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.