HYMN PERFORMANCE: The Greening of Hymnody, Part 2: "Charge Our Hearts with Wonder"
Bibliographic record
Abstract
Our current snow- and ice-clad trails, walkways, and streets here in Northeastern Ontario give rise to interesting ways of crossing the outdoor terrain. Last week I walked the 2 km across water like a stone in order to get to my University workplace. This took some ingenuity, because an abnormally thin layer of snow had covered an unusually smooth surface of ice - captured on the lake when the temperatures dropped very quickly one windless week back in December. No five steps in a row could successfully have been made without altering weight, gait, speed, or course. I had neither the surety of steadily walking along a paved roadway, nor the relative ease of unchallenged expectation in transporting myself along a known and uncluttered pathway. has a wonderful way of offering surprises to her travelers. Wind rises, waters surge, trees fall, rocks tumble, and human expectations must be altered to suit Nature's lack of changelessness. As I walked, I was considering how I would write about the idea of musical meter in congregational song in this second article in Greening of Hymnody. What does Nature have to offer us in light of congregational song in which what works is an organizational scheme that can be readily apprehended?1 Nature, that whole realm where shapeshifters dwell so happily, is not something that can be shaped and ordered without significant consequences. As I indicated in the first of this series of articles, when we allow creation to sing her songs with us, we have the opportunity to let her melodies enhance our worship experience. How might shape our experience and creation of particular elements of music - for example, meter and rhythm - in relation to congregational singing? When Bill Wallace presented me with his text and tune for Charge Our Hearts with Wonder for use in last summer's Berkeley hymn festival entitled The Greening of Hymnody, I found myself in a small quandary. Bill's tune DANCING VISION was in 6/8 meter (see example 1), and it sang fairly predictably, leaving me feeling contained and constrained. But the text seemed to me to call for something that implied openness and movement. Knowing Bill a little bit, I recognize that he seeks a symbiotic relationship with the natural world, in which he is shaped with and by his surroundings. How might his tune better reflect an orientation toward a sometimes incomprehensible cosmic order rather than a steady pattern of predictable expectation? Could the rhythmic elements of the tune be altered in a way that evoked a flowing dance with and among the branches of Mother Gaia's arms, rather than a steady progress of even steps upon the pavement of humanity's reorganization of the created world? Could this be more of a cosmic song and yet still be a congregational song? Could the tune reflect something of a hike through changeable landscape, feeling the tenderness and resilience of the Earth's surfaces, and the whimsy and whiffs of her winds? In my other work as a music educator, I spend a good deal of time helping people grow in their musical literacy, since I believe that awareness of ways to audiate2 notated music can open all to vast realms of experiences that otherwise might not be had. For many, one of the hurdles involves the musical element of time - and, by derivation, meter. The processes of helping people understand the notion of time signatures in musical notation inevitably lead to some interesting revelations. Anecdotally, novices in the world of musical time tend to be much more comfortable with even numbers of metrical beats - 4/4, 2/2, etc. - than with odd numbers; their next level of comfort is 3/4, the waltz time. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".