SUMMATION AND OBSERVATIONS
This paper has attempted to provide insight into some of the key individuals, movements, and events relating to the role of music in revival, with a particular emphasis on the contemporary awakening of the Jesus Movement.
Section I was foundational, exploring biblical song and its vital place in scripture, which described rather than prescribed the uses of music. We reviewed briefly Hebraic musical practices as contrasted with the Greek science of music--a theoretical doctrine which separated music from the fabric of life. We reviewed the rise of the hierarchical church through the Middle Ages, a period when the act of worship was increasingly normalized in such musical traditions as the Gregorian Chant. We noted a few exceptions of individuals and groups with whom the New Song was evident.
With the Reformation, we attempted to document the activities of the music reformers, most often the key theologians and pastors of the time. The restoration of congregational song, in public worship and through the singing of psalms and hymns, was noted. We alluded, in passing, to the impact of the printing press.
Section two dealt with the New Song in American Revivalism, most particularly through the influence of Isaac Watts, who bridged the gap between outmoded psalm singing and a genuine expressions of praise. Along with the developing rural tradition of folk hymnody, the turn of the eighteenth century saw the hymns of Charles Wesley gain widespread acceptance. New Song re-emerged in the camp meetings, Sunday school, and those gospel music forms popularized by Ira Sankey in 1875. The communications revolution marked the advent of the twentieth century with the long-term impact on both the substance and style of revival music. We followed in Section III with a review of New Songs role in the Jesus Movement of the late sixties as well as the birth of a contem- porary music form and the attendant rise of commercialism.
We have observed that, almost without exception, genuine spiritual awakening has resulted in the birth of New Song. New Song is associative to God's work, not causative, although it serves several important functions. It bears the message of renewal. It unites the people in worship. It records God's work.
Additionally, in many ways it symbolizes the renewal, tracing the history of the awakening and reflecting its theological concerns. The universal priesthood of the believer, espoused by Luther, was made manifest in congregational singing. Calvin's vision of the church as a restored Israel resulted in his work to renew the psalms. Their ac- complishments will endure, and our concern should lie at least as much with their practices as with their product.
The church has for too long majored in theological thought and minored in an understanding of the importance of music to express the truth of Jesus Christ. Music that meets the needs of the people is the direct result of ecstatic revival, while change in ecclesiastical musical tradition is often slow and agonizing. Jonathan Edwards, in his defense of the revival of 1740, set out five criteria for genuine spiritual revival. It must first exalt Jesus Christ. It must attack the Kingdom of Darkness. It must honor the scriptures. It must promote sound doctrine. It must involve an outpouring of love toward God and man. To this list, we might add a sixth: it must bring a New Song to the church.
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