The Singing of Psalms, Hymns, and Spiritual Songs in the 21st Century

I have had an unusually busy week and was unable to listen to any sermons after the Lord's Day last week, but I have been wanting to listen to this particular sermon for probably two weeks now.

"The Singing of Psalms, Hymns, and Spiritual Songs in the 21st Century," by Ethan Foltz, deals primarily with music and the church. He discusses how to evaluate different types of music: whether it be folk, country, pop, rap, rock, or others, these two main rules apply: 1) Evaluate the composer/performer's motivation, and 2) evaluate the effect it has on you.

While at most points I agreed with Mr. Foltz completely, there were other parts that were like choking on spinach. While ultimately nutritious and healthful, they were hard to swallow. I am a soundtrack aficionado. I love listening to film scores that are written well and/or are engaging, such as A Beautiful Mind, Cutthroat Island, Gods and Generals, and Pirates of the Caribbean. But I will have to evaluate the music I listen to. What is the message of Pirates? Is it to promote unlawful and illegal activity (and in some cases occultism)? Or how about Gods and Generals and Gettysburg? The music to both of these films accompany historical battles and seek to promote nobility and heroism. In some cases, the music is soothing and relaxing, and conveys the emotions of joy, sorrow, peace, and nobility. But there are other cases that are harder for me (right now) to determine, such as The Terminal. This score is set to a romantic comedy where the protagonist is a foreigner trapped in a U.S. airport terminal. There appears to be nothing wrong with this music. It is meant to convey emotions of sorrow, joy, humor, and love; and the score is technically clever and well done (but rather dull to listen to, in my opinion).

But I agree with Mr. Foltz on many, many occasions, especially concerning the Contemporary Christian Music scenario. To listen, click here (and then click the green "play" button).

Music Review: Gods and Generals

I first saw the film Gods and Generals when my father took me to the theater. I enjoyed the film as an experience, but it wouldn't be until 2005 when I truly understood and appreciated it.

While a review of the film is not the goal of the post, I believe I should say a word or two about it. In an age when almost any war film made within the last sixty years or so is rated R for violence, language, or content even worse, this film is surprisingly mild, despite its PG-13 rating. The film (which is based on the novel by Jeff Shaara) focuses heavily on General Thomas J. "Stonewall" Jackson as a father, a general, and a spiritual leader. Unfortunately, for reasons of being "too religious" and "pro-Southern," the film did poorly at the box office, from what I understand. Being over three hours in duration didn't help its case, either. Reportedly, director Ron Maxwell strove to keep the violence in the film to a minimum, and I am grateful for his effort. The battle scenes are mild in their depiction of blood and violence, compared to other war films. The bad language is, comparatively, almost nonexistent. There are parts when the story could have been sped up, but overall, the film is well done. Here is a much more detailed review of the film as a whole, and here is a review on specifically the historicity of it.

The score is also well done. Composed by John Frizzell (the primary composer for this score, who previously wrote for mainly B-rated horror flicks) and Randy Edelman (the composer for this film's sequel, Gettysburg), the score for Gods and Generals is a beautiful collaboration of ethnicity and the conventional orchestra. I will briefly write about notable songs on the album, but for those interested in more detail, this review will be helpful.

"Gods and Generals," the first score cue on the CD, is a magnificent orchestral rendition of one of the several great themes in the score. My favorite part is the climax, about a minute into the track, where the entire orchestra plays the theme, complete with percussion and bells. (Bells can be very effective in music.)

The fifth cue, "Lexington Is My Home," is briskly paced, compared to the previous tracks on the disc. About one minute into the track, the two primary instruments, the piano and fiddle, join in a duet with the rest of the orchestra in the background. The result is very pretty and is one of my favorites.

"No Photographs" is the fifteenth track on the CD and is uncharacteristically fast and bouncy. Essentially, the main theme throughout the piece is the beginning of "My Heart Shall Not Fear", but played much more quickly. A pizzicato rhythm plays throughout the entire piece, giving it its light, joyful feel. I have included the track below--if it doesn't play after a minute or two, try again later. Sometimes the program seems to be slow.




"VMI Will Be Heard From Today" is a strangely dark piece of music. While I can understand the context of the film (the Confederates staging a surprise attack on the unsuspecting Federals and subsequently destroying them), the music as it stands alone is eery and, towards the end, chaotic. This music successfully creates the uneasy feeling of impending doom and the execution of the battle plans. I think this cue may possibly--but I do not have any proof for this hypothesis--hearken back to Frizzell's previous horror work.

"Let Us Cross Over The River" is the scene when General Jackson is in bed dying of pneumonia. A very contemplative, sorrowful song, but well done.

"The Soldier's Return" is the finishing touch to the score: it is both mournful and hopeful at the same time, I think. It serves well as an epilogue.

Overall, the score in all of its various flavors (except for the "VMI" track as noted above, and two songs at the beginning and end of the CD by Mary Fahl and Bob Dylan, respectively) is a wonderfully composed work which I highly recommend.