当1517年教会开始改革时，它的音乐也随之改革. 近800年来，流行的风格一直是拉丁格列高利圣咏. 大多数德国人不懂拉丁语, 漫长的礼拜仪式也是如此, to them, 通常是超然的和难以理解的. “They would sit quietly and essentially observe the priesthood conducting the liturgy,杰夫·赫德说。, 欧文康考迪亚大学’s assistant dean of arts and sciences and director of orchestral activities. “会众没有太多事情要做. Sixteenth-century Germans were struggling to understand and internalize the true Gospel message.”
当宗教改革爆发时, religious music began to connect with the people perhaps more profoundly than at any time since the days of the Early Church.
“Martin Luther saw music as a powerful means for people to hear and keep the Word of God in their minds
, 所以在他修改了拉丁文礼拜仪式之后, 去除非圣经的元素, 他把目光投向了德国的一项服务,赫德说。. 但是，这些德语词汇与为拉丁圣歌谱写的音乐不太吻合, 音乐也不利于教堂的歌唱. So Luther and his colleagues translated the service into German and wrote new melodies that were easier to sing and learn.”
在那个历史时期, 音乐起着重要的助记作用，因为书籍非常稀少, 大多数人都不识字. 例如, minstrels traveled from town to town singing the news of what was happening in other towns. Luther patterned some of his congregational hymns after the melodies sung by these folk musicians.
“宗教改革”在歌曲中表达出来,史蒂夫·穆勒说。, 基督学院院长, 但这并不是革命性的. 路德只是用音乐的天赋来交流. That was done all the way back in Old Testament times and in earlier Christian eras. 这是一种帮助人们记忆和表达信仰的方式.”
草聊聊, who is retiring after serving 29 years as professor and director of music education 在欧文的康考迪亚大学 and Christ College Irvine, agrees that “the revolutionary aspect was that music became such a centerpiece. 在路德之前就有德国赞美诗了. 有民歌.” But Luther and those who followed him recaptured the understanding of how powerfully music expresses faith and theology.
海德说，路德“把神学融入到人们会记住的旋律中”. “The melodies were so well-crafted that they could serve as the basis for more complicated choral settings or stand on their own without any accompaniment.”
但没有证据表明路德曾经使用过饮酒歌曲的旋律, 正如流行的神话所说, 穆勒说. 路德有时做的是把旧的旋律或经文更新.
Martin Luther saw music as a powerful means for people to hear and keep the word of God.
“例如, there was a popular song about the Lord’s Supper which he took and rewrote to make it more appropriate and substantial,穆勒说。. “这是他的赞美诗‘主啊，我们赞美你.’”
路德写了38首赞美诗, 包括对礼拜仪式各个部分的圣歌释义, 赞美诗教导每一部分的韵律. 他最有名的是“坚固的堡垒是我们的上帝”，这是对诗篇46篇的解释.
Over the decades that followed, the use and impact of music increased and deep- ened. In post-Reformation schools, the boys “sang hymns based on Christian doctrine daily,赫德说。. 那些跟随路德的人继续创作新的赞美诗文本和曲调.
When hymn books became available, many people took them home and memorized them, 说聊聊. This had a great impact on their knowledge of theology and Scrip- ture because “the hymns were often 12 or 13 stanzas long, 他们非常发达.”
But other Protestant churches were slower to embrace music so enthusiastically. 在路德的时代, 加尔文主义者和慈运派, 其他新教教会的祖先, 认为音乐应该是简单的, 就像用基本节奏唱圣经诗篇一样, 或者根本不用于礼拜.
Lutherans were distinctive in the Reforma- tion era because of the vibrant attitudes Luther and his friends had about the important role of music in church worship
说聊聊. “Calvin believed in finding good hymn writers to give the Psalms a metric form which was clear and singable. But congregational singing and four-part settings were the limit of how he thought music should be in the church.”
尽管有这些疑虑, Luther’s concept of more vibrant musical expressions were even-tually adopted in many Protestant churches. 在18世纪, Lutheran church music reached one of its pinnacles with the work of Johann Sebastian Bach, 他和路德在爱森纳赫上的是同一所学校, Germany. Bach wrote twenty- minute cantatas based on the reading of the day for three years of Sundays.
“This follows the tradition Luther started of having deliberate attachment of music and the proclamation of God’s Word,赫德说。. “In Bach’s music, there is deep piety and emotion, but always a meaningful account of Law and Gospel. 这些都是人类有史以来最伟大的音乐杰作, 巴赫以耶稣的名义这么做了.”
赫尔德说，这种强调将单词与音乐联系起来的做法一直延续到今天. 在教堂仪式中吹小号时, 例如, he studies the words of the hymn and matches the inclusion of his instrument and his melodic style to the text.
“这是一种非常路德式的音乐创作方式，”他说.
“路德教会的音乐家希望与牧师密切合作, 知道阅读材料是什么, 选择辅助音乐.
这不仅仅是一首我们喜欢的圣歌. 统一宣讲福音是敬拜中最重要的, and this is why Luther afforded music such a high role in worship next to the Word. 他明白它的熏陶力.”
Every era has had some kind of growth in choral and instrumental congregational musical life. Geisler points to the modern songwriter Keith Getty as an example of someone who continues to connect music and theology.
“盖蒂的旋律优美而有趣, 歌词在神学上很强烈,盖斯勒说. 他用优美、简洁的语言来表达福音. 它们是发展思想的诗节. You learn theology through those hymns, just as you did with Lutheran songs through the ages.”
另一个现代的例子是卡尔·沙尔克, 他是赞美诗领域的权威博彩平台网址大全，也是盖斯勒的教授之一, 谁用各种各样的风格训练他的学生, 包括普通吟唱, 现代民间风格, chorale, 文艺复兴五部曲及更多.
“Schalk was a true Lutheran church music leader because he taught us everything,盖斯勒说. 2017年5月，欧文康考迪亚大学授予沙尔克荣誉博士学位. Concordia has honored other hymnwriters with honorary doctorates including the Rev. Dr. Jaroslav Vajda和Rev. Dr. 史蒂文·斯达克.
离家更近, Mueller and other 欧文康考迪亚大学 faculty regularly write hymns for special occasions, 或用于基督教崇拜. 穆勒的新赞美诗, “基督单独, 世界的救赎主,” was written for general use in celebration of the quincentennial of the Reformation. Alumna Katherine Dubke ’15 and professor Carol McDaniel also have written a number of hymns.
“There’s satisfaction of knowing that you’ve helped give people words they can use in their worship to God,穆勒说。.
现在和那时一样，音乐将人们与上帝的话语联系在一起.