Music, Instruments, Worship and Singing – How about this history? Part 8

Here is some food for thought:
“If worship transforms us into kinder, more loving people, then why do we fight over worship?” Paul Basden

In the 18th century as population, travel, printing, mass manufacturing and standardized education increased, church music style and preferences stretched further than it ever had before. Christian song writers and composers "borrowed" familiar melodies from the secular world and popular songs were rewritten using religious words.

During this time hymns, anthems, and choruses were composed for congregational participation in both Catholic and Protestant churches. Throughout this era the same melody was often used as a hymn and a cantata or mass. For example, Bach's Cantata #80 is based on the hymn "A Mighty Fortress is our God." Beethoven's Ninth Symphony and "Joyful, Joyful, We Adore Thee" share a melody line.

‘Spirituals’ is the label that was given the songs, anthems and chorus sung by the slaves, in the southern states, during this period. The spirituals brought comfort, community, hope and a connection to God. Much of what has happened in the music industry over the last 200 years, including in the church world, has been a mixing of popular, familiar and cultural music. These music styles and preferences have been adopted by different groups of believers and used as their expression worship of God.

The use of ‘borrowed’ material from the world and visa-versa is not new. Musicians have been ‘borrowing’ melodies, rhythms and styles in every setting for generations. The instruments, melodies, styles and environments may have changed but the controversy of what constitutes true worship music has always been there.

Stay tuned for Part 9.
Matt