Title: "Anthropology"
Artist: Charlie Parker
Genre: Jazz
Notes: Charlie Parker is regarded a virtuoso jazz saxophonist. A virtuoso is someone who is very, very skilled at their instrument - way beyond what even great musicians can do. He introduced some revolutions into jazz music with his playing style, and he is known for producing a variety of different tone styles. Miles Davis, another very famous jazz musician, said "You can tell jazz history in four words: Louis Armstrong. Charlie Parker."
Related Artists: Miles Davis, Louis Armstrong, Clifford Brown
**Disclaimer:
While I believe that all of the SQUILT music chosen is appropriate for
classroom use, some songs may not completely align with a Christian
worldview. Songs done by related artists are also not guaranteed to be
in line with the values of a Christian worldview. Parents should help
their children develop discernment in this area.**
There was a time
I used to look into my father's eyes.
In a happy home
I was a king, I had a golden throne.
Those days are gone,
Now the memory's on the wall.
I hear the songs
From the places where I was born.
Upon a hill across a blue lake,
That's where I had my first heartbreak.
I still remember how it all changed.
My father said,
"Don't you worry, don't you worry, child.
See heaven's got a plan for you.
Don't you worry, don't you worry now."
Yeah!
"Don't you worry, don't you worry, child.
See heaven's got a plan for you.
Don't you worry, don't you worry now."
Yeah!
There was a time
I met a girl of a different kind.
We ruled the world,
I thought I'd never lose her out of sight.
We were so young, I think of her now and then.
I still hear the songs reminding me of a friend.
Upon a hill across a blue lake,
That's where I had my first heartbreak.
I still remember how it all changed.
My father said,
"Don't you worry, don't you worry, child.
See heaven's got a plan for you.
Don't you worry, don't you worry now."
Yeah!
Oh, oh, oh!
Oh, oh, oh!
See heaven's got a plan for you [Live version repetitions:]
See heaven's got a plan for you
See heaven's got a plan for you
"Don't you worry, don't you worry, child.
See heaven's got a plan for you.
Don't you worry, don't you worry now."
Yeah!
Oh, oh, oh, oh, oh, oh, oh![3x]
Yeah!
1. Is there anything good I can hold on to from this song?
This song certainly has an overall positive bent. Though it talks about a trial - breaking off a relationship with someone - it offers a hopeful response rather than any sort of crushing depression or emotional turmoil. The main thing I appreciate from this song is the father-son bond that is poignantly described in the opening stanza.
2. Is there anything true, noble, right, pure, lovely, admirable, or praiseworthy in this song?
Scripture is certainly clear that the bond between a father and a son should be a strong one; that is God's design (Proverbs 17:6; Ephesians 6:1-4)
Interestingly enough, the opening to this song immediately made me think of Scripture in Hebrews 2 that talks about Jesus being "made lower than the angels for a short time" (v.9) I don't want to sentimentalize too much here, and yet at the same time, truly can any of us imagine what it would have been like for Jesus who, being present at the beginning of creation and having all the glorious characteristics described in Colossians 2, become like a person and suffering as people do (Philippians 2:7-8 speaks of a portion of that)? Of course, the main difference here is that the opening stanza of this song talks of something that is not regained, whereas in Jesus we see ultimate victory, fulfillment, and restoration (see 1 Corinthians 15 as an example)
3. When I listen to this song, does my thinking become conformed or transformed?
I would say overall this is a transforming sort of song that encourages people to look beyond current circumstances and consider a much bigger picture.
With that said, I do have a qualm and question about the presentation. The song repeatedly reassures "heaven's got a plan for you"... but, I can't help but wonder - what exactly do they mean by "Heaven?" In my book, Heaven is a place, which means that Heavencan't have plans. Places don't plan things! I fear that this is pseudo-spiritual jargon only intended to give people a warm feeling on the inside all the while being absolutely devoid of any sort of substance or meaning.
4. Does this song cause me to set my mind on things above or on earthly things?
There is definitely an element of both. For reasons mentioned before, I can take this from a viewpoint to see Jesus in it. Also, if I ignore the strange statement about "Heaven" having plans and consider that to be referring to God, then certainly there is absolute truth in that statement. Psalm 139, Jeremiah 29:11 (though I am of the camp that sees danger in misuse of that verse, it still fits), Philippians 1:6 all speak to this idea of bigger plans at work in our lives.
Additionally, the references to the girl and heartbreak can point to something above if taken to be that, while unexpected things come our way or plans don't always work out as expected, there are greater forces at work guiding us forward.
