Music in its widest definition (sound and silence organized in time) is never absent from Christian worship. The diversity of styles and forms employed both chronologically and synchronically, as well as the varied theological, aesthetic, and sociological positions concerning musical norms evident in every ecclesial community, provides a window into the self-representation and theological positioning of each community and often also of the subgroups and individuals within it. Disputes over the norms of Christian liturgical music are commonplace, most often within but also between various ecclesial communities, and may be analyzed for their theological significance. These norms concern (1) the distribution of musical roles, (2) the style of music employed, (3) the relationship between music and words (including whether to use instruments) and (4) the status of traditional repertories. Each of these may be indicative of theological commitments adopted both consciously and unconsciously by members of the community and may reflect differing theological positions, especially concerning ecclesiology. For example, congregants and whole communities may differ in their preferred self-representation of the Church, one preferring the model of the gathered community on earth, another preferring the model of heaven and earth in unity. Some individuals or communities may conceive of their church as part of a larger culture, while others may conceive of their church as a subculture or even a counterculture. New celebrations often arising from a change in spiritual emphases (e.g., the cult of saints) provide an impetus for change even within traditions that conceive of their music as sacral and inviolable. Perceived deficiencies in liturgies, whether due to a need for updating or to return to an earlier, purer form, also provoke musical changes. Careful case studies investigating such interactions between musical and liturgical practice illuminate the theological commitments of both individuals and ecclesial communities, and offer a method for the critical evaluation of the varied musical responses made by Christian communities.
William T. Flynn
Jason C. Bivins
Music in American public life is best understood not simply as the formal arrangement of religious texts in sound but as a fluid arena of exchange between performers, participants, and audiences. In these exchanges we note the transformation of religious traditions themselves, as they navigate contact with their others and the challenges of public life or secularism; we also see the emergence of American religious musics as alternate publics themselves, in which new understandings of authority, tradition, and identity are negotiated. What is more, in recent decades American genre music—from jazz to hip-hop—has become a steady arena in which new forms of religiosity are proposed and debated.
Craig R. Prentiss
With the slow realization that race was not a category in nature, but rather the fruit of social imagination emerging from colonialism, scholars in the late 20th century shifted their focus to the cultural elements feeding that imagination, including religion and the arts. Although most studies in the field address fairly conventional constructions of religion and the arts (two categories that, like race, have also been destabilized), some studies reveal the potential for these three categories to be co-constituting. Studies addressing religiously themed music, including spirituals, gospel, hip-hop, and a significant portion of country music, have shed light on the ways in which these genres encode and inform racial paradigms. Portraits in theater, dance, and film of ideas and practices associated with Christianity, Judaism, Buddhism, and other social groupings have proven active sites for the production of influential, and often competing, conceptions of race. Stereotypes linking religious and racial classifications are perpetuated as well as challenged in these artistic media. Given that the racial imagination in the United States is articulated using the language of color, painting and sculpture have been instrumental in conveying vivid connections between race and religion. For instance, many paintings celebrating Christianity’s triumph over America’s indigenous people concurrently depicted white dominance over them as well. A theological system rooting skin color in divine decree, like the Church of Jesus Christ of Latter-day Saints did in its Book of Mormon, helped assure a fair-skinned and fair-haired Jesus would populate its art. The politics of Jesus’ color continued to be played out in painting and sculpture in the United States to the present day, and exemplifies the interaction of racial, religious, and artistic categories.
The Hebrew Bible/Old Testament (HB/OT) is like a prism through which ancient Near Eastern traditions were transformed and transmitted to Jewish and Christian cultures. Through the Jewish diaspora and the Christian missions, it became a nomadic text that spread to all continents. It was received and transformed in diverse genres of literature, music, art, theatre, law, and politics. Interest in processes of reception has intensified since World War I, but reception history became a major field within biblical studies only at the turn of the millennium. Analyzing the history of reception of the HB/OT poses a variety of challenges: what hermeneutical expectations, attitudes, interests, and methods were applied to its texts? How were they involved in diverse fields of culture, and how did different modes of reception influence each other? What historical developments occasioned changes in interpretation? In analyzing textual reception, three basic aspects should be considered: the texts with their respective genres and themes, the hermeneutics applied to them, and the social contexts in which the reception takes place. Each of these aspects is characterized by great variation: biblical genres are as diverse as curse and love poetry, law and lament; hermeneutical approaches involve extremely different interests and results in, for example, allegorical, kabballistic and historical critical interpretation; social contexts of reception include family education, monastic lectio divina, public reading and preaching, and academic teaching. Investigating this history of reception means looking at cultural history through the lens of the HB/OT. Rather than defining itself as a field of research separate from interpretation, reception history should be seen as a constituent of the hermeneutical endeavor.
