Traveling Music (ReMix)

Here is yet another iteration of a “re-run” post from a different venue several years ago, engendered this time by scanning old iPod tracks on the ever-more-repetitious journey down I-65 from Chicago to Indianapolis.  It is likely just babel/babble to anyone but me.  FWIW.

Mumford and Sons – Babel – ROCKS!

But it also engenders reservations, similar to their first album, about which I posted the following on 21 January 2011.

In an earlier post I mentioned listening to the musical group, Mumford & Sons while driving near the end of long trip.  Due to some questions, I took it down, lest anyone think I condone the use of profanity on that CD (Sigh No More).  I do not.  Here’s a response of sorts to some of the questions:

Presumably most people understand that mentioning a group, person, or work of art does not imply endorsement of everything in, on, or about it.  The track Timshel, referencing Genesis 4 and resonating Steinbeck’s East of Eden, does not imply endorsement of Steinbeck or all that is in the book.  Quoting a commentary on Genesis 4 does not mean accepting or recommending everything in it.  This is, one hopes, elementary for anyone willing to think about it.

I’m a sucker for clever lyrics, especially those with religious implications – even cryptic ones (especially when married to great harmonious melodies).  Who could not like the opening lines of the first track: “Serve God, love me, and mend – this is not the end…Sigh no more, no more.  One foot in sea and  one on shore.  My heart was never pure – You know me.”   Or, “If only I had an enemy bigger than my apathy I could have won” (from “I Gave You All”).

Or this:  “You told me that I would find a hole Within the fragile substance of my soul, And I have filled this void with things unreal And all the while my character it steals”  — followed by, “It seems all my bridges have been burned, But you say that’s exactly how this grace thing works – It’s not the long walk home that will change this heart, But the welcome I receive with the restart” (Roll Away Your Stone).

However, admixed with admirable thoughts expressed with dexterity are others of a baser sort…of infidelity and betrayal, doubt and denial.  Of course, many people, even those of strong faith, have experienced such thoughts and possibly even behaviors, as we succumb to various temptations to one degree or another.

Most vexing and disturbing is the gratuitous use (in Little Lion Man, CD track 7) of a common vulgarism meant to describe one of the most divinely pleasurable of human experiences – made into a cheap swear-word.  That is, of course the nature of profanity – taking something which is a should be special or limited to particular circumstances and profaning it by making it common or ordinary.  As several before me have noticed, if one wished to express extreme displeasure, one could at least use something REALLY unpleasant, like “Audit you, buddy!”

I realize one can hear such vulgarities at the mall or at a high school sporting event (to say nothing or college or pro games).  But it pains me to spend money to download or rip such junk.  One man’s opinion.

Other issues raised by such questions include how those who find such things objectionable should react.  Bury head in sand and ignore?  Boycott?  Draw up the bridge and retreat behind the moat?  Or recognize and engage when possible?  Do we read only that which has no objectionable material?  Hard to come by.  Can we be “fans” only of athletes, teams, or artists without flaw?  Good luck.

Late night thoughts from a fried brain at the end of a long day. Anybody want to sound off on this?  No obligation.

(A closing thought:  It is sobering, when contemplating passing an 18-wheeler in snow, to hear lyrics like, “In these bodies we will live, in these bodies we will die…for you were made to meet your maker.”  Hmmmmm)

 

Mind Your Music – by Doy Moyer

Mind Your Music – by Doy Moyer

Worth reading at

http://www.mindyourfaith.com/mind-your-music.html

 

Outline:

I. A Case for Mindful Singing
A. The Message of our Music
B. Music as a Communication Tool
II. A Brief Religious Musical History
A. What about Instruments?
B. What about women?
III. Fundamentals of Music
A. Role of the Song Leader vs the Role of the Congregation
B. Pitch
C. Rhythm
D. Expression
IV. Final Thoughts

Passages for reference:

Ecclesiastes 5:2-7
Romans 15:1-11
1 Corinthians 14
Ephesians 5:15-21
Colossians 3:12-17; 4:2-6
James 5:13

 

 

A Hymn Author Comments on One of His Best

A Hymn Author Comments on One of His Best

Matt Bassford on Writing “Exalted”

But we have this treasure in earthen vessels, so that the surpassing greatness of the power will be of God and not from ourselves.

