In Matthew 26:30 and Mark 14:26 it is stated that Jesus sang a hymn with his disciples immediately before his betrayal. In Ephesians 5:19 the apostle Paul exhorted the church at Ephesus to speak to each other "in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord". In Colossians 3:16 he also encouraged the church at Colossae to teach and admonish each other with "psalms and hymns and spiritual songs". [top]
Aside from hymns taken from the Bible itself, the earliest hymn still in use today is probably O Gladsome Light (Greek Φως 'Ιλαρον, Phos Hilaron). In the fourth century, Basil the Great referred to it as already being a rather old hymn.
Some of the popularity of Arianism in the fourth century can be attributed to the catchy songs that the priest Arius composed in its support. The popularity of the songs helped increase the popularity of his teachings. Ephrem the Syrian composed a number of hymns later in the fourth century that supported what eventually came to be recognised as more orthodox doctrines. Hymns are formal expressions of praise or declarations of God's truth. Troparia and Kontakia are two early forms of hymns that became incorporated into the Church's worship.
At the conclusion of the Fifth Ecumenical Council, Emperor Justinian I is reputed to have composed a hymn summarizing the council's conclusion, Only begotten Son. That hymn was since incorporated into the Divine Liturgy of John Chrysostom and is still widely sung today.
For the most part, only the text of these hymns are known, not the music. The earliest known hymn with music notation is the so-called Oxyrhynchus hymn, named after the site of the discovery and dated to the 3rd century. It is one of the last known pieces written in an ancient Greek letter notation. It is difficult to make statements about the musical qualities of the early Christian music because of the dearth of evidence, and it is not clear what influence this sort of hymn had on later Christian music.
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Byzantine music is the music of the Byzantine Empire and by extension the music of its culture(s) as they continued in the Orthodox Christian parts of the population after the fall of the empire to Western plainchantSeveral traditions of plainchant, a form of monophonic, unaccompanied singing, developed in the Christian West: Celtic chant in Ireland, Mozarabic chant in Spain, Gallican chant in France, Ambrosian chant in Milan, Beneventan chant in Benevento, and Old Roman chant in Rome. Around the 8th to 10th centuries, Gregorian chant arose. It is believed to derive from a Carolingian synthesis of 8th-century Roman chant and local Gallican chant traditions, which quickly spread across Europe under the auspices of Charlemagne and later Holy Roman Emperors. By the 12th century, Gregorian chant had effectively supplanted all of the other traditions of Western plainchant, except for Ambrosian chant of Milan and Mozarabic chant in a handful of Spanish chapels.
The name "Gregorian" probably originally referred to Pope Gregory II, but the chant eventually became associated with his predecessor Gregory the Great, whose great stature gave Gregorian chant a reputation for antiquity and spiritual authority. So strong is the myth of Gregory's authorship of the chant repertory that it is popularly believed even today. Gregorian chant was classified into eight modes, influenced by the oktoechos of Byzantine chant. The texts that are chanted are mostly from the Bible, and mostly in Latin (there are some Greek texts such as Kyrie eleison and Hagios Theos). Gregorian chant has gone through periods of decline and revival, most notably, the revival by the monks of Solesmes, who produced the current official edition, the Liber usualis. Most editions of Gregorian chant available today can be traced to the work of the Solesmes monks. Since Vatican II, the use of liturgical Latin has declined, and with it, Gregorian chant. However, the popularity of the recordings of the Monks of Santo Domingo de Silos in the 1990's suggests that there is an audience for chant.
Gregorian Chant is monophonic , having one melodic line without an accompaniment.
Toward the latter part of the Middle Ages, music consisted of two or more melodic lines that were heard simultaneously, called polyphony . This appeared around the 1200s. The most notable of the Medieval Era were
- Guillaume Dufay
- Phillipe de Vitry
- Guillaume de Machaut
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Historical Themes
The spread of Christianity The Christian religion began as an underground sect of messianic Judaism in the first century C.E. Its practitioners were first persecuted, then tolerated; finally Christianity was accepted as the official religion of the Roman Empire. After the fall of the Western Empire, it emerged as the central unifying force in medieval Europe.
