De Musica

Journal of the Northwestern College Music Department

Volume 2 – Spring 2010

 

De Musica 

  

Journal of the Northwestern College Music Department  

Editors Dr. Luke Dahn Courtney Davis 

 

2009‐2010 Full‐Time Music Faculty  

Dr. Luke Dahn, Composition, Theory, Piano Dr. Thomas Holm, Choral, Music History 

Dr. Heather Josselyn‐Cranson, Music Ministry Dr. Juyeon Kang, Piano, Accompanying 

Dr. Tim McGarvey, Music Education, Instrumental Music, Department Chair 

 Adjunct Instructors 

Derek Beckhuizen, Tuba/Euphonium     Emily Lodine, Voice Esther D’Agrosa, Elementary Music Education  Linell Gray Moss, Voice Pam De Haan, Saxophone        Sharyn Ostrem, String Bass Sue De Haan, Flute          Jay Reeve, Violin/Viola Beverly Gibson, Clarinet        Vance Shoemaker, Trombone Linda Thayer‐Gude, Bassoon        Gary Vander Hart, Classical Guitar Jungho Kim, Violin          Heidi Venaas, Oboe Karren Melik, Cello          Anna Vorhes, Harp Jon Morin, Percussion         Joel Westerholm, Guitar                 MaryLou Wielenga, Organ/Piano 

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Table of Contents 

 

Prelude                      4 

MUS112: Music Theory II – Dr. Luke Dahn   Bach’s Sinfonia No.15: An Analysis        Emma Lundgren  5  MUS211: Music Theory III – Dr. Luke Dahn   “Avoiding the Tonic:” An analysis of Schubert’s     Simon Campbell  12     Piano Sonata in A minor, D537   A Theoretical Analysis of Schubert’s “Im Früling”    Austin McCombs  21  MUS231: Church Music Administration – Dr. Heather Josselyn‐Cranson   Music Ministry Manifesto          Chelsea Stanton  33  MUS317: History of Music I – Dr. Thomas Holm       From Medieval to Contemporary: A Comparison    Emma Lundgren  36     of L’homme armé Masses   A Comparison of Three Troubadour Songs      Carolyn Dundas  45     by Bernart de Ventadorn   MUS334: Music Composition – Dr. Luke Dahn   Composition Showcase: Bee Miner        Ryan Davis    54   Composition Showcase: Invention I        Richie Clark    57  Mus499: Honors Research Paper   Trinitarian Worship at Northwestern College     Andrew Klumpp  60    

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Prelude 

   

  De Musica is a publication of the Music Department at Northwestern College, issued during the Spring Semester of each academic year. The journal serves the following purposes: 

1. to recognize outstanding work in academic areas of music 2. to provide incentive to students 3. to offer a ‘voice’ to faculty members for papers, essays, compositions, etc. 4. to serve as a reference tool for students and for student recruitment.  

Submissions of articles, papers, and compositions for inclusion in the journal are made by the faculty of the Music Department. Each contributor receives a copy of the journal. A copy is placed on reserve in the library, and an additional copy is available from the Music Office.    The papers in De Musica are presented in the format required for each course, so the presentations may differ. The decision to use the original formats was made in order to provide other students with examples of papers which fulfill the requirements specified for each distinct course. 

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Emma Lundgren

Music Theory II

Dr. Dahn

13 May 2009

Analysis of Bach’s Sinfonia No. 15

Johann Sebastian Bach, the famed and arguably the greatest composer of the Baroque

Period, lived from 1685 to 1750. He wrote an incredible number of musical pieces in his

lifetime, ranging from keyboard preludes to string instrument sonatas to choral compositions. His

influence in the music world was remarkable enough that the Baroque Period was later

considered over at his death.