— 2 Corinthians 4:7 (NASB)

I can’t find my writer’s notebook from the late 1990s, but if memory serves, I wrote “Exalted” in April 1999, which makes this the 15th anniversary-ish of my having done so.  At the time, I had no inkling that it would make its way into the repertoire of the Lord’s church; indeed, to this day, its success leaves me both thankful and bemused.  Hopefully, my account of its creation will prove of interest.

In April 1999, I had no idea how to write hymns.  I had been through two sessions of Craig Roberts’ Hymninar; I could analyze hymns according to the technical trinity of rhythm, rhyme, and meter; but my own ability to duplicate what I had studied was negligible.  Writing an “Abide with Me” or “In the Hour of Trial” was as far beyond me as playing in the NBA.

That was a problem, because I had something I wanted to say.  It too came from Craig, from a sermon that he had preached for the Sunday-morning assembly of R.J. Stevens’ 1998 singing school.  It was entitled “The Glory and the Shame”, and it was a study of the contrast between Christ’s triumphal entry into Jerusalem and His crucifixion less than a week later.

I became fascinated with the rich irony of the Biblical account.  I said to myself, “I should write a hymn about that.”  I set pen to paper, gave it my valiant all. . . and failed ignominiously.  This was not a, “It’s not THAT bad, Matt” kind of failure.  It was more like, “Matt, are you sure that English was your first language?”  I am notoriously incapable of determining when something I’ve written is bad, but this time I could tell.  It was bad enough to set stray dogs to howling.

Like the builder of Swamp Castle, I tried again a few months later.  Also like the builder of Swamp Castle, I failed again.  The result looked sort of like a hymn, with rhymes and lines of the appropriate length.  However, it had all the elegance and grace of a cinder block.  Whatever one needed in order to capture the ironies of the crucifixion in rhyme and meter, I did not possess.

Fine.  I couldn’t write hymns.  So what?  I was still going to write THIS hymn!  In the depths of my frustration, I hit upon the expedient of structuring the hymn around parallels, like the Hebrew poets did, rather than using rhyme.  Once I made that mental switch, the rest was easy.  I banged out the first draft of “Exalted” in about half an hour, and that first draft was substantially what is sung today.

However, my work created another problem.  If some determined 20-year-old handed me “Exalted” today, I would tell him it couldn’t work as a hymn because the verse-to-verse structure is bad.  As most of our hymns do, “Exalted” has three verses, each intended to be sung to the same tune.   That same tune, then, must match the emotional feel of all three verses.  In most good hymns, all the verses have the same mood or at least reside in the same general part of the emotional spectrum.  This allows the composer to craft a joyful tune that matches the joyful mood of “Hallelujah!  Praise Jehovah!” or a rich, sorrowful tune that matches the sorrow of “When I Survey the Wondrous Cross”.

Those hymns have excellent verse-to-verse structure.  The verse-to-verse structure of “Exalted” is terrible.  It has one grand verse about the glories of Christ the King, one ironic verse about the vicious way He was received by His people, and one half-and-half verse about the different ways He is received today.

A hymn like that pulls a composer in two.  He can’t write a grand tune to match the first verse, because then it won’t match the second.  He can’t write an ironic tune to match the second verse, because then it won’t match the first.  All he can do is compose a neutral tune that kind-of matches the tone of the entire hymn, but neutral is boring is not sung is a failed hymn.

This is not a hypothetical.  I spent years writing hymns that failed because of bad verse-to-verse structure.  It still gives me more trouble than any other aspect of hymnwriting.  “Exalted” should have ended up on the dust heap with all of those other failed hymns.  It didn’t because I, having no idea what I was doing, asked Charli Couchman to write the music.

Charli is a phenomenally talented composer, but “Exalted” may remain her finest work.  She’s written plenty of good tunes to good hymns, but in “Exalted” she found a hymn that was destined to die and gave it life.  The flawed verse-to-verse structure meant that she could not write an interesting melody, because an interesting melody would be a mismatch to one or more verses.  Instead, she wrote a boring, flat melody and made it interesting, even unique, by passing it back and forth between parts.  The result is unlike anything I’m familiar with in the tradition of English hymnody, yet simple enough that a congregation with moderate musical gifts can pick it up.

Charli’s success was not apparent at first.  If you’ve ever heard a MIDI recording of “Exalted”, it’s terribly boring, and 15 years ago, the MIDI was all we had to go on.  However, when the hymn is sung, its chords swell and come to life, infusing both the glory and the suffering of Christ with grandeur.  It is quite an achievement.

