Worship and Musical Instruments in the Church: the First Millennium
Eusebius was a 4th century bishop of Caesarea who wrote a history of early Christianity based on a number of sources, some of which no longer exist. He quotes Philo, a 1st century Jewish historian, who made mention of Christian all-night vigils and the hymns which they recite and how, while one man sings in regular rhythm, the others listen and join in the refrain.
The phrase “hymns which they recite” is particularly interesting. The pagan official Pliny (see my last post) uses the same Latin phrase, carmen dicere. Does this suggest that hymns were spoken rather than sung? Philo suggests that singing happened but still uses “recite”. Historian Ralph Martin has studied this phrase in a number of historical contexts and you can find his article here.
We could usefully bring in Augustine of Hippo here, who in the 4th century described church singing in Alexandria as more like speaking than singing. Augustine himself, incidentally, was in favour of liberated praise and wrote some beautiful lines in praise of dancing (though with no mention of instruments).
Perhaps there was a specific reason for the general mistrust of musical accompaniment. In those days, pipe, harp and drum were intimately linked to the pagan cults, e.g. of Pan, with their sensuous worship and often shameless revelries. Christians, mindful of the apostolic direction that everything should be done decently and in order [1 Corinthians 14:40], avoided musical instruments. Jerome, also 4th century, wrote that a Christian maiden ought not even to know what a flute is, or what it is used for.
Liturgy (an order of service with fixed elements) came in early to Christian worship. There is possible evidence of a ‘Jerusalem’ liturgy, instituted by the Apostle James, and an ‘Alexandrian’ liturgy attributed by some to Paul’s fellow-labourer John Mark. Singing was a key element, but in the stylised manner of Jewish psalmody and response singing. As John Chrysostom, archbishop of Constantinople, put it: David formerly sang in psalms, and we also sing today with him. He had a lyre with lifeless strings; the Church has a lyre with living strings. Our tongues are the strings of the lyre, with a different tone, certainly, but with a more seemly piety.
One of the reasons why music did not take a central place in early Christian worship is that the central element of their meetings was the sharing of the bread and wine, the Communion or Eucharist, whether in the context of a church service or in the agapë, the ‘love meal’ in homes. Ignatius, who was made bishop of Antioch in AD 67, when a number of the Apostles were still alive and active, describes the Christian church as “a Eucharistic community” which realised its true nature when it celebrated Communion.
In turn, this emphasis might be due to the belief among first generation Christians that the sharing of the bread and wine was to be done “until Jesus returns”, which they believed would be soon, perhaps in their own lifetime. When this did not materialise, a Christian liturgy for worship began to develop, described for us by early apologists like Justin Martyr and Hippolytus. It involved greeting, reading from scripture, responsive (antiphonal) singing, baptisms, a sermon, prayers, the offertory, the communion and a blessing. Here is an extract from Justin, c. AD 150:
‘On the day called Sunday, all who live in cities or in the country gather together to one place, and the memoirs of the apostles or the writings of the prophets are read, as long as time permits; then, when the reader has ceased, the president verbally instructs, and exhorts to the imitation of these good things. Then we all rise together and pray, and, as we before said, when our prayer is ended, bread and wine and water are brought, and the president in like manner offers prayers and thanksgivings, according to his ability, and the people assent, saying Amen; and there is a distribution to each, and a participation of that over which thanks have been given, and to those who are absent a portion is sent by the deacons. And they who are well to do, and willing, give what each thinks fit; and what is collected is deposited with the president, who succours the orphans and widows and those who, through sickness or any other cause, are in want, and those who are in bonds and the strangers sojourning among us, and in a word takes care of all who are in need.’
The first hymn with actual musical notation which we possess, the “Oxyrhynchus hymn“, is from the 3rd century. At the same point, the Apostolic Tradition, attributed to the theologian Hippolytus, shows that the singing of psalms with Alleluia as the refrain was a feature of early Christian agape feasts.
It wasn’t until around 375 that antiphonal singing of psalms became popular in the Christian East; in 386, Ambrose of Milan introduced this practice to the West. Around 410, Augustine of Hippo described the responsive singing of a psalm at Mass. Sources are few and inconclusive regarding how Christian chant / song developed, but we do know that by 678, Western (Roman) chant was being taught at York. Distinctive regional traditions of Western plainsong (or plain chant) arose during this period, notably in the British Isles (Celtic chant), Spain (Mozarabic), Gaul (Gallican), and Italy (Old Roman and Ambrosian). It used a musical stave of four lines, not the five used today.
We can safely say that by this stage, sung worship was an established part of Christian services, albeit without instruments. For the arrival of the earliest church organs we must wait until the mid-11th century.