The Story of Christian Music: An Illustrated Guide to All the Major Traditions of Music in Worship - Andrew Wilson-Dickson

The author, Andrew Wilson-Dickson, teaches music and drama in Cardiff, having taken a doctorate in music composition from York University. Thoroughly grounded in the British musical context and traditions, Wilson-Dickson nonetheless presents a broad-ranging and fairly balanced few of the long history of Christian music. For most Christians through the centuries, the idea of worship without music (and, indeed, without particular kinds of music) might ...
...controversies that fill the standard history texts. Even today, when a new minister goes into a church, the congregation is as likely to be upset at a shift in hymnody and music as in theological directions that diverge from their own.

This richly illustrated and designed book is divided into eight primary sections:

• The Birth of Christian Music
• Renaissance and Reformation
• The Flowering ... more

The author, Andrew Wilson-Dickson, teaches music and drama in Cardiff, having taken a doctorate in music composition from York University. Thoroughly grounded in the British musical context and traditions, Wilson-Dickson nonetheless presents a broad-ranging and fairly balanced few of the long history of Christian music. For most Christians through the centuries, the idea of worship without music (and, indeed, without particular kinds of music) might have been considered greater heresy than many of the theological controversies that fill the standard history texts. Even today, when a new minister goes into a church, the congregation is as likely to be upset at a shift in hymnody and music as in theological directions that diverge from their own.

This richly illustrated and designed book is divided into eight primary sections:

• The Birth of Christian Music
• Renaissance and Reformation
• The Flowering of Christian Music
• The Path Divides
• Eastern Traditions
• The African Genius
• Music in North America
• Music in Twentieth Century Europe

Not following geography or history timelines strictly, but rather allowing these to be broad organising principles, Wilson-Dickson explores the development of key musical types as well as the cross-pollination of musical styles and influences. There is a distinctly British bias that creeps in, not so much as a denigration of other cultures but rather as a highlight of the British traditions - one gets the sense from reading that this is where the author's heart is most at home. The author's biases are also apparent in his discussions, but he supports his conclusions fairly well, while not requiring the reader to agree. (For instance, many would agree with Wilson-Dickson that J.S. Bach was the greatest composer the Western world has ever produced, and Wilson-Dickson cites others such as Mozart, Haydn, Beethoven and Wagner - possible contenders for the title - as in agreement; however, should the reader not agree that J.S. Bach was the greatest, the chapter on Bach is not really diminished.)

The development of church music over time is not independent of the greater history of the Christian church, nor is it independent of the broader cultural and technological developments. These contexts and influences are discussed and explained as appropriate. The theological intention and importance behind the styles of music is explained without excessive rambling. Obviously, technological changes in the way in which music is produced created distinctive changes - whereas the pipe organ is now a standard (if not 'the' standard) church instrument, there were times when it was considered inappropriate; the same is true of different genres of music today, as the rock/pop world and its series of modern instruments begin to make in-roads into musical liturgical practice.

The method of even scoring and composing music has changed over time. It took hundreds of years before monophonic tones became polyphonic, and the simpler chant structures gave way to increasingly elaborate orchestrations of vocal and instrument pieces. The Western structure of music is not the only influence in Christian musical history, either, as the influences from Africa in particular show strong strains in music for worship and praise over several centuries.

The graphic layout of the text is superb. Colour, photographs, line-art and copies of musical manuscripts abound to support and enhance the text. Side-bars and emphasis boxes explain key terms, points, or historical information. Given two thousand years of history and only 240 pages in which to explore it, obviously the author had to be selective not only in which topics to include, but how much to develop each one. Given the importance of North American Christianity in the world-wide Christian experience in the past few hundred years, perhaps a little more room could be devoted to this area of music. Similarly, Wilson-Dickson's brief conclusion and discussion of good music vs. bad music could benefit from a little more development.

However, for the seminary student, the religious studies and history student, or even the average choir member or singer in a congregation, this is an excellent overview of the history and development of Christian music. One might wish for a CD or two to be included with musical samples; perhaps for a later edition?

 

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