Why We Sing Music Word And Liturgy In Early Christianity

Open Access for this publication was made possible by a generous donation from Segelbergska stiftelsen för liturgivetenskaplig forskning (The Segelbergska Foundation for Research in Liturgical Studies). In a seminal study, Cur cantatur?, Anders Ekenberg examined Carolingian sources for explanations of why the liturgy was sung, rather than spoken. This multidisciplinary volume takes up Ekenberg’s question anew, investigating the interplay of New Testament writings, sacred spaces, biblical interpretation, and reception history of liturgical practices and traditions. Analyses of Greek, Latin, Coptic, Arabic, and Gǝʿǝz sources, as well as of archaeological and epigraphic evidence, illuminate an array of topics, including recent trends in liturgical studies; manuscript variants and liturgical praxis; Ignatius of Antioch’s choral metaphor; baptism in ancient Christian apocrypha; and the significance of late ancient altar veils.

This history of early Christian creeds contains an up-to-date account of their origin and development from the credal texts in the New Testament to the fully fledged classical formulae of the 4th century. It includes the creeds’ use and alteration in subsequent periods until the time of Charlemagne and the beginnings of the filioque controversy. In addition, the author provides a scholarly commentary on the most common ancient confessions: the Nicene Creed and the Apostles’ Creed. Going beyond previous studies, the book contains chapters dedicated to the use of creeds in law, art, music, everyday life and even magic. Recently discovered source texts, such as a new Ethiopic version of the Roman Creed and a short recension of the Creed of Nicaea-Constantinople, receive extensive treatment. Credal developments in the eastern churches beyond the borders of the Roman Empire complete this comprehensive overview. This volume is intended both as a textbook for advanced students of theology and cognate disciplines and as a reference book on the creeds in a wide range of contexts. All source texts are accompanied by modern English translations.

The letters of Ignatius of Antioch portray Jesus in terms that are both remarkably exalted and shockingly vulnerable. Jesus is identified as God and is the sole physician and teacher who truly reveals the Father. At the same time, Jesus was born of Mary, suffered, and died. Ignatius asserts both claims about Jesus with minimal attempts to reconcile how they can simultaneously be embodied in one person. This book explores the ways in which Ignatius outlines his understanding of Jesus and the effects that these views were to have on both his immediate audience as well as some of his later readers. Ignatius utilizes stories throughout his letters, describes Jesus with designations that are at once traditional and reinvigorated with fresh meaning, and employs a dizzying array of metaphors to depict how Jesus acts. In turn, Ignatius and his audience are to respond in ways befitting their status in Christ because Jesus forms a lens through which to look at the world anew. Such a dynamic Christology was not to cease development in the second century but continued to inspire readers in creative ways through late antiquity and beyond.

This volume explores the ways in which representatives of different monotheistic traditions experienced themselves as “the other” or were perceived and described as such by their contemporaries. This central category – which includes not only those of different religions, but also converts, foreigners, sectarians, and women – is studied from various perspectives in a range of texts composed by Jewish, Christian, and Muslim authors during late antique and mediaeval times. Conceptualizations of such “others” are often intrinsically related to the idea of exile, another important category that is analysed in this work.

Luke has often been understood to transmit a variety of Christological traditions without reflecting on them in relation to each other. In this study, Daniel Gustafsson challenges such positions and demonstrates that when the Gospel of Luke is approached as a narrative, a different picture emerges. Presentations of Jesus as "Messiah", "Son of God", "prophet", and "Son of Man" are shown to conform to Luke's overall plot and significantly overlap each other. The voices of characters with high authority, the use of Scripture, and Jesus's relationship to the Holy Spirit are examples of other factors that contribute to coherency in Luke's Christology.

Music and liturgy seem inseparable, yet we seldom pause to ponder their relationship in depth. In this volume, Kathleen Harmon offers her own insights by creatively exploring the complex interplay between congregational singing and the liturgical celebration of the paschal mystery: ' Harmon asserts that liturgical music, in the form of communal singing, is a vehicle through which the ritual reenactment of the paschal mystery is effected. ' She addresses concrete and practical pastoral applications of the relationship between music and liturgy. She focuses on how the liturgical singing of the assembly creates the collective consciousness of church as the Body of Christ. ' Music, then, is much more than just a component of liturgy; it is, in Harmon's view, absolutely constitutive both of liturgy's deepest essence and its fullest realization. Professional music scholars, graduate students, music directors, and anyone else seeking a sophisticated analysis of liturgical music will find this volume a rich sourcebook of new ideas. Kathleen Harmon, SNDdeN, is the music director for programs of the Institute for Liturgical Ministry in Dayton, Ohio and contributor to Living Liturgy: Spirituality, Celebration, and Catechesis for Sundays and Solemnities, an annual resource published by Liturgical Press. She is also a columnist for Liturgical Ministry and serves as director of music for St. Paul Parish in Englewood, Ohio.

What is music during the worship service supposed to do? Dr. Heather Josselyn-Cranson proposes that there are several roles for music in worship and that these roles are manifested in various worshiping traditions. In this book, she hopes to give readers a renewed respect for their own traditions, but also a new-found understanding of the different genres of music sung by Christians today, each with its own function and charm.