By profession, I am inclined to supply morals to any story, so here are three.  First, it highlights the utility of good old-fashioned stubbornness.  Even a brick wall may cave in if you bang your head against it long enough.  Second, it helps to have friends who will rescue you from yourself and make you look good!

Finally, though, and most of all, I am reminded that when it comes to the gospel, the talents of the messenger are nothing next to the power of the message.  God is perfectly capable of taking a 20-year-old kid in central Missouri, a kid who doesn’t know anything and doesn’t know how to do anything, and using that kid to glorify Him.  If there are lines in “Exalted” that confuse you, that’s not because I was particularly profound in 1999.  It’s because I wasn’t a very good writer.

And yet, despite the warts, despite the flaws, despite all the things that I yearn to go back and red-pen, the majesty of the story of Jesus shines through.  That’s not only all that I can hope for from my hymns.  It’s also all I can hope for from me.

Posted by M. W. Bassford at 7:28 AM, Monday 14 April 2014

NOTE: EXALTED is #198 in Psalms, Hymns, and Spiritual Songs

Read more, including comments, at http://hisexcellentword.blogspot.com/2014/04/writing-exalted.html

A HYMN FOR TODAY – Let Us, With a Gladsome Mind

A HYMN FOR TODAY

Let us, with a gladsome mind,
Praise the LORD, for He is kind.
For His mercies shall endure,
Ever faithful, ever sure.

Let us blaze His name abroad,
For of gods He is the God.
For His mercies shall endure,
Ever faithful, ever sure.

He with all commanding might
Filled the new-made world with light.
For His mercies shall endure,
Ever faithful, ever sure.

All things living He doth feed;
His full hand supplies their need.
For His mercies shall endure,
Ever faithful, ever sure.

Let us then, with gladsome mind,
Praise the LORD, for He is kind.
For His mercies shall endure,
Ever faithful, ever sure.

7.7.7.7 – John Milton, 1623

From Psalm 136:1-9, 25-26

Tune: MONKLAND – Monk’s Parish Choir, 1850 (alt. 2011)

#12 in Psalms, Hymns, and Spiritual Songs, 2012

TIME: Singing Changes Your Brain

TIME: Singing Changes Your Brain

Singing Changes Your Brain – Excerpts 

Group singing has been scientifically proven to lower stress, relieve anxiety, and elevate endorphins

By  @StacyHorn — Aug. 16, 2013
When you sing, musical vibrations move through you, altering your physical and emotional landscape. Group singing, for those who have done it, is the most exhilarating and transformative of all. It takes something incredibly intimate, a sound that begins inside you, shares it with a roomful of people and it comes back as something even more thrilling: harmony. So it’s not surprising that group singing is on the rise. According to Chorus America, 32.5 million adults sing in choirs, up by almost 10 million over the past six years. Many people think  of church music when you bring up group singing, but there are over 270,000 choruses across the country and they include gospel groups to show choirs like the ones depicted in Glee to strictly amateur groups …

As the popularity of group singing grows, science has been hard at work trying to explain why it has such a calming yet energizing effect on people. What researchers are beginning to discover is that singing is like an infusion of the perfect tranquilizer, the kind that both soothes your nerves and elevates your spirits.

The elation may come from endorphins, a hormone released by singing, which is associated with feelings of pleasure.  Or it might be from oxytocin, another hormone released during singing, which has been found to alleviate anxiety and stress. Oxytocin also enhances feelings of trust and bonding, which may explain why still more studies have found that singing lessens feelings of depression and loneliness….

The benefits of singing regularly seem to be cumulative. In one study, singers were found to have lower levels of cortisol, indicating lower stress.  A very preliminary investigation suggesting that our heart rates may sync up during group singing could also explain why singing together sometimes feels like a guided group meditation.  Study after study has found that singing relieves anxiety and contributes to quality of life. Dr. Julene K. Johnson, a researcher who has focused on older singers, recently began a five year study to examine group singing as an affordable method to improve the health and well-being of older adults.

It turns out you don’t even have to be a good singer to reap the rewards.  According to one 2005 study, group singing “can produce satisfying and therapeutic sensations even when the sound produced by the vocal instrument is of mediocre quality.”

