Music in Church Worship

Early history of music in church from Greek, Hebrew, and Syrian influence in contemporary Christian music in the 21 century.

Early music in church was formed by Greek, Syrian, and Hebrew influences. Only a dozen examples of Greek music from the ancient world to exist, but from these, music historians note that the music was part of early Greek religious ceremonies. It was primarily Alm unison melody, devoid of any kind of harmony or contrasting counterpoint. This early music allowed for embellishment with instruments. History shows that Greek music was based on theories about the nature of music and certain accepted systems and patterns of musical compositions.

Syrian monasteries and churches were the scenes of the beginning of the musical elements of worship as well. Antiphonal psalmody and hymns were first present in Syria and then spread to Milan and further west. Antiphonal psalmody was also evident in the Jewish temples. Antiphonal singing means that the two choirs singing "back and forth" to each other, much like an echo, but not always the same music.

In the case of Jewish psalmody, the text was based on verses from the Hebrew "Book of roses," the biblical psalms. Psalms were sung every day in ancient Hebrew temples. Another method for their musical presentation was responsorial sing Levite leaders cried Psalms accompanied by different instruments, sing a line and then waiting for the congregation to sing the next. The song was sung as a solo from the altar was called the "verse" and the congregational choral response was known as the "reply".

Hymns followed, adapting tunes from the early chants. Catholicism developed Canticle, lyrical parts of the Bible, which was sung at certain times of worship. Canticle is a part of today's liturgy of the Roman Catholic Church. The first written chants were associated with Pope Gregory and therefore is remembered in history as "Gregorian Chants". 

As early as medieval times, was considered Mass. main worship service in the Catholic Church. It was organized into two types: the true Mass and the ordinary Mass. Historical proper Mass was seasonal, and the music depended on special feast to be celebrated. Its movements included the Introit, Collect, Epistle, gradual, Alleluia, Gospel, Offertory, Secret, Preface, Canon, Communion, and Post-Communion. Ordinary Mass was spent on benefits from week to week, unaffected by holy days or seasons. Ordinary Mass remained the same each service with five musical parts: Kýria Eleison, Gloria, Credo, Sanctus and Agnus Dei. 

Because the Gregorian Chants were regarded as sacred, they were used in the early Mass. fundamental fair always found in the lower part, bass line and was called Cantus firmus. Musicians and composers modified chants of changing rhythms, voice, harmony, counter melody, descant, and imitation, but the chants were always present. History records Machaut changing rhythms. Leonin added a second harmonic component. This technique was built by Dufay, who organized a mass for three and four parts all sing different tunes on each other, but the chord harmonies. Perotin added counter melody and descant. Ockegheim was a master of technique, imitation, writing mass events, focus on one voice, but allowed an echo of another voice in a lower or higher register. Ockegheim also added harmonies, mostly in thirds. Prez introduced counterpoint to the exhibition, where two different melodies played independently, often a few highlights from each other. 

As more and more composers added and changed the fundamental Gregorian melody, the music for Mass. become more complex. It was hard to select the text or understand the meaning of words. In some cases, the music itself was so difficult that singers pranced on performance. The organist then played music or improvised on the theme, and thus introduce liturgical organ music.

At the Council of Trent, met church leaders to tackle the difficult and varied music for them. The first official catechism was formulated. It was decided that the music for worship, shall, within reasonable limits with regard to its problems, so that church members could participate.

Palestrina Pope Marcellus asked to simplify church music. Palestrina solved the task with dignity and style, to simplify the presentation, but retains the beauty of the melody. He limited counterpoint. He also tried to enlarge the text so that words were the most important part of the music, and it worked out in his presentation, rather than mystify them, listening to its complexity.

During the 1600s and the 1700s, some of the world's greatest composers have contributed to the exhibition Bach composed a mass in the twenty-four keys! His most famous was "B-minor Mass" Monteverdi used dissonance and word painting to express the emotions of the words in the mass introduced A. Scarlatti cantata, a religious musical with five to eight movements, soloists, ensembles and choirs. Handel created oratorio, a sacred opera with a narrator. Handel's most famous religious work was the "Messiah". Schutz composed "The Seven Last Words", a work that centered on the theme of Christ's last days (or passions). Mozart wrote eighteen crowds. Mozart's masses were so long, however, that only parts of them can be used to schedule a church service. Haydn wrote fourteen Masses, all positive and happy, with a focus on faith in God. His most famous religious contribution was his oratorio "The Creation".

In the 18th century, religious music has expanded beyond all who had ever been set for it. Composers "borrowed" common melodies and even secular / popular songs, rewriting of religious words to them. In this period, Birte psalms, hymns and choirs for both Catholic and Protestant churches. It was often the case that the same melody was 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 you" share a melody line.

On 19 and 20 century introduced free style with what history calls the "Liturgical Movement." Religious music underwent a transformation to suit a changing and evolving congregation. Liturgies were simplified and often translated into national languages. The liturgical movement sought to preserve the history of traditional music in church, but to design a style that will meet the need for a more modern parishioner. Music was not just naive, but is integrated with pastors and composers setting religious texts to folk melodies to encourage congregations to sing. Examples of famous hymns set to popular songs is "Amazing Grace" and "There is a fountain."

In the last part of the 20th century, a new musical idea again turned to music in church - contemporary Christian music. From folk / rock in the '70s with his guitar and drums for the Christian rap groups of the 21 century, Christian music continues to evolve with artists such as Carmen, and DC Talk who want to preserve the message of the church, while meeting the needs of an ever-changing world.