The development of a European cultureAfter the fall of the Roman Empire in the fifth century, the former Roman lands were ruled by various barbarian lords. These lands were eventually united by the Frankish kings, culminating in the crowning of Charlemagne (742-814) as Holy Roman Emperor.
The influence of Islamic culture As the followers of the prophet Mohammed (570?-632) expanded their territory through the Middle East and the Mediterranean, they preserved and built on the knowledge of the ancient Greeks and Romans. Through conflict (the Crusades) and coexistence (the multicultural Iberian Peninsula), Europe gained much from its contacts with this rich culture. Musical Context
The Music of the Church
- Music was an integral part of Christian worship. The daily liturgy provided innumerable texts, all set to music in the style we call Gregorian chant.
- The church served as an important patron of the arts, specifically of music
- Throughout the period, the majority of composers were associated with and supported by the church.
The Beginning of Musical Notation
- As in many non-Western cultures, music in early medieval Europe did not have a system of notation. It was not until perhaps the ninth century that a basic system of notation was developed.
- Notating music was a difficult and time-consuming process. It was only in the cathedrals and monasteries that such work could be done on a regular basis.
- Therefore, nearly all the music preserved (until the twelfth century) was written for the church.
- The advent of notation also produced a markedly stable body of music, one of the features of Western musical culture.
The Birth of Polyphony
- Descriptions of polyphonic singing date back to the ninth century, but the practice actually began earlier in improvised performances.
- Polyphony is a distinctive feature of Western music. Its development became the primary focus for composers from the thirteenth century on.
- Complex polyphony demanded specialized training for composers.
- The composition of plainchant was primarily an activity of the monastery and convent, but by the fourteenth century, composers were more often members of the university-trained elite of the church.
- This change explains, in part, the lack of female composers of polyphony.
The Rise of Courtly Culture
- The nobility of southern France created an elaborate society centered on the court, a practice that spread throughout the whole of Europe.
- Music was an important activity of these courts, and the aristocracy took part in the performance and composition of secular works. Surviving examples are found in music of the troubadours and trouvères, beginning in the twelfth century.
- By the fourteenth century, the polyphonic style took hold in secular music.
- Secular polyphony was produced by highly trained specialists in the art of music rather than by the aristocracy.
Musical Style Monophonic Style
- A simple monophonic texture might be enriched by the use of drones and (in secular music) percussion.
- Rhythm was often not notated. We assume that it was tied to text in vocal music and to dance in instrumental music.
- Melodies are often long and flowing. Texted music is often melismatic.
- Form comes from text in vocal music. The structure of instrumental music is based on repeating sections.
Polyphonic Style
- Voices and instruments were often mixed.
- Nonimitative counterpoint, with voices moving at different rhythmic speeds, is the primary texture.
- Rhythms are often restless and active.
- Melodies are long and asymmetrical.
- Harmony is based on open fifths and octaves.
- Dissonances are often sharp and unexpected.
- Pieces are often built on a cantus firmus, and the structure is formed from repetitions of that melody.
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Baroque means highly decorated. Baroque music is splendid, dressed up, and full of confidence. It is also very complicated. It has overlapping melodies, trills, and runs that decorate the music like flowers on a birthday cake. Opera appeared during this period. Opera is a singing play, like a musical. Opera singers had to learn how to sing very loud because there was no way back then to amplify their voice. One famous opera singer defined opera as a controlled scream.
There was a greater interest in instrumental music. Two popular keyboard instruments of the day were the organ and harpsichord. The violin was the queen of instruments during this time. During the Renaissance instrumental music was written for dances. Now instrumental music was written for its own sake.
This was also the beginning of the orchestra. Families of instruments began to appear during this time. Composers would assign musical parts to certain instruments. Composers would also use words to tell the musicians how to play the music. Many of the musical forms that were used during this time are still used today.
