More Than Meets the Ear

“Music exists when rhythmic, melodic or harmonic order is deliberately created, and consciously listened to, and it is only language-using, self-conscious creatures … who are capable of organizing sounds in this way, either when uttering them or when perceiving them. We can hear music in the song of the nightingale, but it is music that no nightingale has heard.” Philosopher Roger Scruton

~~~

Did you know that…

The Kingdom of God is about re-creation?

God can turn our mistakes into passing notes?

Improvisation is the exploration of an occasion?

Jazz is the interplay of order and non-order, of tradition and innovation?

Music reshapes our lives?

Music teaches us delayed gratification?

Hope lives in the midst of delay?

Music has a lot to teach us?

Music can increase empathy?

You can’t demonize those you just made music with?

As a musician for most of my life, I learned about and embraced many of these aspects and applications of music. From the videos below I learned that the Kingdom of God employs music to instruct our souls. Here are three short videos, the first two by Jeremy Begbie. The last video demonstrates the reality of the last question above.

These videos are from a musical point of view. But high culture (good literature, good drama, good art, etc.) can also provide us with many of the same benefits.

Jeremy Begbie is a theologian and professionally trained pianist. Here he demonstrates how music can help unlock the truths of the Christian gospel. Begbie is the Thomas A. Langford Research Professor of Theology at Duke Divinity School.

First, the intersection of theology and music:

Next, Unexpected Intersections:

Last, well, you had better watch…

 

Give Birth to the Promise of Living

 

 

And all God’s people said…

“All of God’s promises, you see, find their yes in Jesus; and that’s why we say the yes, the “Amen,” through Jesus when we pray to God and give him glory.” II Corinthians 1:20

Never My Love

 

The first day of Junior High School Darren left his house and found the end of the “stand quietly” line waiting for him. That is where he put the French horn case down. On the walk to school the bell of the case had banged his left leg. The pain in his shin reminded him that his band director, who liked to tap out tempo on his head, had decided that Darren would play French horn and not his trumpet. “We need French horn players,” said Mr. Palmer, the Jr. High band director. And, when Darren sat second chair behind first chair Diane in the horn section he became aware of his loss.

As Darren walked from class to class that first day he looked around and began to wonder: “What am I supposed to be? What am I supposed to wear or even say? What are troll dolls?” Juan, who was in most of the same classes as Darren, would fill him.

“Look, if you are a greaser you wear all black.” Juan fell back into his chair so that Darren could see. Sure enough. Juan wore black pants, a black shirt, a black leather jacket that never came off, black pointed shoes and the telltale sign of all greaserhood – black socks.

“Look.” Juan pointed to Bill across the room. “That is a climber. He wears white socks and does sports. Sometimes climbers wear paisley shirts. They are freakin’ flowery.”

Darren now knew the social code but wasn’t sure what he was. With Juan being in most of the same classes he decided that day that he should be a greaser. So, that night he told his mom he needed lots of black socks and plain “No flowers” shirts. He wanted Juan and one teacher to like him.

Darren’s seventh-grade Spanish teacher was a larger than life blonde who, Darren thought, must have noticed that Darren was in her class. After all, someone with shocking red-orange hair stood out. Newly purchased hair goop would put in check his cowlick.

Darren learned his Spanish verbs and infinitives. He learned Spanish adjectives as fast as he could. He needed no incentive. To speak the Romance language in class invoked a passion he had never felt before. “Señorita, eres hermosa!” Darren would daydream his devotion to her.

Geography class offered a different topology. Mrs. Foley contained significant geography on her person. Unmercifully, the kids would snicker, “Fatty Foley,” under their breaths. Then uncontrollable giggling would ensue until the yard stick smacked the bulletin board.

In the halls, between periods, notes were passed and looks connected. If you received a note from a third party that meant that someone wanted to go steady with you. That is what Juan told Darren. So, when Darren received his first note he was at once terrified and curious. He did not know what “going steady” meant. He wasn’t going to ask Juan and look stupid. The black socks kept Darren from doing any such thing.

It wasn’t till lunch period that day that Darren unraveled the note and read it. Therein, he found out that Mary K liked him and wanted to go steady. Mary K played first chair flute in the band. Darren became filled with dread as he thought about going to band rehearsal after lunch. He had no response or “going steady” in him. When the bell rang he went to rehearsal pretending that he hadn’t gotten the note. But the pretense didn’t last long.

Mary stared at Darren from her chair. The girls around her were giggling. Darren felt his face become lobster red. He could do nothing about it except hide behind the music stand and empty the spit out of his horn tubes.

