Missionaries from Europe and North America brought to Africa many Western forms of music and worship. In the last several years, especially after Vatican II, Africans have developed more indigenous approaches to music in worship. The fascinating diversity of current musical practices is documented in this survey of independent African churches.
Millions of Christians who live in Egypt and Ethiopia have inherited a rich tradition of worship practices. Each of these churches maintains a variety of ancient worship customs, including the use of music. In Egypt, the congregation participates in the music of worship. The most striking feature of Ethiopian worship is the contribution of the priests, who spend up to several decades mastering the music, poetry, and dance that are used in worship.
While small segments of the Russian Orthodox Church have continued to use only traditional Byzantine chants in their worship, the larger portions of the church have allowed music that is a hybrid between traditional liturgical chants and the popular art music of a given historical period. This music has remained distinctively liturgical and Russian but has led many to lament the loss of traditional forms.
Almost the entire Orthodox liturgy is sung, most often to centuries-old melodic formulas. In addition to chanted liturgical texts, hymns play an important role in Greek Orthodox worship. Over 60,000 hymns, following one of a variety of prescribed patterns, have been written for use in these churches. Though local customs may influence the way in which this music is chanted, most singing follows traditional practice.
Music for worship in the Byzantine Orthodox tradition is thought to be a direct descendent of the music used in the synagogues during the life of Jesus. The Orthodox have a very high, almost sacramental, view of music, believing that it is a “window to heaven.” Music is intrinsic to the liturgy of the church, for it is frequently used to express the liturgical text.
Christians in North America are often unaware of one of the largest and most devoted segments of the Christian church, the Orthodox churches. During the first few centuries A.D., the church remained largely unified. But eventually, a variety of doctrinal and political disputes led to the separation of the church into roughly two main divisions, East and West.
Very little can be said with certainty about the music of the first three centuries of the church beyond texts used and liturgical forms followed. Judging from later music in the Eastern churches and in Gregorian chant in the West, the musical settings of these texts probably shared characteristics with much Eastern music, including tunes in various modes. Ecstatic song continued in the practice of the thanksgiving of the “prophets” in some early liturgies.
In the mid-eighteenth century, John Wesley and George Whitefield became famous through their revivalistic preaching. Although based on a Scripture, it differed from Reformed preaching in that it was not exegetical and did not place as much emphasis on correct grammatical, historical, and theological contexts. Instead, Wesley and Whitefield developed topics and presented applications for their listeners. Sin, grace, and reconciliation with God were their favorite themes. Wesley united this message with a zeal for sanctification. This style of preaching was directed particularly toward the poor, resulting in a tremendous movement for social and political justice.
Martin Luther, like John Wycliffe, John Huss, and Girolamo Savonarola before him, may be classified as a preacher of “prophetic personality.” For these preachers, preaching was an act of spiritual warfare. Luther’s sermons are polemics against the abuses within the Roman church and the hard-heartedness of many of its priests. Luther also began the tradition of preaching an additional pedagogical sermon. In these catechistic sermons he taught the Ten Commandments, the Lord’s Prayer, and doctrines of the Reformation. The tradition of featuring both catechetical and homiletical sermons in services became common in some Lutheran (and Reformed) churches, and this practice still continues in some churches today.
In the late medieval era, a renewed concern for the inner life emerged. This new kind of mysticism affected the medieval sermon. Mystic John Tauler did not completely abandon the scholastic rules for preaching, but he did alter them freely. It may be said that he practiced a devotional style of preaching.