The composer's job was to make the music emotional. Feelings like joy and pain were represented by musical themes called motives.
Baroque music is polyphonic (many voices of equal importance), giving music of this period a thick texture. Music of this time is very emotional and expressive, too.
Counterpoint was used a lot during this period and combines two or more lines of equal importance in a composition. Counterpoint and polyphony are similar terms, but counterpoint is usually used to describe music of the Baroque period. Listen to Invention No. 8 by Bach to hear two voices of equal importance.
The main elements of Baroque music are a strong rhythm, terraced dynamics (passages of loud music followed by soft music), and improvisation. Improvisation means to make up the music as you go along.
Art and music were supported by the nobility--kings and queens and dukes-- and the Catholic Church. People who supported musicians were called patrons. Notable Composers
- Johann Sebastian Bach
composed a variety of music, much of which was for the church of Prussia - Archangelo Corelli
- George Friedrich Handel
A famous song from the oratorio Judas Maccabeus, is "Sing Unto God." Another famous work that is recognized world wide is the "Hallelujah Chorus" (from the Messiah) which is also written in oratorio form.
- Claudio Monteverdi
was an Italian composer of opera, sacred, and secular music who was ahead of his time in musical technique - Henry Purcell
became a choirboy at age six he in the Chapel Royal. He is most known for his lively trumpet voluntaries that are often still used today in weddings.
- Jean Philippe Rameau
- Antonio Vivaldi
is believed to have composed over 750 works of music
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The Classical period in Western music occurred in the second half of the 18th century. Although the term classical music is used as a blanket term meaning all kinds of music in a certain tradition, it can also occasionally mean this particular era within that tradition. Commonly given beginning and ending dates for the period are 1750 and 1825, although there was considerable overlap at both ends with preceding and following styles, as was true for all musical eras.
The Classical period falls between the Baroque and the Romantic periods. Amongst its composers were Joseph Haydn, Muzio Clementi, Johann Ladislaus Dussek and Carl Philipp Emanuel Bach, though probably the best known composers from this period are Wolfgang Amadeus Mozart and Ludwig van Beethoven.
Notable Composers
- The 4th movement of Ludwig Van Beethoven
Beethoven's Symphony 9 is a Christian Hymn
In 1801 Beethoven wrote: "No friend have I. I must live by myself alone; but I know well that God is nearer to me than to others in my art, so I walk fearlessly with Him. I have always known Him and understood Him. I have no timidity about my music; it can have no ill fate.."
| German and English text of Movement 4 of Beethoven's Symphony 9 |
- German original
- O Freunde, nicht diese Töne!
- Sondern lasst uns angenehmere
- anstimmen und freudenvollere.
- Freude! Freude!
- Freude, schöner Götterfunken
- Tochter aus Elysium,
- Wir betreten feuertrunken,
- Himmlische, dein Heiligtum!
- Deine Zauber binden wieder
- Was die Mode streng geteilt;
- Alle Menschen werden Brüder,
- (Schillers Original:
- Was der Mode Schwert geteilt;
- Bettler werden Fürstenbrüder,)
- Wo dein sanfter Flügel weilt.
- Wem der große Wurf gelungen,
- Eines Freundes Freund zu sein;
- Wer ein holdes Weib errungen,
- Mische seinen Jubel ein!
- Ja, wer auch nur eine Seele
- Sein nennt auf dem Erdenrund!
- Und wer's nie gekonnt, der stehle
- Weinend sich aus diesem Bund!
- Freude trinken alle Wesen
- An den Brüsten der Natur;
- Alle Guten, alle Bösen
- Folgen ihrer Rosenspur.
- Küsse gab sie uns und Reben,
- Einen Freund, geprüft im Tod;
- Wollust ward dem Wurm gegeben,
- Und der Cherub steht vor Gott.
