A Book Review-- Why Johnny Can't Sing Hymns by: T. David Gordon

My concluding thoughts on Why Johnny Can't Sing Hymns are as follows:

 I agree with Gordon in that we should care about singing appropriate music to God on Sundays ( and every day ). And certainly we must encourage others to care about singing the good old hymns, but I think for those of us who have studied music, and have been convicted about singing theologically sound worship music ( the Trinity hymnal for example ), must be careful that we don't look down our noses in a very arrogant and prideful way because we think we're "more godly". We must remember that it's only by the grace of God that we know what we know, its nothing we've done or deserved.
When we share our thoughts and convictions on Hymnody, it should be out of true love for the brethren and fear of God. Soli Deo Gloria, this is what it's all about.
Gordon addresses the issue of worship music in a very gentle and sensitive way, and he is by no means condemning of others or haughty in his approach of the subject. May we all learn from his example.

-Hannah

Why Johnny Can't Sing Hymns

Written by: T. David Gordon

Reviewed by: Hannah DeLadurantey

Gordon's purpose in writing this book:

1. Prove that music in worship is significant, and that we should take more care finding out more about it.
2. How to evaluate worship music
3. Find out why hymns are unpopular in our culture, and if it is a problem, how to help cure it

Why Is Music Significant?

“ Music may be religious or profane, sublime or mundane, pious or pernicious, but music is not insignificant. It would not be a universal reality in all cultures if it were insignificant.”

In the first chapter or so, Gordon defends why God cares about worship music. As the reader, your taken on a journey to the Old Testament, where Gordon gives scripture references to allow you, the reader, perspective into how important God's place of worship was (the Temple). Gordon goes on to explain that if God took so much time and detail to explain how He wanted the Temple to look, wouldn't He care very much on what type of music was sung and played for the worship of Himself? Indeed He does care.

How does music affect us and do we have to evaluate it?

“ Like worship, music is a reality that involves us emotionally and sometimes deeply, and therefore it is difficult for us to establish the philosophical distance necessary to evaluate it on aesthetic or musical grounds. Worship music, then, is almost hopelessly impossible to discuss because it combines the passion we feel about worship with the passion we feel about music, and the whole enterprise becomes so fraught with emotion that philosophical distance is extremely difficult for most to acquire. Nonetheless, it is our duty, once we raise the subject, to do the best we can to evaluate it with all the resources available to us. ”

How to Evaluate a Hymn/Worship Music

Hymn Criteria

• theologically orthodox lyrics
• theologically significant lyrics
• literary apt and thoughtful lyrics
• lyrics and music appropriate to a meeting between God and his visible people
• well-written music with regard to melody, harmony, rhythm, and form.
• musical setting appropriate to the lyrical content

*Historical note: the Trinity Hymnal mentions the goal of compiling a hymnal that has three traits: “truly ecumenical...theocentric in orientation, biblical content”

• “ Study the psalms and ask whether, on lyrical grounds, the various form of contemporary worship music demonstrates anything like the theological or literary integrity or profundity of the individual psalms.”

Gordon presses the point that all things are lawful, but not all things are helpful (1 Corinthians 10:23 ). This he says; “is an important point to remember when evaluating worship music.” Is it helpful, is it appropriate? Gordon also points out that when making decisions on worship music, there must be a reason and some type of rationale for determining, for certain purposes, why one hymn/song is superior over another.

Gordon also lists 5 properties from Aaron Copland's book on music. Gordon says that all composers of music must make skillful choices with them: rhythm, melody, harmony, timbre, and form.

Gordon poses this question to get us thinking ( in regards to pop music in comparison to the psalms ): Do our popular tunes and words have the same effect on us as the psalms of the Bible?

Aesthetics

“ God Himself is our aesthetic standard, just as He is our ethical standard.......Human creativity is a matter of imitating God the Creator; it may very well be the most significant thing humans do, so it is not ' merely anything ', and it is surely not 'merely a matter of taste.' ”

Meta Messages/Form and Content

Gordon, in his chapter on Meta Messages, challenges us to think about worship songs/popular hymns. Do the lyrics go with the tunes? Gordon goes further on to exhort believers that Christianity is a demanding religion, it is sacred, that is, not common. Our words must match our actions just as the lyrics of our music must be paired with fitting tunes.

