Worship Music - Final Project

Introduction

There is something so beautiful about the coming together of voices in a song. When we sing together, we are unified in such a way that we may come to an understanding of rhythm and melody and emotions. Music is often referred to as a universal language, because most every kind of person speaking every kind of language in every country around the world can understand what music is. 

Worship music is a perfect example of united voices. Contemporary worship is often performed like a concert at larger churches, but it is designed to lead a congregation in praise. Mike Bickle, in his article "Worship and the End Times," refers to worship music as "true warfare." In a world where good is constantly fighting against evil, it is important for us to keep our hearts and minds in the right place. Worship music has allowed many people, including Christians and yet-to-be-Christians, a chance to release their burdens through song and find peace with God.

The Blessing

"The Blessing," written by Kari Jobe, Cody Carnes, Chris Brown, and Steven Furtick, was released in 2020 right before the pandemic hit. It debuted at number 3 on the Hot Christian Songs chart, and peaked at number 15 on the Bubbling Under Hot 100. The song refers directly to Numbers 6:24-26 from the Bible: "The Lord bless you and keep you, make His face shine upon you..." Below is the live music video that was first released on March 6, 2020 and performed at the Elevation Church in North Carolina. 

Voices come together at about 9 minutes and 20 seconds into the song, singing the word "amen" many times through. The members of both the crowd and the stage are all lost in the sound of the music, visibly praying and lifting their hands up in praise. Everyone in the room has a story, a thought that has always been in the back of my mind whenever I walk through a crowd of strangers. 

Dynamics are so important in this song, as the volume fluctuates between loud and soft, emphasizing different parts as according to the emotions they are meant to convey. This is common in contemporary worship music, to go from loud and exciting to quiet to loud again. A second element that contributes greatly to the song is its smooth articulation of notes, especially in the "amen" chorus. It is a rather simple tune, but still so effective and beautiful and fit for the song. The third and final element is this song's large range, as it gives individual attention to both female and male voices, peaking with Kari Jobe's incredible voice in the middle of the song. 

Oceans

"Oceans (Where Feet May Fail)" is a very famous worship song, and in my experience, it has reached many people beyond just the "Christian" realm. It was written and originally performed by an Australian group called Hillsong United, and released back in August 2013. It has reached number 1 on the Billboard Hot Christian Songs chart many times, and was certified quadruple platinum in the U.S. The song was inspired by the story of Peter walking on water in the book of Matthew, giving reference to the idea of embracing the unknown and trusting God for guidance. 

In this song, the united voices seem to be strongest at minute 3:35, where the music dies down and spotlights the bridge, sung by Taya Smith. The audience sings with her, quietly, and still profoundly because there are hundreds of voices brought together. The bridge slowly builds back up into the chorus, and Taya stops singing a couple of times to listen to the crowd. We once again witness the dramatic changes in dynamics throughout this song, as there are multiple moments of both quiet and gloriously loud. The melody in "Oceans" is hauntingly beautiful, especially during the bridge where it alters between Taya's falsetto and a few of her lower notes. There is a wide range of notes sang throughout this song as well, peaking near the end of the bridge. Its timbre is echoey and ethereal, as outside concerts often tend to be. 

Once again, the audience is filled with people who have suffered countless burdens, or perhaps witnessed the greatest of joys. It is lovely to see such a large crowd of people, each one lost in the music and likely thinking about their stories, however that may look for each individual. Humanity is sometimes a strange concept to think about, but I love that so many of us are able to gather together in moments like these. 

Conclusion

Truthfully, I was a bit nervous to write about this topic, because I know that any mention of religion can be sensitive, but I certainly loved listening to these songs again and receiving a reminder of how beautiful they are. Since I only briefly mentioned how worship music affects society, I would like to say again that it is part of a bigger picture. We are all living in a broken society, filled with hatred and constant discrimination from one person to the next. Worship is a way, or should be a way, out of the darkness and into a place where no person is better than the other. We have all done wrong, and we have all been wronged against, and perhaps what truly matters is that we are all permitted to stand together and worship. 