5. Is this song leading me to feel anger, rage, malice, or slander?
No
6. Does this song contain filthy language or encourage me to use filthy language?
No
7. Is this song calling me to pursue youthful passions?
No
8. Can I listen to this song in the name of Jesus, giving thanks to God the Father through him?
Maybe yes, maybe no; it would probably depend on my mood. While I have tried to point out many redemptive factors to see in this song, my gut instinct tells me that I am probably being quite generous from the artists' intent. At the same time, I believe that from starting carefully by considering the original context and meanings of the song, then I am free to disperse more redemptive light into it. In that, I can find reasons to praise God in this song, and so in focusing on that, I would be okay with listening to it. That said, I don't see a lot of musical depth to this song, so I don't foresee this being a song that will really stick with me or hold my interest for long.
To comment on the video, I feel similarly as I did with <LINK: Ghost Love Score>. Given the lyrics that we're considering, I could musically see a few different angles to travel if I were writing this song, and this group obviously chose a more up-beat approach. And from Wikipedia I read that the group claims a tour through Australia as the inspiration for the song. I don't know that it is really autobiographical, but from other things I read it seems there must have been a lot of emotion leading up to what the video shows is the group's last tour. Anyways, all of that to say: in seeing audience members' reactions to this group and this song, I feel as though there is a sense in which nobody wants to think about or even care aboutwhat the group is singing... everyone just seems to be, well, jumping! Or, one could say: partying. That leads me down a path to consider that, if people have considered the lyrics, then it appears their response is quite hedonistic (and this doesn't seem to be discouraged from the artists). In other words, "Heaven's got a plan for you, so don't worry, just do whatever you want!" I confess that this could be narrow-minded on my part, but I come from a strong persuasion that the lyrics of a song should be chief in evoking our response - though coupled with the musical treatment of the text. If the primary response for this song is mosh pits, setting things on fire, and jumping around, I don't know what else to call it except hedonistic. And in surrendering to that worldview, people run what I would say is the inevitable course of missing out on the majority of the most true pleasures life has to offer.
When I look into your eyes
It's like watching the night sky
Or a beautiful sunrise
Well, there's so much they hold
And just like them old stars
I see that you've come so far
To be right where you are
How old is your soul?
Well, I won't give up on us
Even if the skies get rough
I'm giving you all my love
I'm still looking up
And when you're needing your space
To do some navigating
I'll be here patiently waiting
To see what you find
'Cause even the stars they burn
Some even fall to the earth
We've got a lot to learn
God knows we're worth it
No, I won't give up
I don't wanna be someone who walks away so easily
I'm here to stay and make the difference that I can make
Our differences they do a lot to teach us how to use
The tools and gifts we got, yeah, we got a lot at stake
And in the end, you're still my friend at least we did intend
For us to work we didn't break, we didn't burn
We had to learn how to bend without the world caving in
I had to learn what I've got, and what I'm not, and who I am
I won't give up on us
Even if the skies get rough
I'm giving you all my love
I'm still looking up, still looking up.
Well, I won't give up on us (no I'm not giving up)
God knows I'm tough enough (I am tough, I am loved)
We've got a lot to learn (we're alive, we are loved)
God knows we're worth it (and we're worth it)
I won't give up on us
Even if the skies get rough
I'm giving you all my love
I'm still looking up
1. Is there anything good I can hold on to from this song?
There's plenty of good to hold on to! Lyrically speaking, the song is poetic and delivered with heartfelt conviction. The music is pretty straightforward, but there are a couple of nice, surprising moments towards the end.
2. Is there anything true, noble, right, pure, lovely, admirable, or praiseworthy in this song?
I see all of these elements portrayed here. I appreciate how, even as their are poetic lines such as "''Cause even the stars they burn/Some even fall to earth" or "Even if the skies get rough," there is practical and realistic content here: "When you're needing your space," "We've got a lot to learn," "Our differences, they do teach..." etc. It is admirable to hear the conviction of someone approaching a relationship with such resolution to weather difficult times and celebrate the good. Another powerful line comes from "I had to learn what I've got, and what I'm not, and who I am." That is certainly what I continue to learn - just how important it is to understand ourselves. Otherwise, it becomes difficult to navigate relationships, change, or grow when we don't have a foundation from which to start.
3. When I listen to this song, does my thinking become conformed or transformed?
For me, this song helps continue transforming my thought patterns towards a high view of marriage (though this song does not particularly speak of marriage. From what I read of the artist, I'm not entirely sure what his intentions were in writing this song or why he wrote it, but I easily see it aligning with a Christian worldview.