- Froh, wie seine Sonnen fliegen
- Durch des Himmels prächt'gen Plan,
- Laufet, Brüder, eure Bahn,
- Freudig, wie ein Held zum Siegen.
- Seid umschlungen, Millionen!
- Diesen Kuss der ganzen Welt!
- Brüder, über'm Sternenzelt
- Muss ein lieber Vater wohnen.
- Ihr stürzt nieder, Millionen?
- Ahnest du den Schöpfer, Welt?
- Such' ihn über'm Sternenzelt!
- Über Sternen muss er wohnen.
- Finale repeats the words:
- Seid umschlungen, Millionen!
- Diesen Kuss der ganzen Welt!
- Brüder, über'm Sternenzelt
- Muss ein lieber Vater wohnen.
- Seid umschlungen,
- Diesen Kuss der ganzen Welt!
- Freude, schöner Götterfunken
- Tochter aus Elysium,
- Freude, schöner Götterfunken
| - English translation
- Oh friends, not these tones!
- Rather let us sing more
- cheerful and more joyful ones.
- Joy! Joy!
- Joy, thou glorious spark of heaven,
- Daughter of Elysium,
- We approach fire-drunk,
- Heavenly One, your shrine.
- Your magic reunites
- What custom sternly divides;
- All people become brothers
- (Schiller's original:
- What custom's sword separates;
- Beggars become princes' brothers)
- Where your gentle wing alights.
- Whoever succeeds in the great attempt
- To be a friend of a friend,
- Whoever has won a lovely woman,
- Let him add his jubilation!
- Yes, whoever calls even one soul
- His own on the earth's globe!
- And who never has, let him steal,
- Weeping, away from this group.
- All creatures drink joy
- At the breasts of nature;
- All the good, all the evil
- Follow her roses' trail.
- Kisses gave she us, and wine,
- A friend, proven unto death;
- Pleasure was to the worm granted,
- And the cherub stands before God.
- Glad, as his suns fly
- Through the Heavens' glorious plan,
- Run, brothers, your race,
- Joyful, as a hero to victory.
- Be embraced, you millions!
- This kiss for the whole world!
- Brothers, beyond the star-canopy
- Must a loving Father dwell.
- Do you bow down, you millions?
- Do you sense the Creator, world?
- Seek Him beyond the star-canopy!
- Beyond the stars must He dwell.
- Finale repeats the words:
- Be embraced, ye millions!
- This kiss for the whole world!
- Brothers, beyond the star-canopy
- Must a loving Father dwell.
- Be embraced,
- This kiss for the whole world!
- Joy, beautiful spark of the gods,
- Daughter of Elysium,
- Joy, beautiful spark of the gods
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| |
Elysium in Christianity (pertaining to text above)
The extracanonical Apocalypse of Peter explicitly links Elysium and Heaven:
Then will I give unto my chosen and righteous the washing and the salvation for which they have sought me, in the field of Acherusa, which is called Aneslasleja or Elysium. |
JOYFUL, JOYFUL, WE ADORE THEE |
| The following is the text adapted as a Christian hymn by Henry van Dyke. Van Dyke was an American author, educator, and clergyman. He graduated from Princeton University, 1873, and from Princeton Theological Seminary, 1874 and served as a professor of English literature at Princeton between 1899 and 1923.
see also Henry van Dyke Family Papers © 2002 Princeton University Library |
Verse 1
Joyful, joyful, we adore Thee, God of glory, Lord of love;
Hearts unfold like flowers before Thee,
Opening to their sun above.
Melt the clouds of sin and sadness,
Drive the dark of doubt away;
Giver of immortal gladness, Fill us with the light of day. Verse 2
All Thy works with joy surround Thee,
Earth and heaven reflect Thy rays,
Stars and angels sing around Thee, Center of unbroken praise:
Field and forest, vale and mountain,
Blooming meadow, flashing sea,
Chanting bird and flowing fountain, Call us to rejoice in Thee.
