Word you said too elegant
Turn, do not sing, do not sing!
Self-love and love
Sound they say is too nauseating
Easily and not great
Majestic and frightening
Solemn nobody loves it
Not to sing, do not sing!
Do not open so people curse
Do not open to avoid being criticized
Do not sing do not sing!
A recording of lined-out singing by the Indian Bottom Association Of The Old Regular Baptist Church in Appalachia.
“Lining out”, also called “hymn lining” or “line singing”, is a haunting form of a cappella hymn-singing or hymnody in which the song leader gives each line of a hymn tune as it is to be sung, usually in a chanted form suggesting the tune, and the rest of the congregation then sings the line. It can be considered a form of heterophoniccall and response.
Although the practice has now all but died out, it was once very common in Old Regular and Primitive Baptist churches to hear line singing, because musical instruments were not allowed in these churches, and some people in the congregation could not read to use a hymnbook either.
Listen to more line singing HERE or read an interesting piece comparing line singing and sacred harp singing HERE.
When thou art near, I go with joy
To death and to my rest.
O how pleasant would my end be,
If your fair hands
Would close my faithful eyes.
Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.
“Bist du bei mir” (English: “be, thou, with me”) (BWV 508) is an aria in the Notebook for Anna Magdalena Bach. It was therefore attributed to Johann Sebastian Bach, but the melody is part of the Gottfried Heinrich Stölzel opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost.
Paul Simon and a wonderfully spunky child in improvisational counterpoint on the Muppet Show in 1977. Thank you to Genna Gardini for reminding me about this awkward, amazing moment. Read more on the Muppet Wiki.
Simon later would stress the concept of rhythm itself communicating a deeper message, and his earlier writing also demonstrates his dedication to making a deceptively simple rock and roll song embody a unified, total package in which each part must complement the others. “If you take a song that has some rhythm to it…and I don’t get the rhythm right… then the song doesn’t seem real.” With the right rhythm, though, “the listener gives up his defense. You’re willing to entertain a number of ideas, you’re having that good a time.” Rhythm, he said, “is good for lyrics that express emotion. And in allowing emotion to speak, rhythm connects us in anger or in love, to others.” Again, Simon stresses that the artist must communicate, and the songwriter´s communication must appeal to a sense well beyond that of the five recognized senses, a sense of rhythm innately found in songwriter and audience alike.