4. Does this song cause me to set my mind on things above or on earthly things?
Relationships in general (and certainly marriage) are something that can easily go in either direction - being purely emotional, physical, and earthly or building upon spiritual principles. In the case of marriage, the ultimate picture would be of a love that reflects Jesus' passion for the Church. As this song speaks to consistently walking with someone, calling out the best in them, and working to meet their needs, I am reminded of some of Christ's character - meaning that I can reflect on heavenly things as I listen to this song.
5. Is this song leading me to feel anger, rage, malice, or slander? No
6. Does this song contain filthy language or encourage me to use filthy language? No
7. Is this song calling me to pursue youthful passions?
The approach to love as described in this song is certainly far from just being a youthful passion. This song is about commitment and perseverance, which I wouldn't expect from a less mature outlook.
8. Can I listen to this song in the name of Jesus, giving thanks to God the Father through him?
I say absolutely. This is a clear example of a song that many people would not call a "Christian" song; however, I don't tend to see that value in such distinctions. This song is based on Truth, and I appreciate how it is artistic/poetic even as it is realistic and practical.
Musically speaking, this song is pretty straightforward; however, the bridge section "Well, I won't give up..." mixes in what, to my ears, are some surprising harmonies. I am by no means an expert in analyzing this sort of music, but I'll do my best to explain what I hear and see: the recording of this song is in the key of A and primarily, as with many contemporary songs, oscillates between the "tonic" and the "dominant" - the first chord of the scale (A) and the fifth chord (E). That is all as expected, though it is somewhat funny to me that the song capitalizes on what's called the "second inversion" of the A chord. An A major chord like we have in this song has three notes: A, C#, and E. In second inversion, we take the E and place it on the bottom, so the chord becomes: E, A, C#. In the early forms of classical harmony as I was taught, this is a BIG no-no! There are only a few cases where second inversion chords were allowed, and starting a song off with them was certainly not one of them!
At the end of the introduction and then following in many of the verses, the song makes nice use of a 4-3 suspension: the fourth scale degree is added into the chord when technically it doesn't belong there (it is "suspended"). This suspension creates tension which is then resolved, and in this case the suspension/resolution happen on a B major chord. In traditional harmony, if we are in the key of A major, then the base expectation would be for the B chord (the second scale note in A) to be a minor chord. This song, however, consistently goes with a major chord. This may be common practice today, but again I'm not practiced enough to know for sure.
As I said before, things get a little interesting in the bridge section. We are still in the same key, but this time it's harmonized on the sixth scale degree, which is a minor chord instead of a major chord. The "tonic"/"dominant" relationship is setup between F# and B, which would often imply that we are in a different key, but I don't hear it that way. By the time we get to "And in the end," however, I would say that we have modulated to a different key temporarily, as we start on a D chord and jump between B and D. The sounds here jump out because the B chord contains the note "D#," which is a direct clash with a "D." This gives the song what I would call a "chromatic" feel. At the end of the bridge, we work our way back to the E chord (the old "dominant") and then we're back to the progression as normal to the end of the song - though with added background vocals that nicely compliment the texture of the song.
A word on the video: unlike other songs I've done where I watched the video early on as I wrote about the song, I didn't watch the official video for this song until the very end. It's always interesting to me how lyrics of themselves can give one picture while the song's video gives a different (sometimes contrasting one: see my review of "Wake Me Up"). I always wonder which holds more faithful to the artist's original intention... do the videos often become byproducts of what the music industry wants to advertise/promote, or are they closer to the heart of what the artist intended?
Anyways, for the "I Won't Give Up" video, I appreciate the beauty of how it shows many different people who might often be forgotten. That certainly could not be nearer to the heart of God (see Psalm 68:5 and the commentary on religion in James 1:27 as just two of many, many examples). At the same time, I wonder if there are political undertones to this and what kind of statement Jason Mraz (or whoever came up with the video) is trying to make. I'm honestly not sure, and it would take a lot more research to begin piecing together the answer. Still, I think this is a great song to listen to and would recommend it to people.
(Note: here is a link to the chords of the song. There are several different versions, and my analysis was based on my own hearing plus comparing a few of these versions:
Title: "Higher"
Artist: Creed
Genre: Rock and Roll
Notes:
The band Creed was ranked as the 18th best artist 2000's by Billboard magazine in the United States. The lead singer of Creed grew up in a very strict religious home. For example, as punishment, he sometimes had to copy passages of the Bible. As he grew up, he did everything possible to get away from that environment, including running away from home for one month. Later in life, he says he experienced a change after getting involved in some harmful things, but I did not see any information on his faith.