Bach’s Sinfonia No. 15 in B Minor is one in a collection of sinfonias and inventions from

1723 that he originally wrote for harpsichord. The main purposes of these pieces were and are to

teach piano students to play two and three parts, to acquire a certain playing style, and to

discover some composition elements, probably through his application of motives. This

collection is made up of fifteen inventions and fifteen sinfonias arranged in ascending order of

their written keys. However, the prevalent tuning system of Bach’s time, a meantone

temperament, only had a select number of keys that could favorably be listened to. These are the

written keys for the inventions and sinfonias. Meantone temperament is different than Well-

temperament that Bach used in his Well-Tempered Clavier and the equal temperament that we

use today.

The overall theme of Sinfonia No. 15 is stated in the first four measures within three

separate motives. The initial motive of this sinfonia starts in the top voice in the first measure,

and will be labeled as X. X is made up of three sets, each of three 16th notes. The first set

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features a leap down from the first note to the following two repeated notes. The second set is the

same except that the first note is only a step above the subsequent two notes, and the third set is

the same as the first.

Example 1

It serves as the initiator motive, the one that gives the impression of the start of a section or

phrase. The precision of each note, due to the quick, march-like quality of the 16th notes,

provides a good base from which the following motive can launch. Later in the piece, a

secondary form of X, labeled X’, appears. The difference between it and X is that the third set of

16th notes starts on a note that is a step higher than the first note of the first set, rather than the

exact same note (see Example 5).

Bach used X in a sequential fashion in which an ascending or descending step-wise

melody is pronounced in the highest notes of the motive. The melody then ends on the first note

of the next motive. Example 2 is a reduced version from measures 1-3 showing the progression

of the ascending melody.

Example 2

From there, a second motive enters, which will be labeled as Y. Motive Y has two

definite forms in the piece. One, which appears first and will be called Y1, includes three sets of

six 32nd notes ending with a dotted eighth. The first set of 32nd notes moves in an upward motion

while the following two sets move generally downward, all three outlining a single triad. The

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second form of Y, which is labeled Y2 looks similar to Y1, but with a few exceptions. It has only

two sets of 32nd notes which then conclude with a dotted eighth note. Also, instead of outlining a

single chord, the 32nd notes generally descend by thirds.

Example 3

Like X, Y also has an implied melody in the “destination” dotted eighth notes when

sequenced, as they are marked in Example 3.

Y is the showiest of the motives. It quite often has a solo part while the other two voices

pause, as if to make Y the main focus of the piece. It grabs the most attention because of its rapid

32nd notes and its length of a full measure. Y is also the most influential of the motives. The

direction of the melody is guided by it, and it dictates a specific rising or falling sensation that is

dependent upon its upward or downward motion. It builds anticipation and excitement when it is

inverted in sequence in measures 26-28 as the notes quickly climb upward to reach three separate

peaks. When in its normal form, as in measures 11-14 in Example 3, it tumbles downward,

aiming to land on the ending melodic notes.

One last motive appears in the sinfonia, and will be called Z. It is quite subtle and is

almost always in the bass clef. It serves as a kind of intermediate function, like a “passing”

motive that keeps a forward motion going in the low voice while the upper voices hold most of

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the melodic attention. Z consists of five 16th notes, three ascending, two descending, and it

concludes with a dotted eighth note. The placement of the dotted eighth note varies.

Example 4

Z also has an alternate form, which is labeled Z’ in the above example. It has the same

note values as Z, but instead of a steady rising and falling contour, it has two 16ths ascending by

step, followed by a step down, a step up, then leaping down a third and ending with a dotted

eighth note as it does with Z.

In the instances that Z has a sequence in the lowest part, such as measures 20-26, the final

note of each separate motive creates a pattern of descending fifths, which corresponds with a

series of secondary dominant chords.