Verse 3
Thou art giving and forgiving, ever blessing, ever blest,
Well-spring of the joy of living,
Ocean-depth of happy rest!
Thou our Father, Christ our Brother,
All who live in love are Thine:
Teach us how to love each other, Lift us to the Joy Divine.
Verse 4
Mortals join the mighty chorus, which the morning stars began;
Father-love is reigning o'er us,
Brother-love binds man to man.
Ever singing marching onward, Victors in the midst of strife;
Joyful music lifts us sunward In the triumph song of life. |
- Sieben Worte Jesu Christi am Kreuz (SWV 478, 1645) by Heinrich Schütz
- The Seven Last Words of Christ (1787) by Joseph Haydn
- The Seven Last Words of Our Savior, an oratorio (1838) by Saverio Mercadante
- The Seven Last Words of Christ (on the Cross) (1859), by César Franck
- Les sept paroles du Christ (1867) by Théodore Dubois
- Sieben Worte for cello, bayan, and strings (1982) by Sofia Gubaidulina
- Seven Last Words from the Cross cantata for choir and strings, (1993) by James MacMillan
- Die sieben letzten Worte Jesu am Kreuz, for Organ (1996), by Ruth Zechlin
- Wolfgang Amadeus Mozart
Mozart's Requiem Mass would be his last composition [top]
The increasing role of science in defining a worldview The skepticism resulting from by a clearer understanding of the world and humanity's place in it changed the way people thought of themselves and society. Charles Darwin's (1809-1882) The Origin of the Species is one example of the new attitude.
The rise of European nationalism Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control. The years around 1850 saw many revolutions and attempts at revolutions. At the same time, Germany — never a fully unified country —struggled to create a separate national identity.
A growing autonomy for the arts More and more, art was removed from functional roles and came to be appreciated for its aesthetic worth. The art of the past became increasingly revered, and our modern notions of the "artist" and of the "fine arts" were born.
Musical Context Increased Interest in Nature and the SupernaturalRomantic artists saw nature in a less idealized way than the artists of the Classical period had. The natural world was considered less a model of perfection and more a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories. Schubert's Erlking and Berlioz' Symphonie fantastique are two good examples.
The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas.
Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers such as Bedrich Smetana made reference to folk music and national images (as in The Moldau), while operatic composers such as Giuseppe Verdi set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. Composers also wrote works based on stories of exotic lands and people.
Changing Status of Musicians A composer was no longer dependent for income on the steady employment by nobility but relied instead on the support of the public and the patronage of individuals. Music was seen less as an occupation and more as a calling. Specialized training institutions (conservatories) replaced the apprentice system of the church and the court. Women found more opportunities for musical expression, especially as performers, but social and cultural barriers still limited their participation as composers.
Musical Style The nineteenth century saw the development of many different musical styles, so it is difficult to describe the Romantic style. But as in all the periods you are studying, certain elements stand out:
Dynamic range is wider, and there is a larger range of sound. There is a greater variety of instruments, including improved or newly-invented wind instruments. Melodies are longer, more dramatic and emotional. Tempos are more extreme, and tempo rubato is often called for. Harmonies are fuller, often more dissonant. Formal structures are expanded. These are often determined by the programmatic content of the piece. Notable Composers
- Johannes Brahms
Ein deutsches Requiem, Op. 45 (English: A German Requiem) is a large-scale work for chorus, orchestra, and soloists, composed by Johannes Brahms between 1865 and 1868. Ein deutsches Requiem is sacred but non-liturgical. It is comprised of seven movements, which together last 70-75 minutes, making Ein deutsches Requiem Brahms's longest composition.
| In the following the German is the text selected by Brahms from the Lutheran bible. The English is the King James version of the same verses. | | Deutsch (German) | English | I
Selig sind, die da Leid tragen, denn sie sollen getröstet werden.
(Math. 5, 4.)
Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. (Ps. 126, 5.6.) |
I
Blessed are they that mourn; for they shall be comforted.