From the beginning of the Reformation, Martin Luther had a significant impact on church and society through his contributions to sacred music. His intention to spread the gospel among the people through song achieved its manifold purpose. This remains true not only for his own time but for the following centuries up to the present day, all over the world. Other poets, contemporaries and descendants alike, were inspired by Luther’s songs and composed their own hymns. Among these the most significant ones in German literature, poetically and theologically, are Paul Gerhardt (1607–1676) and Jochen Klepper (1903–1942). Luther’s lifelong love of music was accompanied by an in-depth musical education. He knew secular and sacred songs from an early age, played the lute well, and sang in the convent when he was a monk, as a husband and father with his family, and as a professor with his students. Music was an indispensable part of his life. He first began writing sacred songs in 1523, sometimes composing the melody as well. He also crafted a four-part motet. Luther was able to assess the composers of his time well. He considered Josquin des Prez (d. 1521) the greatest master, and among his living contemporaries he appreciated in particular Ludwig Senfl (c. 1490–1543). He was also acquainted with other composers and their works. The incorporation and promotion of music in the schoolroom resulted in a close relationship between church and school, as well as between classrooms and religious services. Pupils took part through chanting at services, and the evangelical hymns in the chantry were spread through the choir’s chanting books. Numerous musical prints originated in Georg Rhau’s printing shop in Wittenberg that carried the Protestant repertoire into the world. From central Germany, starting in Saxony and Thuringia, the Protestant musical culture covered all of evangelical Germany and later shaped Protestant musical culture. In addition to choir-related music, it cultivated the musical rendering of biblical texts. Heinrich Schütz and Johann Sebastian Bach are the finest representatives of this specific Protestant musical culture. In addition, the culture of the organ, first cultivated in northern Germany, became widespread. One of several masters of the organ was Dieterich Buxtehude (c. 1637–1707), who established evening concerts in Lübeck, which in turn served as precursors to the bourgeois musical culture. Luther’s approach to music is formed through the conviction that music is a particularly beautiful and unique offering of the divine creation. Music moves human hearts and allows them to anticipate the heavens. To bring people joy and to praise the Lord is music’s true task and, indeed, its service.
John D. Rempel
Anabaptism and its descendant movement, Mennonitism, came into being through the illegal baptism of believers upon confession of faith. Anabaptist worship was characterized by form and freedom. It included reading and interpreting the Bible by preachers and other worshipers, practicing baptism, the Lord’s Supper, anointing, and other acts while allowing for immediate promptings by the Holy Spirit, as in 1 Corinthians 14. Routinized worship developed gradually by means of leaders internalizing important turns of phrase as well as writing prayers and publishing prayer books. Some streams of Mennonitism, like the Amish, have laid great stress on following the tradition that emerged. At the same time there arose renewal and missionary movements for whom Spirit-led improvisation was essential for true worship that was accessible to seekers. Beginning in the late 19th century, Mennonite churches arose in the Global South. For them the movement between form and freedom was essential to authentic worship. Singing is the central act of the congregation in all types of Mennonite worship. There is a lean sacramentalism in which the visible church is the body of Christ in history. In the practice of ordinances or sacraments, there has been great concern from the beginning that God’s acts of grace be received by the faith of the believer in order for such acts to be true to their intention. The Lord’s Supper emphasizes encountering both Christ and one’s sisters and brothers in a transformative way. Baptism is entering a covenant with Christ and the church. In addition, anointing, discipline, funerals, marriage and celibacy, parent and child dedication, and ordination are practiced.
