THE STORY OF CHRISTIAN MUSIC

The Story of Christian Music - Chapter 44-47



The Story of Christian Music - Chapter 44-47

Music has been at the heart of Christian worship since the beginning, and this lavishly illustrated and wonderfully written volume fully surveys the many centuries of creative Christian musical experimentation. From its roots in Jewish and Hellenistic music, through the rich tapestry of medieval chant to the full flowering of Christian music in the centuries after the Reformation and the many musical expressions of a now-global Christianity, Wilson-Dickson conveys "a glimpse of the fecundity of imagination with which humanity has responded to the creator God.

Wilson-Dickson wrote in this book that during the Medieval period, the Catholic Church had enormous power and control over lots of people. With the importance of the church during the Medieval period it isn't very surprising that the music to survive this period is only sacred music. Gregorian Chant was the only type of music accepted in churches at the time of the early Medieval period. Other music such as instruments was not accepted because it was considered unsacred in nature. Lots of other music changes, but Gregorian Chant stays the same century after century.

Lutheran Music Revival

While Luther was around, a big movement called the Protestant Reformation movement started. The reformation movement was when people of the church such as Martin Luther were not happy with the church. So they formed their own church and became known as Protestants. From the beginning of that movement, various reformers also disagreed on the part of music that should be played in religious worship. Luther, who was an enthusiastic lover of music and accomplished amateur, favored all parts of music. He also kept some music from the Catholic service but had it modified so it would meet the standards of the German Reformation. Luther started pushing the congregation to participate in the Protestant services. During the Renaissance, came the reign of Elizabeth the First. She showed her religious leniency very clearly with choice of mostly Catholic musicians for her private chapel. Elizabeth enjoyed ritual and ran her own chapel the way she wanted. Her services were not only full of ritual, but they also contained polyphonic music and instruments. As one eyewitness stated: “...and that the service was sung not only with organs but with artificial music of cornets, sacbuts [early type of trombone] and on solemn festivals.” ...