“ ...if even the substantial minority of the culture associates contemporary music with the trivial, the inconsequential, or the ironic, why would the church wish to use a form associated with the trivial or ironic, and employ it for worship? Is the content of worship trivial or ironic? And if not, then why attempt to put serious content into a non-serious form? People may be amused by it, and some may tap their feet to it, but would Jesus have addressed the rich young man in such a tone? ”

“ We might say, for instance, that we take God and faith seriously, but do things that seem contrary to that message......and if the culture observers are correct, the meta-message that contemporary music sends it this: Nothing is important everything is just amusing or entertaining. This is hardly a Christian message.”

Music Genres

Gordon explained a few components of music genres (their pros. and cons.). Gordon's leanings on worship music are more towards the folk genre, mostly because its music is more accessible to people.

• High/Classical: multigenerational, timeless, speaks to significant matters, communal, restrained, disciplined ( Matt. 7:14 )
• Folk:transcendent, multigenerational, significant, communal/ yet more accessible then Classical.
• Popular: immanent, banal, individualistic, accessible, idiosyncratic.

Conclusion

In the end, Gordon concludes that a change is needed in the church concerning its worship music, but that it must be a slow change. People are set in their ways, and just have not been taught what it good music. It must be a humble, slow explanation and change that will bring our churches back around to good biblical singing, not a thump on the head with the Trinity as you quickly snatch away the slide projector.

“We've lost our capacity for the sublime, and have acclimated ourselves to the mundane even to the point that we are not troubled when worship itself is mundane. We don't deny per se that worship has something to do with the sacred; we've lost the category of sacred itself.”
-T. David Gordon

The Joy of Music by: Leonard Bernstein

The Joy of Music by: Leonard Bernstein

A few months ago, I went to a library sale and spied a book titled The Joy of Music. Any book with the theme of music always catches my eye, and to see the name Leonard Bernstein connected with it meant I must peruse and likely purchase.....and so I did.

There were a few sections that I didn't care to read, like the one on Jazz, and a few words that I blackened out, but over all I think it was worth the $2.00.

The Joy of Music was originally supposed to be entitled: Conversations at Thirty, but since it was written by the time Bernstein was around 40 ( 1959 ), the titled changed to The Joy of Music.

The chapters in this book were taken from television and radio shows, so they are conversational style, with lots of musical notation since you can't actually hear the musical excerpts.

The Art

of Conducting

Telecast: December 4, 1955

Bernstein, in this chapter:  dissolves any confusion as to the role of the modern day conductor, gives a little history of the modern day conductor, explains what exactly a conductor does, and shows with words and pictures how to beat out the music with a baton.

History of the Conductor:

" Mendelssohn was the first real conductor in our sense of the word, who founded the tradition of conducting with a wooden stick/baton. Mendelssohn dedicated himself to an exact relication of the score he was conducting, through manipulation of the baton. There soon arrived, however, a great dissenter; Richard Wagner, who said Mendelssohn was doing it all wrong, and that a conductor should personalize the score he was conducting by coloring it with his own emotions and his own creative impulse. And so, out of the clash of these two points of view the history of conducting was born. Mendelssohn fathered the 'elegant' school and Wagner inspired the 'passionate' school of conducting."

Bernstein goes on to explain that both schools of conducting are needed; the ideal modern conductor is a synthesis of the two attitudes, and this synthesis is rarely achieved. “ Almost any musician can be a conductor, even a pretty good one; but only a rare musician can be a great one.”

Bernstein also expounds on why we have conductors now; “because the orchestra is bigger than it used to be, and its harder to keep everyone together rhythmically and musically.” A leader was needed and so the conductor was born! The modern day conductor has only been around for the last 200 years or so.

What do you have to be, to become a Great Conductor?

• Must have enormous authority
• Master the mechanics of conducting
• Inconceivable amount of knowledge
• Profound perception of the inner meanings of music
• Uncanny powers of communication

How to Look at a Music Score

• “Read through the score more or less superficially, like racing through a detective story. During this first reading, he must form his own opinion of the cultural and stylistic position of the work. E.g. style of Brahms period; atmosphere of his life and country; the goal he set himself in his work; the influence of other composers and artists on him. In other words, a conductor must be more than a musician he must be also a kind of artistic historian.”

• Take the score apart and study all aspects of it; what instruments are playing, where is the melody.
• Decide how fast it must go
• How loud?

What Makes a Great Conductor

Bernstein says he believes that the chief element in the conductors technique of communication is; preparation. Everything must be shown to the orchestra before it happens. Once the player is playing the note, its too late. The conductor must always be a beat or two ahead of the orchestra. He must hear two things at the same time: what the players are doing at any moment, and what they are about to do a moment later. Therefore, the basic trick is in the preparatory upbeat. The preparatory upbeat is exactly like breathing. The preparatory beat is like inhalation, and the music sounds as an exhalation. A conductor who breathes with the music has gone far in acquiring a technique.