(Matthew 5:4) They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.
(Psalm 126:5,6) | II
Denn alles Fleisch ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.
(Petri 1, 24.) So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen.
(Jacobi 5, 7.) Aber des Herrn Wort bleibet in Ewigkeit.
(Petri 1, 25.) Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.
(Jessias 35, 10.) | II
For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.
(1 Peter 1:24) Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteh for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.
(James 5:7)
But the word of the Lord endureth for ever.
(1 Peter 1:25)
And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.
(Isaiah 35:10) | III
Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen vird. Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.
(Ps.39, 5.6.7.8.) Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.
(Weish.Sal.3, 1.) | III
Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am.
Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee.. Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them. And now, Lord, what wait I for? my hope is in thee.
(Psalm 39:4-7)
But the souls of the righteous are in the hand of God, and there shall no torment touch them.
(Wisdom of Solomon 3:1, non-canonical) | IV
Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.
(Ps.84, 2.3.5.) | IV
How amiable are they tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house: they will be still praising thee.
(Psalm 84:1,2,4) | V
Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll neimand von euch nehmen.
(Ev. Joh. 16, 22.) Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.
(Sirach 51, 35.) Ich will euch trösten, wie Einen seine Mutter tröstet.
(Jes. 66, 13.) | V
And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.
(John 16:22) Ye see how for a little while I labor and toil, yet have I found much rest.
(Ecclesiasticus 51:27, non-canonical) As one whom his mother comforteth, so will I comfort you..
(Isaiah 66:13) | VI
Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.
(Ebr. 13, 14.) Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten wervandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod is verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?
(1. Korinther 15, 51-55.) Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben, sie das Wesen und sind geschaffen.
(Off. Joh. 4, 11.) | VI
For here have we no continuing city, but we seek one to come.
(Hebrews 13:14) Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. ..then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is they sting? O grave, where is they victory?
(1 Corinthians 15:51,52,54,55) Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.
(Revelation 4:11) | VII
Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.
(Off. Joh. 14, 13.) | VII
..Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.
(Revelation 14:13) | Felix Bartholdy Mendelssohn
Inspired by the music of J.S. Bach, Mendelssohn arranged for a performance of Bach's Passion According to St. Matthew, which had not been performed in the eighty years since Bach's death. Franz Schubert
One well know known work of Franz Schubert is Ave Maria. [top]
With the coming of the 20th century another evolution in the musical world emerged. 20th century classical music was extremely diverse, ranging from the late Romantic style of Sergei Rachmaninoff to the complete serialism of Pierre Boulez, and from the simple triadic harmonies of minimalist composers such as Philip Glass to the musique concrète of Pierre Schaeffer and the microtonal music adopted by Harry Partch, Alois Haba and others. Among the most prominent composers of the 20th century were Gustav Mahler, Richard Strauss, Giacomo Puccini, Claude Debussy, Arnold Schoenberg, Sergei Rachmaninoff, Igor Stravinsky, Dmitri Shostakovich, Benjamin Britten and Aaron Copland. Classical music also had an intense cross fertilization with Jazz, with several composers being able to work in both genres, including George Gershwin. An important feature of 20th century concert music is the existence of the splitting of the audience into traditional and avant-garde, with many figures prominent in one world considered minor or unacceptable in the other. Composers such as Anton von Webern, Elliot Carter, Edgar Varese, Milton Babbitt, Luciano Berio have devoted followings within the avant-garde, but are often attacked outside of it. As time has passed, however, it is increasingly accepted, though by no means universally so, that the boundaries are more porous than the many polemics would have you believe: many of the techniques pioneered by the above composers show up in popular music by The Beatles, Pink Floyd, Mike Oldfield, Nirvana and in film scores that draw mass audiences. It should be kept in mind that this article presents an overview of 20th century classical music and many of the composers listed under the following trends and movements may not identify exclusively as such and may be considered as participating in different movements. For instance, Igor Stravinsky may be considered a romantic, modernist, neoclassicist, and a serialist. The 20th Century was also an age where recording and broadcast changed the economics and social relationships inherent in music. An individual in the 19th century made most music themselves, or attended performances. An individual in the industrialized world had access to radio, television, phonograph and later digital music such as the CD.
