Worship and music have been intimately connected since biblical times. Yet music in worship has become a point of contention—a great chasm separating the young and the not-so-young, the conservative and the liberal, and, quite possibly, the members of the church you attend. Is there a solution to this ongoing battle? Are there really certain styles of music that are good and others that are bad? How are we to honor God with our diverse musical tastes and talents?

Lilianne Doukhan takes on this sensitive issue with a remarkable combination of finesse and refreshing candor. Building upon the foundation of what music is, and what it is not, she explores the experience and meaning of music, its history down through the centuries, the current challenges of music ministry, and the genuine role of music as a component of worship.

Contents

Prologue: In Defense of Music

Part One: The Musical Experience

1: The Nature of Music

The Principle of Balance

Balance Between Melody, Harmony, and Rhythm
Balance Between Variety and Repetition

The Elements of Music

Melody
Harmony
Rhythm

Beat
Syncopation

The Effects of Rhythm

2: The Experience of Music

Music as a Universal Experience
Music as an Acquired Experience

3: The Meaning of Music

Sacred Music

The Purpose and Role of Sacred Music

Sacred Music Conveys a Theology
Sacred Music Is a Vehicle for Expression and Communication
Sacred Music Is Defined Within a Cultural Setting
Sacred Music Is God’s Delight

Aesthetics Versus Ethics: Does Music Have Good and Evil in It?

The Greek Theory of Ethos
The Biblical Perspective

Appropriate Versus Inappropriate
How Does Music Convey Meaning?
The Real Power of Music

Intensification
Beautification
Stimulation and Empowerment
Associations
The Social Factor of Music

A Responsible Use of Music
Concluding Remarks

Part Two: Music In the Bible and the Writings of Ellen G. White: Principles and Lessons

4: A Philosophy of Music

Beauty
Mental, Spiritual, and Social Growth

5: Music for God

Music as a Ministry
Music, a God-centered Activity
Music Pleasing to God
Joy and Reverence
Skillfulness and Excellence
The Psalms as a Model for Worship Music
Diversity
The Old and the New

6: Music in the Temple

Organization of Music in the Temple
Functional and Participatory Music
Instruments in the Temple

Harps and Lyres
Cymbals
Trumpets
Flutes and Drums

Concluding Remarks

7: Music by the People and Among the People: A Collective Experience

Music as a Means for Edification, Encouragement, Thanksgiving, and
Relationship Building
Music as an Agent for Tolerance and Respect
Music as a Factor of Spirit and Truth: Balance Between Ecstasy and
Discipline

Formal Worship
Emotional Worship

Truth and Music

8: Music as a Personal Experience

Music as a Factor of Growth and Transformation

9: A Theology of Music: Concluding Remarks

Part Three: The Church’s Wrestling With Music

10: Singing in the Early Church

The New Testament Church
The Church Fathers and Music
The Council of Laodicea

11: Singing in the Time of the Reformation: Martin Luther

Luther and Congregational Singing

Luther’s Musical Background
The Role of Singing in the Church
The Role of Singing in Society

The Practice of Contrafacta

The Context of Contrafacta
A Definition of Contrafacta
The Texts of Luther’s Contrafacta Chorale
The Melodies of Luther’s Contrafacta Chorales
Rhythm in Luther’s Chorales
The Derhythmization of the Lutheran Chorale

Sacred Versus Secular in Luther’s Time
Luther’s Relevancy for Today
Luther and Art Music

12: Calvin and Music
13: The Council of Trent
14: Heirs of the Reformation

Part Four: The Contemporary Challenge

15: The Origins of the Popular Stream
16: Dissipating the Misunderstandings
17: The Strengths of Contemporary Worship Music (CWM)
18: The Challenges of CWM