“ But the conductor must not only make his orchestra play. He must make them want to play. He must exalt them, lift them, start their adrenalin pouring, either through cajoling or demanding or *raging. But however he does it, he must make the orchestra love the music as he loves it. It is not so much imposing his will on them like a dictator; it is more like projecting his feelings around him so that they reach the last man in the second violin section. And when this happens—then there is a human identity of feeling that has no equal elsewhere. *It is the closet thing I know to love itself. On this current of love the conductor can communicate at the deepest levels with his players, and ultimately with his audience. He may shout and **rant and **insult his players at rehearsal--as some of our greatest conductors are famous for doing—but if there is this love, the conductor and his orchestra will remain knit together through it all and function as one.”

“ Well, there is our ideal conductor. And perhaps the chief requirement of all is that he be humble before the composer ( and I would personally add, God ); that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning-- the music itself, which, after all, is the whole reason for the conductor's existence.”

*I don't agree with this statement completely, but I understand what he's trying to get across. I suppose that if you weren't a believer that this "feeling" could  be the closest thing to love......

** Don't agree that its okay to rage just to get what you want

*** Or with the rant and insult

A Book Review: The New Grove Mozart

The New Grove MOZART

Written by: Stanley Sadie

Reviewed by: Hannah DeLadurantey

We picked up this book at a library sale a few years back, and I just got around to reading it!

Sadie takes us back to the year 1756, the year Wolfgang Amadeus Mozart was born. This book is divided into 24 chapters, with each chapter focusing on where Mozart would have been and what he composed during those specific years.

Overall, this book was very detailed and helpful if you wanted to know more specifically where and when Mozart composed certain works. Personally, I found the writing style a bit dry, mostly dates and facts. Mozart didn't seem real, but instead, a stuffy dry man of dates and facts. I would have liked to be transported into the 1700's, but was sadly disappointed.

If your looking for a good informative and intriguing story of Mozart, don't pick up this book. But, if you in need to details on his works, be sure to read a copy of The New Grove Mozart

A Book Review: Mr. Pipes and Psalms and Hymns of the Reformation

Mr. Pipes and Psalms and Hymns of the Reformation

Second book in the Mr. Pipes series by: Douglas Bond

Written by: Douglas Bond

Illustrations by: Ron Harris

Reviewed by: Hannah DeLadurantey

In Douglas Bond’s first book, Mr. Pipes and the British Hymn Makers, Mr. Pipes, a devout Christian living in England, evangelizes to two young American children who are summer vacationing in England, named; Annie and Drew. After Annie and Drew go back to their home in America, Mr. Pipes continues to develop his relationship with the two youngsters by sending them hymns to learn and thoughts to ponder. As you may gather from the titles from Bonds Mr. Pipes series, Mr. Pipe’s, Annie and Drew develop a budding relationship over hymnody and psalmody that only blooms more deeply in this second volume entitled; Mr. Pipes and Psalms and Hymns of the Reformation.

This book exudes the power and majesty of hymns in a very easy, delightful, and creative way, which is perfect since it was written for young readers!

Bond interweaves very artfully, the tales of many hymn writers while Pipes, Annie and Drew tour Europe. The book is divided up into 12 chapters, where 10 out the 12 chapters focus on a different Reformation hymn writer; Luther, Nicolai, Altenburg, Heermann, Gerhardt, Franck, Neander, Rinkart, Schutz, and Calvin.

But, Bond does not stop there! Instead, he craft fully adds other dimensions to the story by weaving in various historical and architectural discoveries that Pipes shares with Annie and Drew. E.g. History of Westminster Abbey, purpose behind Gothic Architecture etc.

And not to forget mentioning that you can practice reading your French and German in Bond’s book, since Pipes speaks both languages in various occasions while touring outside of England…..A Dieu!

There were a few small words, references and phrases I wished Bond would have left out; fairy tales and eye rolling were mentioned twice, “what a bummer”,   “ what on earth are you doing?” dirty rotten thief, creeps and cabbage head as well as kraut breath are words used to address two bully’s that are throwing rocks at Pipes Annie and Drew. Drew is gently reprimanded for using the ungodly language when Pipes reads a hymn that addresses our language, so that is good, and Drew does repent of his ungodly speech, but I’d still rather not have that type of language in a book for children. We’re sinners enough, we don’t need any other words and phrases added to our mental vocabulary, even if we do know they are bad. You never know when they might come out!