This brings up a distinct characteristic of this piece: the frequency of key changes in the

form of tonicization. B minor is merely the starting point. Several other keys can be found mixed

into the work. These very brief, unmarked key changes, usually only a measure or two, are to

nearly related keys (A major, and D major) within a logical circle-of-fifths progression including

secondary dominant chords and their tonicized chords. Through measures 7-11, the chords move

steadily downward from i to V7/VII, to V/III, to III7, to VI. This progression is emphasized by

the descending fifths of the dotted eighth notes at the last part of Z.

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Example 5

Bach was able to make these changes without difficulty and without rudely abrupt transitions

because of the variations he made on motives X and Y. With X’, as shown in measure 8, the last

16th-note set starts a step higher than the first set. In Y2, starting in measure 11, the descending

pattern is switched to thirds instead of following a chord. Both of those slight alterations make it

very easy to establish a different, albeit temporary, tonic. These changes in quality, with the way

they are diffused throughout, continually pique the interest of a listening ear by adding the

cheerful sound of major keys as well as the appeal of a fresh sound.

A curious fact is that most every part of this sinfonia is done in sets of three. As a

sinfonia, it has three voices, X has three sets of three 16th notes, Y1 has three sets of 32nd notes,

and the implied melodies within X and Y progress using three notes. Taking that idea a bit

further, it is in 9/16 time, which is a compound triple meter.

As with the other sinfonias and inventions, Bach created unity in this piece in that every

note fits with one of the three main motives. However, the piece is not merely one stiff, solo

motive following another:

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Example 6

As this example shows, the motives throughout the sinfonia become inverted, entwined with

each other, run over by another, yet they all gracefully come together to carry a single melody.

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Bibliography

Cummings, Robert. "Classical Archives: Composer: Johann Sebastian Bach." 2008. Classical

Archives. 6 May 2009 <http://www.classicalarchives.com/bach.html#tv=about>.

Hanford, Jan and Jan Koster. The J.S. Bach Home Page. 2008. 6 May 2009

<http://www.jsbach.org/index.html>.

"Johann Sebastian Bach." The Columbia Electronic Encyclopedia. © 1994, 2000-2006, on

Infoplease. © 2000–2007 Pearson Education, publishing as Infoplease. 6 May. 2009

<http://www.infoplease.com/ce6/people/A0805646.html>

Palmer, William A. "J. S. Bach Inventions and Sinfonias." Alfred Publishing Co., Inc., 1991. 2-

3, 110-112.

Tomita, Yo. "J. S. Bach: Inventions and Sinfonia." 1999. QUB Schools: School of Music and

Sonic Arts. 9 May 2009 <http://www.music.qub.ac.uk/~tomita/essay/inventions.html>.

 

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Schubert’s Sonata in A minor:  Avoiding the Tonic D. 537 Op.164 

  The first movement of Schubert’s Sonata in A minor (Allegro ma non troppo) is an 

exercise in blended tonalities and wandering key changes.  The music takes the listener on 

an anomalous journey filled with unpredictable and unseen turns through strange and 

colorful worlds of sound.  Schubert accomplishes this by using a number of unconventional 

modulations and sequences that extend the cadences, masking and delaying the tonic.  

Another factor that is very important in this piece is the use of the lowered sixth, which 

rears its head in many of the key changes, helping to blend the tonality of the piece from 

one key area to another.  Looking at this piece more closely reveals a variety of methods 

used by Schubert to accomplish this smooth, amorphous sound that characterizes the 

piece. 

  The opening statement of the subject in the first five measures is one of the few 

places where we see the tonic chord in root position. The subject, as shown below, displays 

a strong long‐short‐long rhythmic pattern that will appear in different variations 

throughout the piece.   

Example 1: Measures 1‐3 

 

Schubert develops a lot of the material within this sonata with rhythmic and 

sequential patterns, which differs from a typical sonata that is based upon variations of the 

original subject.  He also avoids staying in a traditional progression of keys.  The claim that 

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Campbell  2 

the title makes about this being in A minor is somewhat of a joke, because the piece is A 

minor only for the first few bars and the last few bars.  The composer is refusing to bow to 

the conventions of the time‐honored sonata form, breaking the chains of tradition and 

morphing this sonata into something fresh and interesting. 

