Congregational Singing in the
Early Church

The earliest instance of congregational singing in the Christian tradtion can be documented in several passages of the Old testament where the congregation participated in the singing of responses to the psalms (e.g. Nehemiah xii.31--9).

Philo of Alexandria describes antiphonal congregational singing by a 1st century Jewish sect called, Therapeutae:

They rise up together and ... form themselves into two choirs, one of men and one of women, the leader chosen from each being the most honoured and most musical among them. They sing hymns to God composed of many measures and set to many melodies, sometimes chanting together, sometimes antiphonally ... It is thus that the choir of the Therapeutae of either sex -- note in response to note and voice to voice, the deep-toned voices of the men blending with the shrill voices of the women -- create a truly musical symphony. [De vita contemplativa ]

The early Christian Church lacked the financial resources to pay professional singers for choirs. In addition (because they had to often meet secretly), there was logistically no opportunity to cultivate choirs of trained singers. Consequently, singing in the early Christian Church developed mainly as a congregation activity. Origen (c. 185 - c. 254) commented that,

“The Greeks use Greek, the Romans Latin ... and everyone prays and sings praises to God as best he can in his mother tongue'.

The early Christians maintained the religious practices of their Jewish background. They continued to worship in the Temple and to gather for instruction and discussion in the Synagogue, but there was an increased emphasis upon the sacral meal - now a communal rather than family meal - frequently referred to as the “breaking of bread”. Meanwhile, the process of conversion was carried out in the synagogues and other public places, but the proper ritual gathering of the faithful was the communal meal, which was usually held in the home of some Christian prominent in a particular locality. It is not certain whether every mention in the New Testament of the “breaking of bread”, or of related terms such as “the Lord's supper” , refers to a eucharistic celebration, but certainly many of them do.

The process whereby the Eucharist came to be separated from the evening meal and was celebrated in the morning, preceded by a discrete service of instruction, cannot be traced; it is possible to observe only that this classic pattern is manifested in Justin Martyr's mid-2nd-century description of the Roman Eucharist.

As for the nature of [singing in these communal gatherings], it is generally believed that it consisted of newly created material rather than Old Testament psalms. For example, when Paul said to the Corinthians “What then, brethren? When you come together each one has a psalm, has a teaching, has a revelation, has a tongue, has an interpretation” (1 Corinthians xiv.26-7), it seems that he was referring to individual contributions of the congregation.

In addition to the singing of full-length hymns, which would probably have been performed by individuals, the entire congregation must have participated in short acclamations and responses. In the enthusiastic atmosphere of the time, one-word acclamations like “Amen”, “Alleluia” and “Maranatha” must have been common, as well as somewhat longer exclamations such as doxologies or perhaps favorite psalm verses. These were possibly chanted in response to prayers and readings, which themselves might have been declaimed rather than read.

Athough initially, men and women probably sang together, the early Church soon began to follow Paul’s admonition (1 Corinthians 14:34) and consequenlty by about 200 CE did not allow women to participate in congregational singing.

After Christianity became the official state religion after 313 CE, the art of singing began to flourish as choir schools became established. Elaborate chants started to be used which were intended for expert virtuoso singers while simple chants consisting of one syllable per note were intended to be sung by priests and congregations.

[Based on information from Grove's, New Dictionary of Music and Musicians Online.]


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