Scoring songs

I was looking at the Protestia website and noticed that they have a series in which they analyze songs and recommend whether they are good songs to use in churches. I found their method interesting and even consider that it might be applicable to the new song choices for The Sacred Harp. When they analyze a song, they consider five areas.

1. Doctrinal fidelity – are the words/meaning biblically accurate? “Corporate worship should not require the pastor to add a footnote afterward explaining the congregation’s singing.”
2. Doctrinal specificity – is the song direct and specific in the doctrines it presents, or is it vague and elusive? (For example, Could a Mormon be comfortable with the words? An agnostic?)
3. Focus – is the song focused on God or man (is it directed Godward or manward)?
4. Associations – do the associations or connections of the authors bring along possible baggage that is a distraction? With whom is it associated (for example, if it is written by an heretic or immoral person, it can distract or lead in the wrong direction). 
5. Musical usefulness – is the song singable for a congregation, and what is its musical effectiveness? (Note: this category received the least weight, and the first category, doctrinal fidelity, received the most weight.)

The author made this interesting point:

“Every song chosen excludes another, so merely being catchy, popular, or technically orthodox in parts is not enough. The song should justify its place through doctrinal fidelity, specificity, focus, associations, and musical usefulness.”

In other words, when the use of a particular song is included, the use of some other song is excluded. Is the included song good enough to justify excluding the other?

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Note: The last paragraphs do not suggest that every song we use is of equal value, but rather that there are some songs that do not have enough value to be considered.

Research on James Robert McEwin

James Robert McEwin was a songwriter and singing school teacher who seems to mysteriously disappear after about 1902-03. McEwin was born in Texas in 1868, the son of William McEwin and Catherine Reynolds of Lamar County, Texas. He married Elizabeth Ledbetter in 1897 in Jack County, Texas. In 1899 he was a vocal music teacher, also organizing a string band. The McEwin family was living in Jack County in 1900, when the U. S. Federal census was taken. J. R. is listed as a “teacher of music.” He was active in teaching Eureka Normal Music Schools. Here’s a link showing one of his advertisements (Jacksboro Gazette, August 16, 1900), advertising with S. J. Oslin in the summer of 1900, at Post Oak, in Jack County:

J. R. McEwin and his wife divorced in 1905. A divorce was granted and she was given custody of the children (Jacksboro Gazette, September 21, 1905, p. 3). She remarried, to Benjamin Franklin Page. However, what happened to J. R. McEwin? Perhaps he died before the 1910 census, or perhaps he will turn up elsewhere? There is one story that he was accidentally killed in Arkansas, that he was mistaken for someone else.

It seems that J. R. McEwin was very active at the end of the 1800s and beginning of the 1900s, then just disappears. In her divorce suit in 1905 (Jacksboro News, August 3, 1905, p. 5), Lizzie McEwin claimed she had not had not seen or communicated with J. R. McEwin since February 25, 1901. He is listed as an associate compiler on Songs of Glory No. 2, by J. S. Torbett, which must have first been printed in 1902. Even if he and his wife divorced, it seems that he should show up somewhere in a census, in newspapers about teaching singing schools, or in publishing more books somewhere. This could lend credence to the story about his being accidentally killed in Arkansas.

This McEwin family site gives a possible story of what happened to J. R. McEwin, as well as a picture:

“James Robert McEwin was born about 1868 and died after 1895. He was a music teacher. He was killed in Arkansas, according to a family story. Annie McEwin, the widow of Edgar McEwin reported that James was mistaken for someone else and shot as he got off a train. His belongings were shipped back to his brother, John, whose family had them for a long time afterwards. John was Annie McEwin’s father-in-law.”

If this link works properly, it will show 16 times that J. R. McEwin is mentioned in The Musical Million periodical. (The later ones are simply his name included in continuing advertisements for Songs of Glory No. 2.) Perhaps some day the conclusion of his story will be revealed.