Related Artists: Alter Bridge, Seether, Hinder, Daughtry
**Disclaimer:
While I believe that all of the SQUILT music chosen is appropriate for
classroom use, some songs may not completely align with a Christian
worldview. Songs done by related artists are also not guaranteed to be
in line with the values of a Christian worldview. Parents should help
their children develop discernment in this area.**
Note on the video: I can't say I completely understand some of the audience members as they're shown in this live video, and I certainly want to be at the bottom of a crowded stage being constantly pushed... maybe that's just me! I went ahead and chose this video because I was impressed with the live performance of the song. As that is true, I also shake my head a little in amusement and concern for the culture shown here. Mostly it's funny to me that I feel such a rich, symphonic work invites serious discussion... until I see the lead singer banging her head and spinning her hair around during certain parts of the song. It makes me feel like the artists would never have wanted me to put this much thought into what I've written, but then again, I recognize that that is a poor stereotype on my part - again, I'm mostly just expressing personal amusement here.
"Ghost Love Score" and the band Nightwish take me back to high school and my freshman year of college. I was introduced to them by my older brother and felt great intrigue for the juxtaposition of styles that they produced. I hadn't heard this song in quite some time, so when I saw the link to a video of it on my brother's Facebook page, I thought it would make great material for this blog.
STUDENTS: There is a lot of technical language in the commentary below, not to mention that it is long. I don't necessarily expect all of it to make sense, but I hope you'll at least make an effort to read and follow as much as you can.
Music Commentary
I actually want to start my analysis of "Ghost Love Score" by talking about the music.
While I would never claim to be an expert on musical form, I would venture to call "Ghost Love Score" a rhapsody. Rhapsodies are "free-form" works, meaning they are difficult or impossible to box into normal form structures (which we classify with letters, such as ABA or ABACA, etc.) "Ghost Love Score" fluidly flows through a wide range of musical ideas that, to me, don't outwardly have much connection (if I took time to analyze more, maybe more connections wait to be discovered).
Beyond being a rhapsody, I would dare say that the construction and execution of "Ghost Love Score" approaches that of a Romantic era symphonic poem. Symphonic poems are one-movement orchestral works that paint a picture, tell a story, or evoke different moods in the listener. Though symphonic poems did not have lyrics sung with them, the duration of the work, its orchestral scoring, and the emotional impact it achieves make it worth our time and consideration.
I remember one of my first points of intrigue with this song being its rhythmic fluctuations, and now some years later, I feel no differently. "Ghost Love Score" uses a variety of meters throughout the different sections (part of why I classify it as a rhapsody). I hear many parts of the song as a triple feel with eighth note or dotted quarter pulses driving the motion of the song; however, there are other places (the opening "we used to swim...") that are simple 4/4 time.
After the bold opening, we immediately get a feel for the journey this song has prepared for us. The punctuated choral "ahs" falling on a mix of down-beats and off-beats lead directly into various asymmetrical breaks in the time. Honestly, if I had to sit down and dictate the opening, I wouldn't know where to begin on writing out the time signature and rhythm - maybe I'm just overthinking it.
Melodically speaking, the various sections of this song all skillfully utilize tension and release to bring a natural rise and fall to the music. Part of this may be from the use of various themes that are sequenced within the section and then resolved at the close of the section. One of my favorite moments is "recapitulation" of sorts (or return to opening material) that happens around three-fourths of the way through. The "redeem me into childhood" lyrics punch into "My fall will be for you..." which has the rich, gorgeous soprano obbligato (or countermelody) floating over top of it.
To close the musical portion of analysis, I will mention to other crucial aspects of a composition: harmony and instrumentation. Because my ear is slow to analyze harmony just from listening, it would take me forever to really work through the progressions of this song. Overall, I think the harmonies are fairly straightforward, but at the same possessing much more depth than I would expect from a heavy metal-geared band. I hear the harmonic colors shine through most in the "bring me home" section and following "forgive the adoring beast."
The instrumentation (or deliberate selection of instruments) approaches film score technique, and it is great in this song. To highlight, once again, the "recapitulation" section at the end, the brass herald is absolutely perfect for ushering in the close of the song. The string writing is well-developed in both the lush, chordal sections and the rhythmic, bouncing sections. The overlap with classical music is especially clear to me during the instrumental break midway through, when the woodwinds and strings come to a back-and-forth that sounds to me like it was pulled out of Camille Saint-Saens' "Danse Macabre."