Personal Journey

I have grown too accustomed to the music that I listen to, and though I know how much I appreciate it, I don't often take the time to dissect it and understand why I have so much love for each particular song or artist. This course has allowed me to rediscover my adoration for certain musical elements and styles. I greatly appreciate that we had so much freedom in what we could choose to write about, which is why I was able to dive so deep into my own interests. It has even helped me to shift my songwriting style, now that I know more about musical elements in general and how I would like to arrange lyrics and melodies and other sounds. I wrote a few songs this semester that I have fallen completely in love with, thanks to this class and the freedom I had in writing and discussing music with other classmates. 

Sources

Bickle, Mike. “Worship and the End Times - Resources.” Resources, 23 Sept. 2021, www.ihopkc.org/resources/blog/worship-end-times/?utm_medium=email&utm_source=2009810_Worship%20and%20the%20End%20Times%20by%20Mike%20Bickle&dm_i=2Y4D,172S2,5UQLXB,4MNI2,1&gclid=CjwKCAjwjMiiBhA4EiwAZe6jQzV-XPz_IZj-umSgxpuv7St4wEjJ3-tVtsCGM-2Onm1EKX_QI-V5gxoCjdQQAvD_BwE.

The Power of Music | Rich Coffey Music. www.richcoffeymusic.com/thoughts/thoughts-on-music/power-of-music.htm#:~:text=As%20a%20universal%20language%2C%20music,times%20of%20need%20and%20sadness.

Wikipedia. “Oceans (Where Feet May Fail).” Wikipedia, July 2022, en.wikipedia.org/wiki/Oceans_(Where_Feet_May_Fail).

Wikipedia. “The Blessing (Song).” Wikipedia, Apr. 2023, en.wikipedia.org/wiki/The_Blessing_(song)#:~:text=%22The%20Blessing%22%20is%20a%20song,%2C%20on%20March%2020%2C%202020.

FINNEAS - Musical Analysis

Introduction

Finneas O'Connell is a singer-songwriter, producer, and actor who has produced music for numerous artists and has also won a large number of awards for his work, including eight grammys. He is famously known as pop artist Billie Eilish's brother and producer, but is also lately gaining popularity for his own albums. Finneas was born in Los Angeles and began writing songs at the age of twelve after taking a songwriting class with his mother, Maggie Baird. 

Originally, I was going to make a blog post titled "The Art of Songwriting," but after realizing that it was too broad of a topic, I decided to focus on a single songwriter and the aspects that make him good at what he does. In this blog post, I will present three different songs that serve as prime examples of Finneas' unique writing style. 

Song 1: "Naked" (2022)

I'm not usually a fan of upbeat music, but I was immediately attracted to this song when I first heard it. Though it sounds a bit complicated, being in a minor key, it only consists of four chords throughout: G, Em, Bm, C. There is a lot happening both instrumentally and lyrically in this song, giving the complex first impression. 

"Naked" is about slowly letting go of past relationships and the regret of giving oneself away. The line "I can't believe you've seen me naked" is probably literal, but it may also represent the overall vulnerability that the narrator surrendered to their partner at one time. The more someone gives themselves away to someone else, the longer it may take to be free of that person. "Naked" also gives several references to both truth and lies, as if the narrator is finally being honest about the lies that used to go around. 

The arrangement of this song is incredible because there is no repeated verse. It is almost as if there are three bridges and three choruses, each one differing significantly from the last. Even the final chorus changes lyrically, adding to the writer's pain and the meaning of the song. Although there is so much change throughout "Naked," it somehow all comes together in a satisfying fashion. Everything matches within in the song, keeping a bright and almost grungy timbre. 

Song 2: "Hurt Locker"(2021)

One of the first characteristics that originally drew me to Finneas' music is his ability to create a range of strong emotions while somehow keeping the music ethereal and comforting. Oftentimes when music is angry, it is not necessarily relaxing, and while opinions may vary with this particular song, I think that "Hurt Locker" conveys a combination of anger and deep pain in a pretty way. 

The U.S. military uses the phrase "hurt locker" as slang for serious injury. Finneas' song seems to be about a couple who is either struggling to maintain their relationship, or the relationship is already long gone. The singer uses filming vocabulary to create a visual for the song: "A close up on your lips...A jump cut to the bed we used to share...A wide shot of the aisle of a grocery store." This is a technique that I have never seen before in music, but I quite admire it. Finneas sparks the imagination of the listener to perhaps allow a closer look into his mind as he writes these lyrics. 