After practice Mary waited for Darren at the bottom of the risers. As she waited Darren took every single tube off his French horn and blew through each one slowly. Then he began to polish the horn never looking up. When the next period bell rang he looked up over the stand and there was Mary.

“Will you walk me home after school? Mary asked.

“Sure, I guess, sure.” Darren then rushed off to shop class leaving Mary and her gaggle of friends.

Later, not sure of what was coming next, Darren gathered up his homework, shut his locker and picked up his horn. He waited at the main entrance not knowing when Mary was done with her classes. She appeared twenty minutes later.

“Hey, I’m ready.” Mary looked at Darren and the two left the building.

Darren had no idea where Mary lived. He had no idea if this walk meant that he was “going steady.” He didn’t say anything in case her liking him would change. The walk took them across town.

“If you have a ring I will wear it,” Mary said as they neared her house. Darren had no ring. He had black socks.

“Yeah, OK, right,” Darren replied and said, “See you tomorrow.”

By now Darren’s arm shoulders and arms were aching. Carrying the horn across town had worn them out. He took his time getting home. At home, he reassured himself, no one was to know about this. He couldn’t explain it anyway. And, there was his hunger to take care of.

The next day, Darren found his way to his first period English class and to his seat. Juan was already there in the seat behind him.

“Hey, are you going steady with a climber girl?”

“What?”

“Mary is a cheerleader, man.”

“How would I know that?” With that Darren turned to the front of the class and hoped he never had to go steady again. But then again, he did like it, in a greaser kind of way.

 

Between second and third period class Darren received another note. This time it was a direct note from another Mary – Mary E.  Mary E was also in the band. She played clarinet.

Band rehearsal loomed on the horizon, 12:30 that day. There was no escaping this “going steady” business. And now there was a decision to be made – Mary or Mary or feign strep throat coming on.

At 12:30 Darren walked into the band room and over to his chair. There was another note. It was right on his stand. “Now what?”, he quietly muttered. When he did, Diane looked over at him. The note was from Diane. She wanted to go steady.

The “going steady” madness continued for Darren throughout seventh and eighth grade. His arms never stopped aching. It was no relief to learn that girls in Junior High School were fickle and flighty, especially if you didn’t give them a ring. No matter. The black socks remained a social staple for Darren.

During the summer after eighth grade graduation, Darren tried out for the High School Concert Band. He played all the major and minor scales so flawlessly on his new B Bach trumpet that Mr. Gies awarded him first chair. The trumpet had been a graduation gift from Darren’s father who must have known what “going steady” meant.

 

 

 

 

 

© Jennifer A. Johnson, 2017, All Rights Reserved

What If He’s a Girl?

Musicals, and especially the lyrics and melodies of certain songs, have, since my earliest childhood days, enriched my life with the harmony of playful idealization and “swooning” romanticism. I will post more on this later. For now, here is one incredible piece sung by America’s leading baritone.

From Oscar and Hammerstein’s Carousel, Act I – Soliloquy sung by Thomas Hampson as Billy Bigelow, a barker for a carousel (and his future child):

B-A-C-H and The Art of the Faith

The following quotes are sourced from J. S. Bach in Japan:

”What people need in this situation is hope in the Christian sense of the word, but hope is an alien idea here,” says the renowned organist Masaaki Suzuki, founder and conductor of the Bach Collegium Japan. He is the driving force behind the “Bach boom” sweeping Japan during its current period of spiritual impoverishment. “Our language does not even have an appropriate word for hope,” Suzuki says. “We either use ibo, meaning desire, or nozomi, which describes something unattainable.” After every one of the Bach Collegium’s performances Suzuki is crowded on the podium by non “Christian members of the audience who wish to talk to him about topics that are normally taboo in Japanese society—death, for example. “And then they inevitably ask me to explain to them what ‘hope’ means to Christians.” (emphasis added)

“Although less than 1 percent of the 127 million Japanese belong to a Christian denomination, another 8 to 10 percent sympathize with this “foreign” religion. Tokuzen explained: “Most of those sympathizers are part of the elite, and many have had their first contact with Christianity through the music of Johann Sebastian Bach.””

The Art of the Fugue

“When Bach died on July 28, 1750, after two botched eye operations performed by John Taylor, a quack from England, his last major work, The Art of the Fugue, remained incomplete. It culminates in a quadruple contrapunctus bearing his signature, for it is formed from the letters b-a-c-h (in German musical terminology b-natural is called “h”)….

