ceased to be faithful when He granted us salvation but continues to save us and provide for our every need. Therefore new praise is necessary: “…shew forth His salvation from day to day.”

Psalm 95:1-3

O come, let us sing unto the LORD: let us make a joyful noise to the rock of our salvation. Let us come before His presence with thanksgiving, and make a joyful noise unto Him with psalms. For the LORD is a great God and a great King above all gods.

Singing is a fitting act of worship. Worship of God requires a joyful spirit that pours out praise. Praise is a worthy sacrifice. Blood is necessary in so much that our flesh and blood are to be living sacrifices to God. Part of what it means to present our bodies living sacrifices is to praise God in singing.

Church Music as a Genre

One point that I think has been overlooked in the so called "worship wars" is the fact that church music is a musical genre. Usually I wouldn't be keen on such categories as they tend to be arbitrary labels used for marketing purposes. (In that sense the genre called "classical music" is misleading because it includes everything from Gregorian Chant to Johann Strauss Jr to Stravinsky. You couldn't get any more diverse.) But for the purpose of this discussion and the greater effort to reform worship in our time the genre/category called church music deserves its own consideration.

The problem with church music in general is that it has lost some of its own distinctives that make it church music. A number of unhealthy assumptions have lead to this including gnosticism, pragmatism, and pluralism. Church music fails to be distinct from popular music and folk music. In some cases it has failed to be distinct from classical music.