Notable Composers Music in Early America: The hymns that we sing today are several hundred years old. Previous to the use of hymns in public worship, congregational singing consisted almost exclusively of literal renditions of the Psalms put to English rhyme and meter. The most popular psalmbook in the Church of England was by Sternhold and Hopkins, published in 1562. Another favorite was the Bay Psalm Book, first issued in Cambridge, Massachusetts, in 1640 (Robin A. Leaver, "The Hymn Explosion" Christian History, Issue 31, Vol. X, No. 3). Many American ministers opposed the use of hymns in worship services, choosing rather to sing the inspired words of Scripture. When "hymns of human composure" were used, it was primarily during private devotions. It is interesting to note that in some parts of the world the controversy over hymns versus Psalms is still a line in the sand between liberals and conservatives. Liberals sing hymns; conservatives sing Psalms.
In 1696, in an attempt to improve the poetic quality of the psalmody of the Church of England, Nathan Tate and Nicholas Brady published "A New Version of the Psalms of David, Fitted to the Tunes Used in Churches." From Tate and Brady we are still singing "While Shepherds Watched Their Flocks by Night." As early as 1712, Cotton Mather, a New England minister, began publishing small groups of hymns by his colleague Isaac Watts. In 1715 a number of selected lines from Watt's Hymns and Spiritual Songs appeared in Boston under the title Honey ~ut of the Rock. In 1735 John and Charles Wesley arrived in Georgia as missionaries. During their short term of service Charles wrote at least one hymn and John published A Collection of Psalms and Hymns which were selections from Isaac Watts and other English authors .
The key event which promoted the use of hymns in public worship was George Whitefield's first preaching tour in the American colonies in 1738. Whitefield promoted Watts' hymns because they were more suited to his fervent style of preaching than were the traditional metrical Psalms. In 1742 Jonathan Edwards is reported to have said that his Northampton congregation had taken up Watts' hymns but they still encouraged the use of Psalms. But Whitefield also used the Wesleys' Hymns and Sacred Poems in his revival efforts and as a result it gained wide popularity in America. Therefore, the acceptance of hymns into public worship was largely a result of the Great Awakening.
Music Among The Brethren: While many American churches hesitated over the use of hymns, early Brethren had no qualms about their use. Because Brethren had come out of the Lutheran and Reformed church traditions they were quite familiar with hymns sung to chorale as well as Psalm tunes. The early Brethren issued a "Spiritual Songbook" in Germany in 1720. Alexander Mack wrote many hymns and poems, some of which were printed in the "Davidic Psaltery" in 1744. The hymn "Count Well the Cost" was traditionally sung at baptisms. The Brethren in colonial America were reported to have engaged in singing that was both lively and loud.
Congregational singing was always done a cappella. It wasn't until the first half of the nineteenth century that individual Brethren families began to own musical instruments, but queries concerning this undesirable trend, were often brought to the Annual Meeting. The main objection against the use of instruments, both private and public, was that there was no New Testament basis for their use and that much evil could be done with them. Eventually the issue became a line in the sand between the conservatives and the moderates in the church. The former prohibited their ownership and use in worship while the latter allowed ownership but prohibited their corporate use. By 1850 the need for discernment concerning the style and content of Christian hymns was being felt among the Brethren. Peter Nead warned the Brethren about the trend of irreligious songs and the spirit in which these songs were being sung (Brethren Encyclopedia, Vol. II, p. 899). In the twentieth century many Brethren have adopted choirs, pianos, organs, and other musical instruments into the worship services. Not only do we sing the traditional hymns, but we have adopted hymns and choruses from more recent authors and from other cultures.
