HymnDescants
What is Christian Music? The answer from Switchfoot:
To be honest, this question grieves me because I feel that it represents a much bigger issue than simply a couple SF tunes. In true Socratic form, let me ask you a few questions: Does Lewis or Tolkien mention Christ in any of their fictional series? Are Bach’s sonatas Christian? What is more Christ-like, feeding the poor, making furniture, cleaning bathrooms, or painting a sunset? There is a schism between the sacred and the secular in all of our modern minds. The view that a pastor is more Christianthan a girls volleyball coach is flawed and heretical. The stance that a worship leader is more spiritual than a janitor is condescending and flawed. These different callings and purposes further demonstrate God’s sovereignty. Many songs are worthy of being written. Switchfoot will write some, Keith Green, Bach, and perhaps yourself have written others. Some of these songs are about redemption, others about the sunrise, others about nothing in particular: written for the simple joy of music. None of these songs has been born again, and to that end there is no such thing as Christian music. No. Christ didn’t come and die for my songs, he came for me. Yes. My songs are a part of my life. But judging from scripture I can only conclude that our God is much more interested in how I treat the poor and the broken and the hungry than the personal pronouns I use when I sing. I am a believer. Many of these songs talk about this belief. An obligation to say this or do that does not sound like the glorious freedom that Christ died to afford me. I do have an obligation, however, a debt that cannot be settled by my lyrical decisions. My life will be judged by my obedience, not my ability to confine my lyrics to this box or that. We all have a different calling; Switchfoot is trying to be obedient to who we are called to be. We’re not trying to be Audio A or U2 or POD or Bach: we’re trying to be Switchfoot. You see, a song that has the words: Jesus Christ is no more or less Christian than an instrumental piece. (I’ve heard lots of people say Jesus Christ and they weren’t talking about their redeemer.) You see, Jesus didn’t die for any of my tunes. So there is no hierarchy of life or songs or occupation only obedience. We have a call to take up our cross and follow. We can be sure that these roads will be different for all of us. Just as you have one body and every part has a different function, so in Christ we who are many form one body and each of us belongs to all the others. Please be slow to judge brothers who have a different calling.

What is Christian Music? The answer from Switchfoot:

To be honest, this question grieves me because I feel that it represents a much bigger issue than simply a couple SF tunes. In true Socratic form, let me ask you a few questions: Does Lewis or Tolkien mention Christ in any of their fictional series? Are Bach’s sonatas Christian? What is more Christ-like, feeding the poor, making furniture, cleaning bathrooms, or painting a sunset? There is a schism between the sacred and the secular in all of our modern minds. The view that a pastor is more Christianthan a girls volleyball coach is flawed and heretical. The stance that a worship leader is more spiritual than a janitor is condescending and flawed. These different callings and purposes further demonstrate God’s sovereignty. Many songs are worthy of being written. Switchfoot will write some, Keith Green, Bach, and perhaps yourself have written others. Some of these songs are about redemption, others about the sunrise, others about nothing in particular: written for the simple joy of music. None of these songs has been born again, and to that end there is no such thing as Christian music. No. Christ didn’t come and die for my songs, he came for me. Yes. My songs are a part of my life. But judging from scripture I can only conclude that our God is much more interested in how I treat the poor and the broken and the hungry than the personal pronouns I use when I sing. I am a believer. Many of these songs talk about this belief. An obligation to say this or do that does not sound like the glorious freedom that Christ died to afford me. I do have an obligation, however, a debt that cannot be settled by my lyrical decisions. My life will be judged by my obedience, not my ability to confine my lyrics to this box or that. We all have a different calling; Switchfoot is trying to be obedient to who we are called to be. We’re not trying to be Audio A or U2 or POD or Bach: we’re trying to be Switchfoot. You see, a song that has the words: Jesus Christ is no more or less Christian than an instrumental piece. (I’ve heard lots of people say Jesus Christ and they weren’t talking about their redeemer.) You see, Jesus didn’t die for any of my tunes. So there is no hierarchy of life or songs or occupation only obedience. We have a call to take up our cross and follow. We can be sure that these roads will be different for all of us. Just as you have one body and every part has a different function, so in Christ we who are many form one body and each of us belongs to all the others. Please be slow to judge brothers who have a different calling.