I could keep going on and on. Hopefully you can see the point that I feel "Ghost Love Score," musically speaking, obviously earns the right to be seriously considered and studied for its aesthetic value.
Now onto the lyrics...
Analysis Method: "MALL"
Key - M = What is the meaning of the lyrics? A = The lyrics are clearly against Biblical teaching. L = I don't know what the Bible says about these lyrics. L = I can glorify God when I listen to these lyrics. Lyrics
We used to swim the same moonlight waters Oceans away from the wakeful day I find this to be a poetic expression of remembrance and/or imagining - both of which can be great things. My fall will be for you My love will be in you If you be the one to cut me I'll bleed forever Though I know this is out of context, when I hear the passionate music behind this section, I envision the first part of this refrain as Jesus' words to us. Isaiah 53 makes clear that Jesus' death was for us, and from that death the apostle John bursts into praise: "Look at how great a love the Father has given us, that we should be called God's children. And we are!" (1 John 3:1). The second part, however, is clearly against Biblical teaching. In light of Jesus' sacrifice, Scripture teaches that no wound should go so deep as to not be forgiven, which is what these lyrics imply. Jesus set the clear example there by forgiving the soldiers at the cross.
Scent of the sea before waking afterwards Brings me to thee Into the blue memory
My fall will be for you
Into the blue memory --------------------- A siren from the deep came to me Sang my name my longing Still I write my songs about that dream of mine Worth everything I may ever be I hear these lyrics as steadfastness to stay on course regardless of temptations that come, and I appreciate the conviction to follow after dreams - hoping, of course, that they are inspired by God. The problem, however, is that from Scripture's teachings, our dreams should not be synonymous with our worth. Our worth should come from God.
The Child will be born again That siren carried him to me First of them true lovers Singing on the shoulders of an angel Without care for love n' loss ------------------------- Bring me home or leave me be My love in the dark heart of the night I have lost the path before me the one behind will lead me
Take me Cure me Kill me Bring me home Every way Every day Just another loop in the hangman's noose
Take me, cure me, kill me, bring me home Every way, every day I keep on watching us sleep
Relive the old sin of Adam and Eve Of you and me Forgive the adoring beast ----------------------- Redeem me into childhood Show me myself without the shell Like the advent of May I'll be there when you say Time to never hold our love
My fall will be for you
I have had a really hard time thinking through the lyrics to "Ghost Love Score." I have avoided a lot of lyric to lyric analysis because overall it might need to be taken as a whole. I can hear a strong love story in the poetry, and yet I also get a sense of spiritual overtones. I'm not entirely sure how literal verses abstract the artists intended, and from a brief search online it seems that others feel the same way.
One thing that I do pick up is an anticipation for restoration and forgiveness, despite some of the bitter tones that the middle of the song might be implying. While I feel that "Ghost Love Score" misses the mark of ultimately expressing redemption and hope as the Christian worldview supports, I appreciate how, both musically and lyrically, there is a sense of closure or satisfaction that comes after the outpouring of emotion - and that is key. Songs may have some tough or questionable or sinful content, but the question I have to ask as a follower of Christ is: "How is that content handled?" In this case, again, my ears and intuition tell me that the artists feel the weight of something more being out there, and a bit of that light shines through in this song.
My conclusion after digging deeply into this song would be a reminder that I have freedom in Christ to listen, but in that freedom I have to remember that not all things are beneficial. This song is musically inspiring to me, but lyrically there are many moments that still leave me scratching my head and don't necessarily point me in the same spiritual direction as other songs I could choose to listen to. That leaves me with being okay listening to "Ghost Love Score" on occasion, but it is probably not a song I will choose to listen to on a regular basis.
Title: "Shackles (Praise You)"
Artist: Mary Mary
Genre: Rhythm & Blues
Notes: The "rhythm and blues" genre is one that has gone through many changes over the years and is difficult to classify exactly. At first, it's primary audience was African Americans, and this genre still may be somewhat associated more with African American performers today; however, anyone is certainly free to enjoy this music! The group Mary Mary, according to one online review, really pushed contemporary gospel music ahead with their song "Shackles (Praise You)." The group's name is based on the two famous Mary's from the Bible - Jesus' mother and Mary Magdalene.
Related Artists: Kirk Franklin and Family, Tye Tribett, Deborah Cox, Frank Hammond, CeCe Winans
**Disclaimer:
While I believe that all of the SQUILT music chosen is appropriate for
classroom use, some songs may not completely align with a Christian
worldview. Songs done by related artists are also not guaranteed to be
in line with the values of a Christian worldview. Parents should help
their children develop discernment in this area.**