+++++++++++++++++++++++++++++++++++++++++++++++
Read more: http://ideas.time.com/2013/08/16/singing-changes-your-brain/#ixzz2cC9WrqxS

Notes & Neurons: In Search of the Common Chorus

Notes & Neurons: In Search of the Common Chorus

Notes & Neurons: In Search of the Common Chorus

Is our response to music hard-wired or culturally determined? Is the reaction to rhythm and melody universal or influenced by environment? John Schaefer, scientist Daniel Levitin, and musical artist Bobby McFerrin engage in live performances and cross-cultural demonstrations to illustrate music’s noteworthy interaction with the brain and our emotions

Bob Dylan, Doc Watson and the White Pilgrim, or Restoration History Shows Up in Unexpected Places

Restoration History in Odd Places – from McGarvey Ice

mac's avatareScriptorium

These liner notes, available here, give the gist of it.   Nice articles are available here and here. I can’t find Dylan’s version on YouTube; no matter though as Doc Watson below, either one…pick one…can’t likely be improved upon. 🙂

View original post

Benefits of Singing

Benefits of Singing

Huffington Post – Posted: 04/28/2013 8:53 am EDT

Whether it’s an a cappella group or the church chorale, a small new study shows that singing in a choir could do a lot for your state of mind.

The findings, published in the journal Psychology of Music and conducted by researchers at Abant Izzet Baysal University in Turkey, show that singing in a choir is associated with decreased levels of anxiety.

The study included 35 people who were assigned to either one hour of choir singing, or one hour of “unstructured time” (the control group). Researchers analyzed their positive and negative affect, as well as their levels of anxiety and salivary amylase (amylase is an enzyme that is often used as a marker for inflammation).

Researchers found that the participants assigned to sing in the choir had decreases in their negative affect and anxiety, compared with the control group. Meanwhile, the control group experienced more anxiety and negative affect before and after the hour period.

The benefits of joining a choir could go beyond mental health, too. Norwegian researchers previously reported that participation in a choir is linked with better health and workplace engagement, ScienceNordic reported.

“The health benefits of singing are both physical and psychological,” Graham Welch, chair of music education at the Institute of Education at the University of London, said in a Heart Research UK statement. The benefits of singing range from the physical — because it boosts oxygen levels in the blood — to the psychological — because it lowers stress and boosts feelings of community, he said.

For more wonderful health benefits of music, click through the slideshow:

11 Health Benefits Of Music

1 of 13

Smithsonian – Eight New Things We’ve Learned About Music

Smithsonian – Eight New Things We’ve Learned About Music

Smithsonian – Eight New Things We’ve Learned About Music

April 24, 2013

Guy listening to music

Music works deep into our brains. Photo courtesy of Flickr user antonkawasaki

In one those strange twists of modern life, we were reminded last week of the power of music–at a hockey game.

It was at Boston’s TD Garden, two days after the explosions that contorted so many lives, and as singer Rene Rancourt began the Star Spangled Banner before the game between the hometown Bruins and the Buffalo Sabres, he noticed that many in the crowd were joining in. Rancourt got only as far as …”what so proudly we hailed” before he pulled the microphone away from his mouth and motioned to those in the stands to carry on. They did, in full voice, building to a stirring finish.

Yes, it would have been a powerful moment had those 17,000 people stood and cheered in unison. But they sang together, without restraint, and that moved us in a way we can’t fully comprehend.

Welcome to the pleasure center

Why is it that music can affect us in such profound ways? “Because it does” seems like a pretty good answer to me, but scientists aren’t that easy. They’ve been wrestling with this for a long time, yet it was not that long ago that two researchers at McGill University in Montreal, Anne Blood and Robert Zatorre, came up with an explanation, at least a physiological one.

Based on MRI scans, they found that when people listened to music they liked, the limbic and paralimbic regions of the brain became more active. They’re the areas linked to euphoric reward responses, the same ones that bring the dopamine rush associated with food, sex and drugs. (Right, so throw in rock and roll.)

Okay, but why? Why should a collection of sounds cause the brain to reward itself? That remains a bit of a mystery, but a favorite theory, proposed almost 60 years ago, posits that it’s about fulfilled expectations. Put simply, music sets up patterns that causes us to predict what will come next and when we’re right, we get a reward. Some have suggested this has its roots in primitive times when guessing wrong about animal sounds was a matter of life or death. What was needed was a quick emotional response to save our skin, rather than taking a time to think things through.

And so, the theory goes, our response to sound became a gut reaction.

And the beat goes on

The truth is we’re learning new things about music all the time. Here are eight studies published in just the past few months.