THE HISTORY AND CONFLICT OF CHURCH AND MUSIC: (an excerpt)

“Get rid of that flute at church. Trash that trumpet, too. What do you think we are, pagans?”

200s: Instrumental music was almost universally shunned because of its association with debauchery and immorality. Lyre playing, for example, was associated with prostitution.

“Hymns to God with rhythm and marching? How worldly can we get?”

300s: Ambrose of Milan (339-397), an influential bishop often called the father of hymnody in the Western church, was the first to introduce community hymn-singing in the church. These hymns were composed in metrical stanzas, quite unlike biblical poetry. They did not rhyme but they were sometimes sung while marching. Many of these hymns took songs written by heretics, using the same meter but rewriting the words.

“The congregation sings too much. Soon the cantor will be out of a job!”

500s: Congregations often sang psalms in a way that “everyone responds.” This probably involved the traditional Jewish practice of cantor and congregation singing alternate verses.

“Musical solos by ordinary people? I come to worship God, not man!”

600s: The monasteries, referencing “Seven times a day I praise you” (Ps. 119:164), developed a seven-times-daily order of prayer. The services varied in content, but included a certain amount of singing, mainly by a solo singer, with the congregation repeating a refrain at intervals. The services were linked together by their common basis in the biblical psalms in such a way that the whole cycle of 150 psalms was sung every week.

“Boring, you say? Someday the whole world will be listening to monks sing these chants.”

800s: Almost all singing was done in chant, based on scales that used only the white keys on today’s piano. The monastery was the setting above all others where Christian music was sustained and developed through the Dark Ages.

“How arrogant for musicians to think their new songs are better than what we’ve sung for generations.”

900s: Music began to be widely notated for the first time, enabling choirs to sing from music. Thus new types of music could be created which would have been quite out of the reach of traditions where music was passed on by ear.

“Hymns that use rhyme and accent? Surely worship should sound different than a schoolyard ditty!”

1100s: The perfection of new forms of Latin verse using rhyme and accent led to new mystical meditations on the joys of heaven, the vanity of life, and the suffering of Christ.

“This complicated, chaotic confusion is ruining the church!”

1200s: Starting in France, musicians began to discover the idea of harmony. The startling effect of the choir suddenly changing from the lone and sinuous melody of the chant to two-, three-, or even four-part music did not please everyone. One critic commented how harmony sullied worship by introducing “lewdness” into church.

“Don’t try to sing that hymn at home; leave it to the professionals at church.”

1300s: Worship in the great Gothic-era cathedrals and abbeys used choirs of paid professionals, “a church within a church,” sealed off by screens from the greater building. Ordinary people generally had no place in the spiritual life of these great buildings, except perhaps in the giving of their finances.

“It’s too loud, and the music drowns out the words.”

1400s: Music became increasingly complex (Gothic sounds for Gothic buildings), prompting criticisms that only the choir was allowed to sing. As reformer John Wycliffe had complained, “No one can hear the words, and all the others are dumb and watch them like fools.”

“They want us to sing in today’s language. Shouldn’t God-talk be more special than that?”

1500s: The new prayerbook, pushed by King Henry VIII of England decreed that all services would be in English, with only one syllable to each note.

“Now they’re putting spiritual words to theater songs that everyone knows.”

1500s: Martin Luther set about reforming public worship by freeing the mass from what he believed to be rigid forms. One way he did this was by putting stress on congregational singing. He used hymns and music already familiar to the majority of people in Germany.

“Okay, men on verse 2, ladies on verse 3, and the organ on verse 4.”