A Book Review: Robert Schumann and Mascot Ziff

Robert Schumann and Mascot Ziff

Written: by Opal Wheeler

Illustrated by: Christine Price

Reviewed by: Hannah DeLadurantey

Overview:

Summery of the life and works of the renowned composer, Robert Schumann, and his cat (Mascot Ziff).

Concerning Content:

In Chapter 1

• There is mention of Schumann telling Ghost Stories. I don't believe this was necessary to move the story along, and Ghost Stories are unbiblical. 

In Chapter 3

• Schumann is starving for music and good instruments after he has entered the law, so he enters a music shop and lies to the clerk, telling him that he is there to try out pianos for the Lord of Branburg. But in reality, he's there to play on the pianos to appease his own musical desires. I would not have minded this story if the authoress had explained the wrongness of Schumann's deceitfulness, but instead she said Schumann “laughed at his own musical joke”.

It is never right to wink at sin. God does not wink at our sin and neither should we. For when we disobey God's laws, we threaten the state of where our very souls will spend eternity; Heaven or Hell.

Thou shalt not bear false witness against thy neighbor- Exodus 20:16

For all have sinned and fallen short of the glory of God- Romans 3:23

Jesus saith unto him, I am the way, the truth, and life: no one cometh to the Father, but by me. - John 14:6

Chapter 4

• “My good fortune!” is exclaimed by Robert because he now has his mothers very longed for blessing and permission to study music instead of the law.                                                                         The Bible clearly tells us that there is no such thing as “good fortune”  All things come from the hand of God.

But he said unto her, Thou speakest as one of the foolish women speaketh. What? shall we receive good at the hand of God, and shall we not receive evil? In all this did not Job sin with his lips. -Job 2:10

Chapter 5

• Fairies are said to have blest Robert and Clara Schumann's new baby girl; Marie. Fairies, like Ghost Stories are only fictitious inventions. It is God who creates and sustains life. Not fairies.

I was cast upon thee from the womb: thou [art] my God from my mother's belly. -Psalm 22:10

Thus saith the LORD that made thee, and formed thee from the womb, [which] will help thee; Fear not, O Jacob, my servant; and thou, Jesurun, whom I have chosen. -Isaiah 44:2

• “Good luck has come to us all” 

Again, fortune and luck do not exist, they are “fill in” words created by man, to take away from who really brings good things to us; God, the maker of heaven and earth.

Providence would have been a better word, so I think I'll cross the luck and fortune words out of this book and write in Providence.

Praiseworthy Content:

Chapter 1

• Robert is disrespectful to an elder, and clubs him on his back with a stick. But, it doesn't end there! Robert's father, August, sees this incident, and Robert is duly punished for the unkind act

Chapter 5

• Throughout this whole storybook of Robert Schumann's life, you read of the tension between Mother and Father Schumann's desires for Robert. Father Schumann encouraged his son in music, but Mother Schumann didn't. So, after Father Schumann dies, Mother Schumann requests, with great urgency, that Robert give up music and turn to the law. Robert in response to his mothers request, is shown to have not agreed with his mother's wishes, but willingly puts himself under them and obeys. Later in the story, Robert petitions his mother to allow him to study music once again, and is granted it.

Honor thy Father and Mother which is the first commandment with promise. -Ephesians 6:2

Chapter 4

•  Robert's honorableness is asking Mr. Weik permission to marry Clara Weik. 

Chapter 5

• Robert Schumann was a very thoughtful man, and multi-generational in his vision. He composed in a very forward thinking and persistent way, all manner of compositions for his collection of; Children's Pieces that were written for his own dear children.

Concluding Thoughts:
Scattered throughout the whole book, Opal Wheeler weaved in various other composers names and concerts that Schumann gave. It was intriguing to see who crossed paths with Schumann, who influenced him and who he influenced.

The beginning mentions Napoleon Bonaparte and a few other political things that would have been going on during Schumann's life. I liked that you got a little bit bigger of a picture of what was going on during that time period and who else was composing music as well.
Like the other book Wheeler wrote on Bach, this book contains lots of abridged compositions that little ones can use to tinker around on the piano. 