  The second part of the subject, starting in bar four, is based off of the viio7 chord.  

The rapid arpeggios of sixteenth notes really emphasize the equal interval chord of minor 

thirds.  This creates a shimmering affect following the strong subject statement, and in the 

midst of the shimmering we lose track of the tonic.  Like an illusionist, Schubert hides 

behind the viio7 arpeggio in measures 9‐10 and magically the tonal center shifts to C major.  

However, after looking closely, we see the underlying hint that foreshadows this trick: the 

G note in the bass is the lowered seventh in A minor.  It later becomes the root for the V 

chord that appears briefly before the root position C major chord in the last pulse of 

measure 10.  Another hint is the respelling of the G# in the arpeggio as an Ab, which 

weakens the ties to A minor.   

Schubert adds the Bb in the same measure, transforming the C major chord into the 

V7/IV and smoothly eases into F major, keeping the C in the bass ( I64)  as the pedal,  

weakening the arrival into F, because he doesn’t want to linger long.  In measures 13 

and14, Schubert extends a cadence by chords that climb chromatically in the outer voices 

from the V6 to the V64 in measure 15.  A common tone fully diminished seven chord is also 

used here in the second beat of measure 14, the common tone throughout these few bars 

being C.  This cadence eventually ends in a modulation to Eb major. 

The modulation to get to Eb major is one of the most interesting things we see in this 

piece.   The V64 in the first beat of measure 15 gains the seventh in the second beat and then 

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resolves to the minor i chord, showing mode mixture.  The f minor chord moves to a 

viio65/ii, resolving to the Eb major chord in second inversion. The reason this works is that 

the Eb chord has two tones in common with the G minor chord – the chord tonicized by the 

last beat of measure 15.  Schubert just keeps a common tone, the diminished seventh of this 

secondary chord, and introduces it as the tonic.  This modulation is shown in detail in 

Example 2. 

Example 2: Measures 14‐16 

 

*The circled chord is the mode mixture, the arrows point to the common tone. 

Looking closer, we see that what really drives this modulation is the ascending 

chromatic lines in the outer voices and in the upper voice in the left hand.  In fact, the upper 

voice in the left hand and the upper voice in the right hand are moving in parallel octaves, 

but Schubert has disguised this by the sixteenth note anticipation of each ascending half 

step.  Climbing in earnest, the music reaches the peak of this mountain of a modulation at 

the Eb chord, and then proceeds to tumble down the other side in a long‐short‐long rhythm 

similar to that seen in the statement of the subject. 

  We arrive in the new key with the tonic chord in second inversion (m.16) followed 

closely by the V chord, making the Eb chord a cadential second inversion chord, severely 

weakening the sense of a tonal center.  This tonal center shifts almost immediately in 

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measure 18 through a common tone modulation centered around Ab into F minor, also 

connected by the sequential rhythmic material that spans from measures 16‐19.  In F 

minor, the tonic is again concealed within cadential second inversion tonic chords.  In this 

way, Schubert has moved the tonal center three times in approximately four measures.  

However, all the movement he does is muffled by the use of common tones and weak 

resolutions, like a boy who straps pillows to his feet as he moves through the house to the 

kitchen to filch a midnight snack. 

  Schubert finally allows himself a root position tonic chord as he switches into F 

major in measure 20 via a common chord (C Mm7).  Here the sequence of m.16‐19 is 

somewhat altered to create a new one that continues to measure 26.  The left hand is 

reduced rhythmically to dotted quarter notes on each beat, and the intervals in the right 

hand are changed, accompanied by a slight change in rhythm as well.  