STYLES OF CHRISTIAN MUSIC
Editorial
November/December, 1998
Volume 33, Number 6
www.brfwitness.org [top]
The tradition of Christian hymns in the English language is closely tied to Protestantism. Protestant hymns can range from the Reformation organ pieces of J. S. Bach to the American folk hymns found in The Sacred Harp. Martin Luther composed a number of hymns in the 16th century, reportedly borrowing some of their melodies from popular tavern drinking songs of that period. Another famous hymn composer is Charles Wesley, brother of John Wesley. Dwight L. Armstrong, younger brother of American evangelist Herbert W. Armstrong, was a prolific composer whose scripturally based hymns appeared in the Worldwide Church of God's hymnals, as well as in the hymnals of churches whose origins are in the Worldwide Church of God. Herbert W. Armstrong believed that the words of many traditional Christian hymns were unscriptural, and thus commissioned his brother to write hymns based on the psalms and other scriptures.
Some hymns, particularly Christmas carols, are widely embraced by various denominations while many hymns are restricted to certain religious traditions. In some cases this is due to doctrinal differences reflected in the words of the song but in many cases it is the result of tradition and the use of denominationally produced or approved hymnals.
The use of hymns was a factor in several historic schisms among Protestant denominations with more traditional members insisting on the use of only the psalms in the service.
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The most recent common form of Christian music is Contemporary Christian music, or CCM. This draws most of its influence from secular music of the late 20th century and is the most popular kind of Christian music in the Western world. Although there are many Christian music acts in the mainstream music industry, the term CCM usually refers specifically to artists within the Christian music industry that are played on Christian radio. If you look hard enough, there is a "Christian music" counterpart to nearly every popular musical style. Besides Contemporary Christian music, Black Gospel, Southern Gospel, and Christian country music are also popular in the US.
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(Partial listing) About.. [top]
Band sites.. The following is a non-comprehensive list
Brazilian Christian music While Brazilian Protestantism came to be dominated by CCM-influenced pop music, there was a period from the 1970s to the early 1990s when there was a creative movement adapting various Brazilian styles, mainly MPB, to religious meanings and even congregational singing. While very little is left of this movement, known simply as 'Música Evangélica' to contrast with the pop, commercialised, CCM-like 'Música Gospel', there are still some groups and persons continuing the creative tradition, such as Guilherme Kerr. Furthermore, there are a few individuals creating Brazilian Christian music out of any specific movement or school, the most famous one being Elomar Figueira de Mello, known for his erudite, regionalist music escaping current nihilism common in Contemporary music. Several Online Stations Suggested reading - Boyer, Horace Clarence, How Sweet the Sound: The Golden Age of Gospel Elliott and Clark, 1995, ISBN 0-252-06877-7.
- Broughton, Viv, Too Close To Heaven - The Illustrated History Of Gospel Music, Midnight Books, 1996, ISBN 1-900516-00-4
- Albert E Brumley & Sons, The Best of Albert E Brumley, Gospel Songs, 1966, ISBN na-paperback Amazing Grace
- Darden, Robert, People Get Ready: A New History of Black Gospel Music Continuum International Publishing Group, 2005, ISBN 0-8264-1752-3.
- Heilbut, Tony, The Gospel Sound: Good News and Bad Times Limelight Editions, 1997, ISBN 0-87910-034-6.
- Zolten, Jerry, Great God A' Mighty!:The Dixie Hummingbirds - Celebrating The Rise Of Soul Gospel Music, Oxford University Press, 2003, ISBN 0-19-515272-7.
- Church Music in Catholic Encyclopedia
- Enciclopedia Cecilia (in Spanish) Includes a Catholic Encyclopedia about music, wiki-style
- Palackal, Joseph, Syriac Chant Traditions in South India
- A History of Western Music (Hardcover) by Donald J. Grout, Claude V. Palisca, J. Peter Burkholder
- W. W. Norton & Company: A History of Western Music, Seventh Edition, Listening Lab
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