Dynamics are extremely important in this song as well. Of course, the song begins soft and remains steady until the first chorus when Finneas jumps an octave and belts the words. It is once again quiet at the second verse, and then proceeds to grow loud at the second chorus followed by the bridge. The song ends where it began. Though the transitions are quick, it works altogether for the song because I suppose it represents the contrast between utter disappointment and passionate anger as the narrator fights to stay with their loved one. 

Song 3: Die Alone (2019)

"Die Alone" is my favorite song by Finneas. I don't even know where to begin, other than by saying that I think this song is beautiful in every way possible, and if there was ever a perfect song it would be this one. 

This song starts off with a sweet piano melody and the sound of a crowd. The people's voices die away when Finneas begins to sing, perhaps emphasizing the "alone" in the song. "Die Alone" is about the end of things, and promising to hold onto the ones he loves no matter the circumstance. Finneas accounts that the first verse of this song is about a past girlfriend, while the second verse is solely about his parents and his home in California. 

The range of Finneas' voice in this song is absolutely stunning--I have tried to sing it using mostly chest voice in a different key and I can't quite reach it. Finneas begins the song with his signature soft voice, keeping it low until the chorus. He then builds his voice, accompanied by several harmonies, creating a melodic structure in the shape of a hill, raising his voice high and ending low again. His range reaches a peak about 3 minutes and 45 seconds into the song, jumping into falsetto and landing on a beautifully high note. Naturally, he ends the song with a repeat of the first line, once again bringing his voice back to the lower end. This is similar to the juggling technique he used in "Hurt Locker," bringing his audience's emotions every which way throughout the entire song. 

Conclusion

There are many more songs that I could show, but I think the three from this post summarize Finneas' genius quite well. I am in love with his deep, complex lyrics and smooth music style. What is your favorite of the three that we discussed? 

Sources

Definition of Hurt Locker, BuzzWord From Macmillan Dictionary. www.macmillandictionary.com/us/buzzword/entries/hurt-locker.html.

“Finneas - Naked (Chords).” Ultimate Guitar, 28 Mar. 2022, tabs.ultimate-guitar.com/tab/finneas/naked-chords-4124827.

‘Naked’ Review: FINNEAS Bares All | Arts | the Harvard Crimson. www.thecrimson.com/article/2022/4/1/finneas-single-naked-review.

Smf. “‘Die Alone’ by Finneas.” Song Meanings and Facts, Oct. 2019, www.songmeaningsandfacts.com/die-alone-by-finneas.

Wikipedia contributors. “Finneas O’Connell.” Wikipedia, Apr. 2023, en.wikipedia.org/wiki/Finneas_O%27Connell.

You Were Meant For Me - Music and the Fictive Dream

Introduction

One of my favorite childhood movies is called Singin' In the Rain, a brilliant Hollywood musical that was released in 1952 and directed by Stanley Donen and Gene Kelly. It tells the story of how the introduction of sound changed the film industry, which "made plenty of new stars while destroying many established ones" (Pfeiffer 1). Actor Don Lockwood, played by Gene Kelly, falls in love with a woman named Kathy (Debbie Reynolds), hurting the feelings and pride of his co-star Lina Lamont (Jean Hagen). Lina has an infamously pitchy voice, which is not good for the changing times. As Don deals with the love triangle he has created, he must also find a way for his first audible movie to be a great success. 

Partway through the movie, Don promises to say what is on his heart to Kathy. He demands that they need the proper setting, so he takes Kathy to an empty stage and creates the moment of a glowing sunset. Don pours his heart out into a song called "You Were Meant For Me," originally written by Nacio Herb Brown and and Arthur Freed in 1929. "Nature patterned you, and when she was done, you were all the sweet things rolled up in one," he sings. This song represents a turning point in the story, as Don and Kathy had started off with a rocky relationship just days before. However, they quickly realize how sweet their chemistry is and decide to forget about their first impressions of one another. 

"You Were Meant For Me" is a soft, romantic song that conveys a feeling of new love. It is almost cautious in such a way that the singer does not want to scare his lover away. Gene Kelly does a splendid job in singing the song gently, with a sweet, colorful timbre in his voice. Perhaps, if a sunset could become a song, it would become this song. The melody is simple but meaningful, and seems to tiptoe across itself with the accompanying instruments. And, though there are not very many words sang in this song, they are all quite impactful and applicable to the story itself. 