 The interval that catches the eye and ear most easily is the half‐step drop to the last 

subdivision of the second beat in measures 20 and 21. The tone is spelled as a D#, and the 

reason is simply for better reading of the sequence.  This half‐step, introduced in measures 

20 and 21, paves the way for the raised 4th scale degree in the German augmented sixth 

chord in measures 22 and 23.   

  In measure 22, we get a brief ascension into another world as Schubert jumps a 

major third into a Db major chord with the German augmented sixth chord developing over 

the course of beat two in measures 22 and 23.  The music then floats down slowly in 

repeated (I64—V) figures until it comes to gently rest upon the soft half cadence in measure 

26. 

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  Starting in measure 28, we come across entirely different material.  After a measure 

of pause, light octaves are played in the right hand with a pedal tone on F developing in the 

bass.  What stands out here is Schubert’s use of the Db, which is the ↓6 of F.  Schubert is 

remembering the brief venture into the world of Db and especially the use of the German 

augmented sixth.  Schubert leaves these breadcrumbs throughout the forest of the key of F, 

just in case he wants to get back to Db.  Unfortunately, his fate is similar to Hansel and 

Gretel, for he never does find his way back to Db major.  Despite this, this tone does add an 

interesting color to this section in F, weakening the tonality and giving a reference point for 

future wanderings. 

  Following an arpeggio of the tonic chord in measure 32, we see a similar rhythmic 

pattern from m.14‐15 appear in measures 33‐35, but the direction of the interval is 

reversed.  This time, Schubert makes no effort to conceal that the upper voices in each hand 

are moving in parallel octaves.  The progression here is most interesting.  Example 3 gives a 

closer look. 

Example 3: Measures 33‐35 

 

   

  We see a string of secondary chords here, the listener’s anticipation growing as we 

move through the progression.  The V7/VII can move to the V65/V because the latter is an 

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altered form of the ii chord.  However, the V65/V moving to the V43/IV is a little less 

conventional, but there are two common tones used as common ground.  This is another 

section where the ear loses the tonic because of the muddled and unique progressions.  The 

V43/IV eventually leads to the arpeggio of the IV chord in measure 36‐37.  Measures 35‐38 

hold another intriguing figure discussed below: 

Example 4: Measures 35‐39 

 

     As mentioned before, the tonic has been lost through the extensive use of 

secondary chords.  In measure 37, after the IV chord arpeggio, he sticks in a C#, which 

seems strange and out of place.  But what is happening is that Schubert is reestablishing the 

D as the sixth scale degree, since it has been lowered much of the times it is seen in earlier 

measures.  Here Schubert is actually moving us back toward the tonic.  We see this 

continued in this beautiful cadence in measure 38.  After being trapped in a dark room for 

so long, starved of the light emanating from strong cadences that lead to the tonic, we are 

finally granted a beam of light here.  This takes form as a brilliant I64 to V cadential figure, 

which leads to the root position tonic chord. What makes this cadence particularly stunning 

is the appoggiatura involving the A (circled in red).  Truly, this cadence is a boon in these 

‘tonically troubled times’.   

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Campbell  7 

Measure 39‐44 is simply a restatement of the theme seen in measures 28‐32 with a 

variation in rhythm in the right hand.  The falling arpeggio in m.44 leads us into a sudden 

modulation into Gb major, the Neapolitan of F.  This is not completely startling because we 

have had the Db in the mix for a long time as the lowered sixth of F; now it becomes the 

fifth scale degree in Gb major.  In m.45 we see another common tone viio7 chord, which then 

leads to the I64 to V cadential figure.  Then, with pounding eighth notes (m.48), the V7 

appears, crashing its way into the German augmented sixth of F major, which leads to the 

tonic of F.  This is shown below: 

Example 5: Measures 47‐51 

 

One interesting thing to notice is the voice exchange occurring during the repeated 

Ger +6 chords in the third bar of this example.  This makes use of the G natural in the second 

eighth note chord of each beat, showing that we are definitely leaving Gb major.  Looking at 

the tone combinations and voice exchange, the use of the G natural as a passing tone makes 

the chord on the second subdivision of each beat a French augmented sixth chord.  This 

rapid alternating of augmented sixth chord has a dizzying effect as Schubert spins us back 

into F major, with the familiar cadence in measure 52. 

