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.