I'm not sure that this song is meant to convey a larger message to the rest of the world. It is a simple song that proclaims Don's love to Kathy in this particular story. However, the setting of this song in the movie is intended to entertain the audience by showing how the producers of a movie go about creating scenes. The sunset is, of course, not real, rather it is a painted backdrop. The moonlight that Don points toward Kathy is just a large, glowing stage light. He turns on a fan to create an evening breeze--the list goes on. While the audience can see that they are on a stage, there are a few intentional moments in this scene that look as though Don and Kathy are truly standing together outside as the sun goes down. 

It is movies like these that make me think I was born in the wrong era, but I am truly thankful for an opportunity to experience a part of those years again through Singin' In the Rain.

Sources

Pfeiffer, Lee. “Singin’ in the Rain | Plot, Cast, Crew, and Facts.” Encyclopedia Britannica, 22 Jan. 2010, www.britannica.com/topic/Singin-in-the-Rain-film-1952.

“‘You Were Meant for Me’ (Song) and the Myth of Entertainment in Singin’ in the Rain.” Gene Kelly Fans, www.genekellyfans.com/articles/you-were-meant-for-me-and-the-myth-of-entertainment-in-singin-in-the-rain.

Wikipedia. “You Were Meant for Me (Arthur Freed and Nacio Herb Brown Song).” Wikipedia, 4 Oct. 2022, en.wikipedia.org/wiki/You_Were_Meant_for_Me_(Arthur_Freed_and_Nacio_Herb_Brown_song).

VoicePlay - Role of the Performer

Introduction

I recently discovered a band called VoicePlay, an a capella group that posts covers on YouTube. They have been posting since 2012, but recently started to gain fame and have been rising in popularity for the last few years. The band has lost and acquired different members since they first started, and they also feature other singers on their channel, but the main four are Geoff Castelucci, Eli Jacobson, Cesar De La Rosa, and Layne Stein. These four singers each pursue an individual career apart from the band, but they are also constantly working together to provide new content for their fans. 

As far as I can find, VoicePlay has yet to post an original song of theirs. They are solely working on recording music by other artists, adding their own sound and unique voices to each song. Layne is the main percussionist with incredible beat boxing skills, Eli and Cesar both have stunning ranges and control over their voices, Geoff provides bass and has mastered the art of subharmonics (which is a way to sing very low, as you'll hear in the songs below). 

I appreciate artists who cover songs because it gives the audience an opportunity to hear the song in a different light. Oftentimes, I like the cover better than the original because it may be softer and more natural sounding. There is such a thing as an overproduced song, which is why bands like VoicePlay should continue to do what they do. It may also be that some singers have phenomenal talent without the ability to produce an original song, which is perfectly admirable. 

The Songs

The two songs I would like to show you are "Nothing Else Matters," originally performed by Metallica, and "I Can't Make You Love Me," originally performed by Bonnie Raitt. 

"Nothing Else Matters" is a rock song from the early 90s, featuring a grungy voice and an electric guitar. It is sang with great passion to accompany the heavy lyrics, starting soft and building volume as the song progresses. VoicePlay covers a very similar version of the song, and does not take away from many of its qualities. They begin quiet, building intensity in preparation for the guitar solo, which they substitute with Layne's violin. Though the two performances are similar, VoicePlay seems to add more layers to the song, and the overall sound is much cleaner than Metallica's version. The harmonic texture that they give is quite beautiful and certainly adds to depth of the lyrics. 

"I Can't Make You Love Me" came out the same year that "Nothing Else Matters" did, in 1991. It belongs to a much different genre, however, so the two songs sound almost nothing alike. Bonnie Raitt's version of "I Can't Make You Love Me" is emotional and almost whimsical. The texture of the song remains somewhat the same throughout, with her voice accompanying soft instrumentals. VoicePlay's version starts much quieter, opening with tender vocals followed by Cesar's smooth voice in the first verse. Similarly to their cover of "Nothing Else Matters," they once again slowly build intensity and then fade away as the song ends. It's a bit slower than Bonnie Raitt's performance, and while both versions are emotional, the cover seems to have more of an accepting sadness rather than an angry sadness. And of course, there is a lot more going on in the cover harmonically, since there are five voices instead of one. I think I like the cover better, but both are unique and I suppose it depends on the day.