The Art of the Fugue is perhaps Bach’s most abstract and intellectually challenging work. Yet its pristine grace led Arthur Peacocke, the English theologian and biologist, to aver that the Holy Spirit himself had written it, using Bach’s hand.”

Hum along with Glenn Gould and let faith arise…

Unexpected Changes: R.I.P. David Bowie

“Time may change me…”

Personal favorites of mine, David Bowie, theater and Space Oddity:

Bowie

H/T Call Me Appetite`s Welt

Nessun dorma, ‘none shall sleep’

Italian Text

Nessun dorma! Nessun dorma!

Tu pure, o, Principessa,

nella tua fredda stanza,

guardi le stelle

che tremano d’amore

e di speranza.

Ma il mio mistero è chiuso in me,

il nome mio nessun saprà!

 

 

No, no, sulla tua bocca lo dirò

quando la luce splenderà!

Ed il mio bacio scioglierà il silenzio

che ti fa mia!

(Il nome suo nessun saprà!…

e noi dovrem, ahime, morir!)

Dilegua, o notte!

Tramontate, stelle!

Tramontate, stelle!

All’alba vincerò!

vincerò, vincerò!

 

English Translation

Nobody shall sleep!…

Nobody shall sleep!

Even you, o Princess,

in your cold room,

watch the stars,

that tremble with love and with hope.

But my secret is hidden within me,

my name no one shall know…

No!…No!…

On your mouth I will tell it when the light shines.

And my kiss will dissolve the silence that makes you mine!…

(No one will know his name and we must, alas, die.)

Vanish, o night!

Set, stars! Set, stars!

At dawn, I will win!

 

I will win! I will win!

 

 

“Nessun dorma” (Italian: [nesˈsun ˈdɔrma]; English: “None shall sleep”)is an aria from the final act of Giacomo Puccini’s frequently performed opera Turandot and is one of the best-known tenor arias in all opera. It is sung by Calaf, il principe ignoto (the unknown prince), who falls in love at first sight with the beautiful but cold Princess Turandot. However, any man who wishes to wed Turandot must first answer her three riddles; if he fails, he will be beheaded. In the aria, Calaf expresses his triumphant assurance that he will win the princess. (Blogger’s note: This contest is reminiscent of Shakespeare’s Merchant of Venice heroine Portia and her suitors having to choose the correct casket of three to win her hand.)

https://en.wikipedia.org/wiki/Nessun_dorma

Text and translation:

http://classicalmusic.about.com/od/opera/qt/nessundormatext.htm

Kadosh Ata (You are Holy)

LEFANEICHA ANI MISHTA-CHAVEI, AL BIRKAI
NOTEN LECHA SAMCHUT
AL KOL YAMAI
AHALEL OTCHA LE-NETZACH KI ATAH ADONAI
ATAH LE-VADCHA YESHUA, SIMCHAT CHAIYAI
KADOSH, KADOSH, KADOSH ATAH
(HOLY, HOLY, HOLY ARE YOU, LORD)
KADOSH, KADOSH ATAH

(HOLY, HOLY ARE YOU, LORD)
I WORSHIP BEFORE YOU, LORD
I’M DOWN ON MY KNEES
I’M GIVING YOU ALL MY DAYS, MY GOD, MY KING
I WILL PRAISE YOU FOREVER LORD, FOR YOU ARE ADONAI
YOU ALONE YESHUA, ARE THE JOY OF MY LIFE

Sung by Joshua Aaron

“Behold, you desire truth in the inward being” : Allegri

Psalm 51, a Psalm of penitence

“Have mercy upon me, O God “

“…blot out my transgressions.”

“Renew a right spirit in me”

“Behold, you desire truth in the inward being”

 

 

Here, background involving a pope and Mozart and a performance of Miserere Mei Deus – Gregorio Allegri (1630):

Sacred Sounds Amid the Hegemony of Noise

At a time of great crisis in our world we need more than ever to embrace the sacred. 

In the garden of prayer there are sacred sounds and there is holy silence.

As Spanish Mystic St. Teresa of Avila (March, 28, 1515 ~ October, 4, 1582) I come to the garden to meet with Him.

There I find water from the well and the fountain and the stream.  Water from above.

Saint Augustine:  When you sing you pray twice.

Here are some ideas, some choral music for your garden.

 Harry Christophers and The Sixteen present the music and backgrounds of composers James MacMillan, John Rutter and Sir John Tavener.

 

Tomás Luis Victoria (c.1548 – August 20, 1611)  ~ Spanish Counter Reformation Composer