1600s: The organ played an important part in Lutheranism, Anglicanism, and Roman Catholicism, while in the Reformed churches there was much opposition to it. Initially the organ was not used to accompany congregational singing, but had its own voice. As a result, the organist would often play a verse on the congregation’s behalf.

“Our children will grow up confused, not respecting the Bible as an inspired book.”

1700s: Isaac Watts gave a great boost to the controversial idea of a congregation singing “man-made” hymns, which he created by freely paraphrasing Scripture. Charles Wesley paraphrased the Prayer Book, and versified Christian doctrine and experience. Wesley’s songs were said to have had at least a great as influence as his sermons.

“Their leader is just asking for trouble when he says, ‘Why should the devil have all the best music?’”

1800s: William Booth, founder of The Salvation Army, used rousing melodies with a martial flavor to set the tone for his Army. He is credited with popularizing the “why should the devil” question referenced above.

“These Christian radio quartets are on a slippery slope. Don’t they realize that the airwaves are the domain of Satan, ‘prince of the power of the air’?” (Eph. 2:2).

1900s: When radio was in its infancy, a handful of Christian pioneers such as Donald Grey Barnhouse and Charles E. Fuller began featuring gospel music and evangelistic teaching over the airwaves. Many Christians initially showed skepticism.

“Christian Rock is an oxymoron. The music of the world must not invade the church.

1970s: Larry Norman sang, “I want the people to know, That He saved my soul, But I still like to listen to the radio…They say that rock and roll is wrong…I know what’s right, I know what’s wrong and I don’t confuse it: Why should the devil have all the good music…’Cause Jesus is the Rock and He rolled my blues away.” He founded what became known as Contemporary Christian Music… and it is still controversial today.

(via HYMN DESCANTS)
Hey Look! Its an archive of my old webpage.

(via HYMN DESCANTS)

Hey Look! Its an archive of my old webpage.

(via Descant | HymnWyse)
Christian hymnody and music in worship by Eric Wyse - the link will take you to all free descants (sheet music) listed on his blog.

(via Descant | HymnWyse)

Christian hymnody and music in worship by Eric Wyse - the link will take you to all free descants (sheet music) listed on his blog.

Good quality recordings of hymns in MP3 format that are free to use.

How Great Thou Art by World Outreach Worship featuring StikYard (by World Outreach Church)
THIS IS HOW YOU DO DRUMS IN CHURCH!

Remember when NBC used this song to promote the last Winter Olympics in Vancouver? I think its words are more appropriate for the coming one in Sochi.

This Season’s Free Hymn Offerings: Hark the Herald Angels Sing (Mendelssohn) and Silent Night (Stille Nacht) (via Cuthbert Praise - Hymns and Descants for Brass, Winds, Guitar - Sheet Music)
Posted Dec 23, 2013

This Season’s Free Hymn Offerings: Hark the Herald Angels Sing (Mendelssohn) and Silent Night (Stille Nacht) (via Cuthbert Praise - Hymns and Descants for Brass, Winds, Guitar - Sheet Music)

Posted Dec 23, 2013

Want to send your friends and loved ones a special message for Christmas? Why not send them a hymn as an eCard! Getty Music has a beautiful FREE eCard with your choice of themes, a selection from 3 hymns, a video with lyrics, and the option to add a gift. Click the link below to schedule your personalized eCard! http://www.gettymusic.com/ecard.aspx?

Want to send your friends and loved ones a special message for Christmas? Why not send them a hymn as an eCard! Getty Music has a beautiful FREE eCard with your choice of themes, a selection from 3 hymns, a video with lyrics, and the option to add a gift. Click the link below to schedule your personalized eCard!

http://www.gettymusic.com/ecard.aspx?

I Vow To Thee My Country - Festival of Remembrance - Royal Albert Hall (by Jacky Anzures)

The first verse speaks of the earthly country and the second of the heavenly one. Notice all the poppies!