Conclusion

What are your thoughts about the role of the performer? Did you like the original versions of each song better, or did you prefer the cover? As I said before, I think that covers give us an opportunity to hear the song differently, by perhaps hearing an emphasis on something we hadn't noticed before, or by simply hearing the song with different voices and instruments. 

Sources

Bentley, Lisa. “VoicePlay - Once Upon an Ever After / Album Reviews / More Than the Music.” More Than the Music, 4 July 2012, www.mttm.uk/voiceplay-once-upon-an-ever-after.

Hale, James. “YouTube Millionaires: Meet the Fab Five Behind VoicePlay.” Tubefilter, 13 Jan. 2022, www.tubefilter.com/2022/01/07/youtube-millionaires-voiceplay.

Wikipedia contributors. “I Can’t Make You Love Me.” Wikipedia, 8 Mar. 2023, en.wikipedia.org/wiki/I_Can%27t_Make_You_Love_Me.

The Sound of Old Ireland - Take A Musical Trip

Introduction

I spent most of my childhood on a little island called Prince of Wales, and every month, one of the neighboring towns would host what was called the “Island Grind.” Musicians from across the island would sign up to play all kinds of music–unless, of course, the month was March. During the third month of the year, the Grind was solely dedicated to one specific genre. In honor of March and the island I miss dearly, I would like to tell you about the history of Celtic music, with an emphasis on Irish traditional folk music. 

Origins

The Celts were a large group of tribes that lived in Europe, from countries such as Britain to Spain. They inhabited most of Western Europe until the Roman Empire took over the people and their culture; however, this did not stop many Celtic traditions from living on in today’s world. 

While Celtic music has influenced many newer styles of music that we listen to today, and is also present in regions such as Wales and Brittany, it is most familiar in Scotland and Ireland. You may recognize Scottish Celtic music by the distinct sound of bagpipes, or Irish Celtic music by jigs and reels. 

Music is extremely important to Irish culture because, for a long time, it was the only way stories were passed down from generation to generation. There was little to no writing, only songs that told tales both real and imaginary. 

Style

Celtic music uniquely puts aside the otherwise traditional idea of harmonizing in a song. Though musicians are encouraged to play by ear, the goal is to play in unison with other instruments. Harmony does exist in Celtic music, but it is more common for every instrument and voice to be performing the same melody. 

Much of Celtic music is instrumental, common to be used for jigs and reels, which are specifically designed for dancing. A single jig is played in 12/8 time, a double jig is played in 6/8 time, and a reel is played in 4/4 time. The Gothard Sisters give a helpful analysis of the difference between the two meters. “The Fastest Reel In the West” shows a nice representation of what a traditional Irish dance looks like. 

Of course, there is also plenty of vocalizing in Celtic music as well, whether it is along with an upbeat jig or presented with a style of singing called Sean-nós. This is the sad, ethereal side of Irish and Celtic music, typically sung in a solo a capella ballad. 

Instruments

Old Celtic instruments include the fiddle, the Irish harp, the bodhrán, the wooden flute, the tin whistle (or penny whistle), and the Uilleann pipes. Over the last century, Irish music has also adopted the concertina or accordion, guitar, banjo, and bouzouki. All of these instruments are meant to contribute to the togetherness of a Celtic tune. Tin and penny whistles provide the sweet, melodic high pitches, and Uilleann pipes are the familiar droning that bring some of us to the rolling, green hills of Ireland. The bodhrán keeps a steady beat and acts somewhat like a base underneath the melody.

Songs

Here I have chosen three songs that differ greatly from one another, yet still individually represent Celtic culture well. The first song is an instrumental jig called “The Kesh.” It is not clear when exactly this tune came to be, but it is a well-known melody and is great for dancing. Though the fiddle sounds to me like the leading instrument of the song, you may notice that each instrument has a somewhat of a “turn” to shine. You may also notice that the instruments are mostly playing the same melody together, rather than attempting to harmonize with each other, as was mentioned earlier. The overall timbre of the song is bright, with loud dynamics and a cheerful demeanor. Dancing is an extremely significant activity in Celtic culture, and I can only imagine the thousands of nights that men and women danced to “The Kesh” on wooden floors. 

