Worship and music have been intimately connected since biblical times. Yet music in worship has become a point of contention-a great chasm separating the young and the not-so-young, the conservative and the liberal, and, quite possibly, the members of the church you attend. Is there a solution to this ongoing battle? Are there really certain styles of music that are good and others that are bad? How are we to honor God with our diverse musical tastes and talents?

Lilianne Doukhan, associate professor of music, teaches musicology at Andrews University as well as worship and music at the Seventh-day Adventist Theological Seminary at Andrews University. Born in Switzerland, she began studying piano at the age of 4 and pursued musical studies for the next 15 years. She holds a Ph.D. in musicology from Michigan State University.

Prologue: In Defense of Music	p. 11
The Musical Experience
The Nature of Music	p. 17
The Principle of Balance	p. 19
Balance Between Melody, Harmony, and Rhythm	p. 19
Balance Between Variety and Repetition	p. 19
The Elements of Music	p. 20
Melody	p. 21
Harmony	p. 21
Rhythm	p. 23
Beat	p. 24
Syncopation	p. 25
The Effects of Rhythm	p. 28
The Experience of Music	p. 36
Music as a Universal Experience	p. 37
Music as an Acquired Experience	p. 38
The Meaning of Music	p. 42
Sacred Music	p. 42
The Purpose and Role of Sacred Music	p. 44
Sacred Music Conveys a Theology	p. 45
Sacred Music Is a Vehicle for Expression and Communication	p. 45
Sacred Music Is Defined Within a Cultural Setting	p. 46
Sacred Music Is God's Delight	p. 46
Aesthetics Versus Ethics: Does Music Have Good and Evil in It?	p. 47
The Greek Theory of Ethos	p. 49
The Biblical Perspective	p. 53
Appropriate Versus Inappropriate	p. 56
How Does Music Convey Meaning?	p. 57
The Real Power of Music	p. 62
Intensification	p. 62
Beautification	p. 63
Stimulation and Empowerment	p. 64
Associations	p. 65
The Social Factor of Music	p. 69
A Responsible Use of Music	p. 71
Concluding Remarks	p. 72
Music In the Bible and the Writings of Ellen G. White: Principles and Lessons
A Philosophy of Music	p. 83
Beauty	p. 83
Mental, Spiritual, and Social Growth	p. 85
Music for God	p. 89
Music as a Ministry	p. 89
Music, a God-centered Activity	p. 91
Music Pleasing to God	p. 92
Joy and Reverence	p. 98
Skillfulness and Excellence	p. 100
The Psalms as a Model for Worship Music	p. 101
Diversity	p. 102
The Old and the New	p. 103
Music in the Temple	p. 106
Organization of Music in the Temple	p. 106
Functional and Participatory Music	p. 108
Instruments in the Temple	p. 109
Harps and Lyres	p. 110
Cymbals	p. 110
Trumpets	p. 11l
Flutes and Drums	p. 112
Concluding Remarks	p. 114
Music by the People and Among the People: A Collective Experience	p. 119
Music as a Means for Edification, Encouragement, Thanksgiving, and Relationship Building	p. 121
Music as an Agent for Tolerance and Respect	p. 122
Music as a Factor of Spirit and Truth: Balance Between Ecstasy and Discipline	p. 125
Formal Worship	p. 126
Emotional Worship	p. 127
Truth and Music	p. 130
Music as a Personal Experience	p. 135
Music as a Factor of Growth and Transformation	p. 135
A Theology of Music: Concluding Remarks	p. 140
The Church's Wrestling With Music
Introduction	p. 145
Singing in the Early Church	p. 147
The New Testament Church	p. 147
The Church Fathers and Music	p. 150
The Council of Laodicea	p. 154
Singing in the Time of the Reformation: Martin Luther	p. 161
Luther and Congregational Singing	p. 161
Luther's Musical Background	p. 161
The Role of Singing in the Church	p. 162
The Role of Singing in Society	p. 162
The Practice of Contrafacta	p. 166
The Context of Contrafacta	p. 167
A Definition of Contrafacta	p. 168
The Texts of Luther's Contrafacta Chorale	p. 168
The Melodies of Luther's Contrafacta Chorales	p. 172
Rhythm in Luther's Chorales	p. 173
The Derhythmization of the Lutheran Chorale	p. 175
Sacred Versus Secular in Luther's Time	p. 179
Luther's Relevancy for Today	p. 182
Luther and Art Music	p. 187
Calvin and Music	p. 200
The Council of Trent	p. 204
Heirs of the Reformation	p. 206
The Contemporary Challenge
The Origins of the Popular Stream	p. 215
Dissipating the Misunderstandings	p. 218
The Strengths of Contemporary Worship Music (CWM)	p. 222
The Challenges of CWM	p. 226
Truth in Theology	p. 227
Truth in Music	p. 228
Truth in Performance	p. 229
Technological Enhancement	p. 330
Sound Tracks	p. 231
Emotional Manipulation	p. 234
Truth in Attitude	p. 235
Associations	p. 238
Concluding Remarks	p. 238
Excursus: The Case of Rock Music	p. 243
Music Ministry in the Church
The Role of the Pastor in Music Ministry	p. 253
Provide an Understanding of Worship to the Congregation and the Musicians	p. 254
Safeguard the Worship Values	p. 254
Safeguard the Unity of the Church	p. 257
Safeguard the Relevancy of the Music	p. 259
Safeguard the Unity of Theme	p. 260
The Role of the Church Musician in Music Ministry	p. 263
Understand the Nature of Worship	p. 263
Understand the Relationship Between the Pastor and His/Her Congregation	p. 263
Understand the Role of the Musician and Music in Worship	p. 264
The Pastor/Musician Relationship	p. 267
The Role of the Worship Commission	p. 269
The Choice of the Worship Commission Members	p. 269
The Qualities of the Worship Commission Members	p. 270
The Responsibilities of the Worship Commission	p. 272
Changes in Worship and Music Through History: The Difficult Task of Change	p. 284
The Process of Change	p. 284
The Power of Tradition	p. 285
The Power of the Past	p. 286
Changes in Biblical Worship Through History	p. 288
Changes in Church Music Through History	p. 289
Reactions of the Church Toward Change	p. 289
Tension and Uneasiness in the Face of Worship Practices	p. 292
Conflicting Views on the Purpose of Church Music	p. 292
The Exclusive Status of High Church Music	p. 293
The Relationship Between Sacred and Secular Music	p. 294
Epilogue: In Tune With God	p. 297
Sanctuary: Worship-leading Guidelines	p. 300
Worship Survey	p. 301
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