1) But can you dance to it?: Toronto researcher Valorie Salimpoor wanted to know if our strong emotional response to a song we like is due to the music itself or some personal attachment we have to it. So she had a group of people listen to 30-second samples of songs they’d never heard before, then asked them how much they’d be willing to pay for each track. And she did MRI scans of their brains while they listened. The result? When the nucleus accumbens region became active–it’s a part of the brain associated with pleasant surprises or what neuroscientists call “positive prediction errors”–they were more willing to spend money. In other words, if a song turned out better than they had expected, based on pattern recognition, they wanted more of it.

2) Drum solos not included: Two McGill University psychologists in Montreal say that soothing music can actually be more effective than Valium when it comes to relaxing people before surgery.

3) Unless their favorite song is by Metallica: And it helps even the tiniest of babies. A study at Beth Israel Medical Center in New York found that when parents turned their favorite songs into lullabies and sang or played them on an instrument, it reduced stress levels in the infants and stabilized their vital signs.

4) The ultimate mind meld: Back to brain scans. Stanford neuroscientist Daniel Abrams determined that when different people listened to the same piece of music–in this case a little known symphony–their brains reflected similar patterns of activity. And those similarities were observed not just in areas of the brain linked with sound processing, but also in regions responsible for attention, memory and movement.

5) You know you love “Gangnam Style”…Ooops, sorry about that: Yes, scientists are even doing research on earworms or as most of us know them, songs that get stuck in our heads. And the latest study found that contrary to conventional wisdom, it’s usually not awful songs that we can’t seem to get rid of. Most often, it’s songs we actually like, even if we don’t want to admit it. Researcher Ira Hyman also has suggestions for how to get rid of an earworm–you need to engage in a task that requires the auditory and verbal components of your working memory–say, reading a good book.

6) No language barrier here: Previous research has shown that people with a musical background are more likely to be able to learn a second language, and now a new study suggests that people who speak a language that’s tonal, such as Cantonese, may be better suited to learning music. Understanding Cantonese requires a person to master six different tones, each of which can change the meaning of words. On musical tests taken by non-musicians as part of the study, those who spoke Cantonese scored 20 percent higher than English-speaking participants who didn’t play music.

7) Some day you’ll thank me for this, kid: A study published in the Journal of Neuroscience suggests that musical training before the age of seven can have a major effect on brain development. Those who learned how to play chords at an early age tend to have stronger connections between the motor regions of their brains.

8) Say what?: So loud music may not ruin your hearing after all. At least that’s the conclusion of New South Wales scientist Gary Houseley, who says his research showed that loud music causes hearing to diminish for only about 12 hours. His study was able to demonstrate that when sound levels rise, the inner ear releases a hormone which reduces the amount of sound transmitted by the ear hair’s cells. That reduces our hearing sensitivity for a while, but it also keeps our ears from being permanently damaged.

Video bonus: Then there are the people who can improvise music. Researcher Charles Limb took a look inside their brains.

More from Smithsonian.com

A Few Rare People Hallucinate Musical Scores

When You Work Out to Music, Your Whole Body Syncs Up to Its Music

Read more: http://blogs.smithsonianmag.com/ideas/2013/04/eight-new-things-weve-learned-about-music/#ixzz2RmljT8ZJ
Follow us: @SmithsonianMag on Twitter

George Beverly Shea

George Beverly Shea

Billy Graham’s other voice

By Bob Greene, CNN Contributor
updated 1:28 PM EDT, Sun April 21, 2013
George Beverly Shea sings
George Beverly Shea sings “How Great Thou Art” to 54,000 people at a Billy Graham crusade in 2003.

STORY HIGHLIGHTS
  • George Beverly Shea, gospel singer at Billy Graham crusades, died recently at 104
  • Bob Greene: Regardless of their faith, people knew greatness when they heard Shea
  • Graham was electric on stage, Greene says. Shea was soothing and comforting
  • Greene: With clear enunciation, dignified presence, he showed respect for his audience

Editor’s note: CNN Contributor Bob Greene is a best-selling author whose 25 books include “Late Edition: A Love Story”; “Duty: A Father, His Son, and the Man Who Won the War”; and “Once Upon a Town: The Miracle of the North Platte Canteen.”

(CNN) — Devoted fans.

Faithful listeners.

Seldom have those words sounded quite so apt.