Another type of music mentioned above is Sean-nós singing: a single voice, typically telling an old tale. Stories are surely the most important aspect to preserving Celtic culture, as they were passed down orally for centuries. Here is a video of Irish singer Liam Ó Maonlaí giving a quiet performance of “Sadhbh Ní Bhruinneallaigh,” a song that tells of a sea captain attempting to woo a woman. This song is much softer than the previous song I showed you, and you might even say that they are two completely different styles of music. The dynamics are quiet and gentle; his voice is clean and smooth. This is my favorite part of Irish and Celtic music–an ethereal voice singing in a language I do not know. 

The third and final song is called “Song for Ireland,” performed by the Dubliners, who were an influential band in popularizing modern Irish music. The song is about a man who has left Ireland to travel the world, but remains loyal to his love for the Irish country. The singer’s voice is a bit more grungy, and the volume of the song changes between soft and loud throughout, but it is still emotive in expressing the longing for one’s homeland. I also love the contrast between the singer’s gristly voice and the tin whistle that opens and plays throughout the song. 

Conclusion

Ireland and its people have suffered through many centuries of difficult times, yet in spite of that, or perhaps even because of that, they have managed to keep hold of their precious stories through song and dance. 

Sources

Alysia Shinaberry. “What Is Celtic Music?” study.com, 2022. https://study.com/learn/lesson/celtic-music-history-style-instruments.html. 

Anraí, Róisín. “Uilleann Pipes - Traditional Irish Instruments - About Irish Music.” Your Irish Culture, 2 Mar. 2020, www.yourirish.com/culture/music/uilleann-pipes.

Bouzouki. hobgoblin.com/instruments/instrument/bouzouki.

Claddagh Design. “Traditional Irish Music: What’s It All About?” Claddagh Design, 3 Nov. 2017, www.claddaghdesign.com/blogs/irish-interest/traditional-irish-music-whats-it-all-about#:~:text=Although%20there%20are%20many%20aspects,of%20the%20population%20were%20literate.

Craig Duncan - Topic. “The Kesh Jig/the Monaghan/Morrison’s Jig (Medley).” YouTube, 9 Feb. 2017, www.youtube.com/watch?v=kDBUhEfWUbU.

Croft, Celtic. “What Makes Celtic Music Unique?” Kilts-n-Stuff.com, 23 Feb. 2021, kilts-n-stuff.com/what-makes-celtic-music-unique.

CR’s Video Vaults. “The Fastest Reel in the West, Ireland 1972.” YouTube, 7 May 2021, www.youtube.com/watch?v=BesFBLsmwns.

Dan Hanson. “Difference Between Irish Reel and Jig - Gothard Sisters.” YouTube, 13 Dec. 2013, www.youtube.com/watch?v=eo_AJQBxZ3c.

Ireland Scenery, Irish HD Wallpaper | Pxfuel. www.pxfuel.com/en/desktop-wallpaper-qkgig.

IrishCentral Staff. “History of the Beloved &Quot;Song for Ireland&Quot;” IrishCentral.com, 27 Jan. 2023, www.irishcentral.com/culture/song-for-ireland.

O’Connor, William. “The Ancient Art of the Celtic People (PHOTOS).” The Daily Beast, 12 July 2017, www.thedailybeast.com/the-ancient-art-of-the-celtic-people-photos.

Old claddagh films page - We’ve moved! “Liam Ó’Maonlaí Sings Sean Nós in Galway.” YouTube, 30 Nov. 2008, www.youtube.com/watch?v=d-Tt9HgPXDo.

Romer, Megan. “Irish Music 101.” LiveAbout, 25 Feb. 2019, www.liveabout.com/irish-music-basics-3552968#:~:text=Instrumentation,bouzouki%20(a%20large%20mandolin).

Shane Mallon. “The Dubliners-Song for Ireland (Lyrics).” YouTube, 30 June 2009, www.youtube.com/watch?v=c_K1fMelHq8.

“Traditional Musical Instruments, in Old Art Print by the Irish Image Collection.” Fine Art America, 23 Mar. 2023, fineartamerica.com/featured/traditional-musical-instruments-in-old-the-irish-image-collection-.html?product=art-print.