In the end, Robert Schumann and Mascot Ziff will still find itself on Hannah's bookshelf, give or take a few changes to its typeset:)

A BOOK REVIEW-- Sebastian Bach: the Boy from Thuringia

Sebastian Bach: the Boy from Thuringia

Authors: Opal Wheller & Sybil Deaucher 

Illustrations: Mary Greenwalt

Reviewed by: Hannah DeLadurantey

Basic Content:

Overview of Johann Sebastian Bach's life; from infant-hood till late in his career. All the major incidents of his life are recorded in detail, as well as a brief history of his father and grandfather scattered throughout the chapters.

Concerning Content:

There wasn't much mention of Bach's faith in God, in fact God's name was only mentioned once throughout the whole book, and when it was used, it was referenced in a slightly negative way:

In Chapter 3

• “Sebastian did not know that the leader of the church were very strict people, but he soon learned that this was true. Sebastian was asked to stand and repeat the words of the stern leader: ' I promise to be a faithful servant of God and a good organist, and I will carry out all of my duties and obey the wishes of the leaders of this church.' ”

“But he ( Sebastian ) was happy to live in such a beautiful village and to play for all the services

in the church. He could study the works of the great masters, too. But most of all,

when there was time, he could compose for the organ.”

From the writers viewpoint, in my opinion, these sentences make it sound like Bach enjoyed playing for the church only because it gave him the opportunity to learn and compose new music instead of him enjoying it because he was getting to participate in directing the church (and its musicians) in singing and performing for God's glory.

In Chapter 1

• Bach steals his brother's music book, and copies the notes down in his own book (by moonlight) so that he can learn the more difficult music that his brother Christoph is refusing to let him learn. Bach is shown as deceitful and sneaky; for the better good.
• Bach leaves without notice, from his brother Christoph's home in Ohrdruff, to attend a church in Luneberg so that he may join the Saint Michael's choir.

Even though we can see how mercifully God worked His will, providentially, through Bach's ungratefulness and disobedience towards his brother, sin is sin.
 Exodus 20:15 “ Thou shalt not steal”

I think that Christoph may have provoked Johann to wrath by not letting him learn more difficult music, but that still does not give one the excuse to sin.

Ephesians 6: 5 “Children, obey your parents in the Lord: for this is right. Honour they father and mother (which is the first commandment with promise), that I may be well with thee, and thou mayest live long on the earth.”
Even though Christoph wasn't Johann's father, he was his authority since his parents had died.

I have no problem with the disobedience and ungratefulness of Bach being recorded in this book, I just wish that it had been shown as a bad thing and not something that was insinuated as being fine because “it was ultimately for a better good”. After all, it wasn't fair the Bach didn't get to play out of a harder music book........No, right is right, and wrong is wrong. God is serious about His law, just as we must be if we call ourselves Christians.

Praiseworthy Content:

The book spoke of Bach's positive attitude of being allowed to sing in various church choirs when he was a lad, but the writer seemed to have eluded that Bach enjoyed the choir only for the sake of satiating his own musical appetite, and not necessarily because he was singing for the glory of God.

Even though I wished some things were added or subtracted from this work, I wouldn't throw the book out altogether, as I believe that Wheeler and Deucher wrote well on many scores:

• There was an abundance of interesting details. The way the authors weaved important information into the story; names and dates, only added intrigue to the story, making it natural and easy for children to recall the important facts of Bach's life and works. The authors also grafted in some humorous stories of Bach's childhood, which would easily grab children's attention!
• The multigenerational vision of playing and composing “good music” was highly praised in this book. Veit Bach ( J.S. Bach's great-great-grandfather ) was well respected by J.S. Bach's father ( Ambrosius Bach ), and J.S. Bach was encouraged to walk in his great-great-grandfather's footsteps.
• Wheeler and Deucher wrote glowingly of ; J.S. Bach's care for his family, and Maria Barber and Magdalena's ( Bach's first and second wife ) submissive and supportive spirit of their husband's calling and vocation. And lastly, Bach's faithfulness in leaving with his children, his legacy of music, this he implemented by teaching them, and composing for them and others.
• Wheeler and Deucher also added various compositions of Bach throughout the book, which are notated so that children can play them as they read about how and when Bach composed them. And they also sprinkled throughout the book various explanations of musical terms such as: Chorale, Quodlibet, Minuet and Fugue.
• The illustrations are also a great addition, children love pictures!

In the end, I'm planning on keeping this book on my shelf. Though I think I'll add a few scripture references and footnotes to my personal copy of: Sebastian Bach: the Boy of Thuringia.

You never know when a little child might pick up the book and think that stealing and disobedience are something Bach, a professing Christian, saw no harm in.