Joanne M. Pierce
The liturgy of the medieval Christian West (ca. 600–1500) provided the structure around which life in Western Europe was structured for almost a thousand years. Rooted in Christian antiquity, in the early central liturgical structures of Initiation and Eucharist, the private and public observance of daily prayer, and the development of a liturgical year, the long medieval period that followed saw a broadening elaboration and expansion of the liturgical life of Christians in many different directions. By the year 1200, theologians had defined seven of the Church’s liturgical rites as primary sacraments: Baptism and Confirmation (from the ancient initiation sequence); Eucharist; Penance (with the emphasis on private confession of sins); Ordination (through various minor orders to the three major orders of deacon, presbyter, and bishop); Extreme Unction (anointing of the sick, now reserved for the gravely ill); and Matrimony (as the liturgical rites for the originally domestic rituals of marriage become more elaborate and set in the church rather than the home). A more fulsome cycle of the liturgical year developed around the ancient feasts of Easter, Pentecost, Christmas, and Epiphany, augmented by an elaborate calendar of commemorations and feasts of saints. Monastic influence resulted in a daily round of liturgical prayer, the Divine Office, in which various “hours” of prayer during the day and night were marked by liturgical “offices” of psalmody and scripture—some longer, others more brief. One of the major ways this liturgical growth and diversity can be studied is through an examination of the various liturgical books compiled and used during these medieval centuries, books used for the celebration of the Eucharist (the Mass), for the Divine Office, and for other liturgical rites. In addition to the volumes containing rubrics and prayers for liturgical celebrations, a separate cluster of books contained music to be used during these rites, in a style known as chant; Gregorian chant became the dominant form. The full impact of medieval liturgy as it was experienced in the Western Europe, however, extended far beyond the “bare bones” contained in these books, intertwined as it was with the development of art and architecture, law and commerce, and the political/socio-economic developments that would take Christian society and religion from the twilight of late antiquity to the dawn of early modernity.
Randall J. Stephens
Throughout American history, religion and entertainment have influenced each other and have intersected in fascinating ways. Native American rituals and games entertained and inspired. Early white settlers like the Puritans, though defining their faith over and against profane pastimes, engaged in sport, play, and elaborate storytelling. Still, stark contrasts appeared in the 17th and 18th centuries when it came to how Catholics and Protestants in the New World thought of the theater, music, and performance. The evangelical surge in the 18th century brought with it a lively and riveting preaching style—represented by celebrity ministers like George Whitfield and Gilbert Tennent—that faced the ire of their more traditional foes for using “vulgar” methods to reach the masses. In the 19th century, African Americans, in slavery and freedom, expressed their faith in ways that combined religious systems, dancing, and music traditions from Africa and the Americas. Evangelical churches and prominent figures used entertainment to proselytize, illustrate the drama of salvation and damnation, and to enliven services. Temperance, anti-slavery, and other reformist groups employed music, novels, and theater to spread their earnest message. Pentecostals and other evangelicals took up new forms in the 20th century. They eagerly made use of radio, film, and later, television. The well-known evangelist Billy Graham was a skillful pioneer of new media. In the 20th century, Hollywood films drew on Jewish and Catholic themes, as Jewish and Catholic writers, directors, and actors put their stamp on the silver screen. Late 20th and early 21st century combinations of religion and entertainment included Muslim rap music, Christian rock, Jewish folk music, and much more. A great deal of this innovation coincided with the rise of the performance-driven megachurch and the proliferation of religious organizations that catered to athletes and drew on sports imagery and symbols for the cause. In the long sweep of American history, the devout have found new, elaborate ways to draw on popular culture and to entertain as well as enlighten the faithful.
Conrad L. Donakowski
A variety of economic, ideological, aesthetic, and nationalist forces shape Christian worship in its varied manifestations today. Historical perspectives and areas of knowledge which are too often discussed in compartmentalized fashion are presented here as acting with and on each other and often serving each other’s purposes. Liturgical, musical, artistic, and architectural expressions are shown to be inextricably bound not only to theology, philosophy, and ecclesial hierarchy but also to political and socioeconomic structural change, technological innovation, and—not least—the culture and the human need for authentic spiritual experience. The Enlightenment “Age of Reason,” Romanticism, the nation-state, and the Industrial Revolution from the 17th through the 19th centuries affected religious practices that were the only mass medium that reached into every town, house, and heart. Connections are established with not only overtly religious events such as urban Evangelism, preservation of old architecture, the Oxford movement, and tradition versus innovation but also socialistic communal experiments and ethnic conflict among US immigrants.
Bryan D. Spinks
What exactly is meant by the term “Modern Christian Liturgy”? At one level it could mean any recent worship service in any church, for example, the Divine Liturgy of the Ethiopian-Eritrean Orthodox churches celebrated last week. Although a modern celebration, with adaptations made to the rite amongst the diaspora, the rite itself was formulated in the late medieval era and has much older roots in Egypt. Sometimes the term applies to the most recent official liturgical services of a particular main line denomination growing out of the Liturgical Movement, such as the post-Vatican II Roman Catholic rites compared to the so-called “Tridentine” rite represented by the missal of John XXIII, or the Church of England’s Common Worship 2000 rites compared to those of the 1662 Book of Common Prayer. Here, the term is reserved for those newer forms of service that have appeared officially or unofficially in contemporary Euro-Atlantic protestant, evangelical, and charismatic churches in the 20th century, frequently adopting the current fashions of popular music for worship songs, and incorporating modern technology.