Bob Greene

Bob Greene

They describe the people who enjoyed the singing of George Beverly Shea, who died last week at the age of 104. The name may not be instantly recognizable to some Americans, but that was no fault of his. He accomplished something very few vocalists can claim: During his career, he sang in front of an estimated 200 million people in live performance.

How could this be?

He was the lead vocalist at Billy Graham’s crusades and revival meetings for more than 50 years. If you went to see Billy Graham preach, you heard George Beverly Shea sing.

And, oh, what a voice he had.

It didn’t matter what your own religious beliefs were. If you were interested in the craft — the art — of vocal performance, and you were in the presence of Bev Shea (that’s how he was known to his friends), then you recognized greatness.

He was not fancy as he sang, he indulged in no gimmicks, at times he seemed as calm before a microphone as a man waiting patiently for a bus. But that was deceptive. His deep and immaculately modulated baritone, his resolute attention to precise phrasing and pronunciation, his implicit and unmistakable regard for his audience — this was a professional artist of the highest order.

He was a major and incandescent star to them — they had been listening to him for years.
The fact that he sang gospel music might, in theory, have worked against him, might have limited the number of his potential listeners; for many of the years of his career, the nation was obsessed with rock ‘n’ roll and other forms of popular, here-one-week, gone-the-next records. But he had a certain advantage:

A singer’s audience is often influenced by the person who presents him or her. In the Beatles’ early days, they had CBS television’s Ed Sullivan to do that. It made a big difference.

George Beverly Shea, for half a century, had Billy Graham to present him. At all those crusades, in all those stadiums and arenas, they were a matched pair. Graham wouldn’t have had it any other way.

They perfectly complemented each other’s strengths. Graham, at his peak, was utterly electric on a stage — his presence was crackling and palpable, there was no structure in the world too big for him. In the charisma and magnetism department, he needed no help.

But Shea was steady and soothing and reassuring. He was placid waters to Graham’s blazing lightning. And for all those years, he was a considerable part of the draw.

He never tried to be stylish or trendy; he didn’t shift his approach as the decades went by. He just sang like a dream.
Bob Greene

Hear and see Bev Shea sing at 1961 Billy Graham crusade

In 1971, when I was getting started as a reporter, the Billy Graham Crusade was scheduled to come to Chicago’s cavernous McCormick Place for a week-and-a-half of summer services. I asked his advance team if I could spend days and nights with them, observing how they did what they did: how they made the arrangements and logistical decisions to get all those people to pack the huge hall every evening. They were welcoming and open about having me hang around.

Those were the years when the most successful and highly publicized musical acts were groups such as Three Dog Night and Creedence Clearwater and Alice Cooper.

So I was struck to find how constant, in my conversations with the people who were coming to the crusade meetings, their unprompted references to Shea were. He was a major and incandescent star to them — they had been listening to him for years, and they couldn’t wait to see him perform in person.

There was a phrase back then that was used in politics: the Silent Majority. In those times of turmoil and earsplitting acrimony in public life, the term referred to those Americans who didn’t raise much commotion, but whose fidelity to tradition was unwavering.

I thought then, and I think now, that the concept also applied to the enduring popularity of Shea. He never tried to be stylish or trendy; he didn’t shift his approach as the decades went by. He just sang like a dream — and, with his clear, careful enunciation and his dignified comportment on stage, he showed unwavering respect for the people in the seats.

To watch and listen to Shea sing “How Great Thou Art,” the gospel number most closely associated with him, was to be in the presence of an absolute master. (And if you’ve ever heard Elvis Presley’s haunting rendition of the same song, then you just know that Elvis had to be a George Beverly Shea fan, too.)

He did fine for himself: more than 70 albums, a Grammy Award, a separate Lifetime Achievement Award from the Grammy organization. In the days when what is now called terrestrial radio — that is, free radio, broadcast by local stations — ruled, you couldn’t help hearing his voice as you twisted the dial through the stations in your town. He was a permanent cast member of Billy Graham’s “Hour of Decision,” which was syndicated to local stations all over the country, and the power of that voice would stop your hand, at least momentarily, from seeking something farther down the dial.

On Sunday his funeral will be held in Montreat, North Carolina, his home for many years; on Monday he will be buried in a private ceremony on the grounds of the Billy Graham Library in Charlotte, North Carolina.

I remember asking a member of the audience at that long-ago crusade in Chicago what it was that made Shea’s music so important to her.

“When he sings,” she said, “he just brings me comfort.”

Which, in an often frenzied world, is not a bad sum-up of a long, serene and melodic life.