18

Campbell  8 

Starting in measure 53, both hands dip down into the bass clef.  The progressions 

here are a little ambiguous and can be interpreted in many different ways.  Here is a closer 

look at this progression: 

Example 6: Measures 53‐56 

 

  The confusing factor of this progression is the use of the lowered sixth.  It creates a 

vii o42 chord, a form of mode mixture in a major key.   This progression repeats in measures 

57‐60.  The Db in the highest voice in the last measure of this example sets up the 

suspension figures that begin in m.61.   

The next two measures are used to make a mesmerizing shift back to the beginning. 

We will look briefly at how he manages this feat: 

Example 7: Measures 61‐65 

 

   

19

Campbell  9 

    Schubert maneuvers into A minor again as the piece goes back to the 

beginning.  He uses the common tone of A in the V7/IV and the A minor second inversion 

chord to jump right back into the original key of the piece.  He even maintains the same 

suspension, just adjusting the other tones by a whole step or a half step.  This modulation 

seems effortless and is so smooth because Schubert maintains the suspension and the 

pedal tone.  In this way, Schubert sneaks another modulation past the ear of the listener. 

  Though this is just the exposition of this piece, it is easy to see some of the 

characteristics that are at the heart of this piece’s sound.  The smooth modulations, using 

weak resolutions, and avoiding strong tonal centers are all a part of the fluid, ethereal 

sound throughout.  We emerge with our vision of tonality changed, letting go of our 

conventions and surrendering ourselves to Schubert’s revolutionary musical journey. 

20

A Theoretical Analysis of Im Frühling:

A German Lied by Franz Schubert

Austin Mc Combs

21

Mc Combs 2

Even a cursory analysis of the Lied: Im Frühling yields many fascinating details

regarding the voice leading tendencies of Franz Schubert (January 31, 1797 – November 19,

1828), an Austrian composer whose extensive works include over 600 lieder (or German Songs

for voice and pianoforte). That which follows is an effort to analyze and explain many of

Schubert’s tendencies in the areas of modulation, voice leading, text painting, and other elements

that coalesce into the final product.

Primarily, one must understand the text in order to gain a clear picture of how it is

painted, and as the text is derived from a German poem by Ernst Schulze, a rudimentary

summation is assuredly in order. The title Im Frühling itself means “In Spring,” and the dulcet

and contemplative introduction on the piano accomplishes much in conveying images of

springtime to the mind of the listener. The early strains of the melody in G Major also make

reference to spring: the major sonority of the key and simplicity of the melody invoke an image

of first blooms (“Blüte”) and sunbeams (Frühlingsstrahl), while a modulation to the subdominant

compounds the pleasing effect. Though Schubert’s felicity does wane - the text hints at coming

melancholy and sadness (“ach so glücklich war,” “o, so happy was I”) – his only musical

reminder of this is a return from the euphoric subdominant to the home key of G Major. In the

second stanza, Schubert continues with an even richer painting of the text: the melody

temporarily tonicizes the dominant key, hinting at the speaker’s excitement in being by his

lover’s side (“so traulich und so nah,” “so intimate and so close”), and then drops an octave to

darker tones and harmonies as the text describes a “dark, rocky spring” (“und tief im dunkeln

Felsenquell”). However, the melody quickly ascends to a high F natural on the word “hell,”

(“bright”). As the piece continues, the later “B” section in G minor accompanies a much more

frustrated portion of the poem. The text laments: “Es wandeln nur sich Will und Wahn,

22

Mc Combs 3

es wechseln Lust und Streit,” (“The only things that change are will and delusion:

Joys and quarrels alternate”). This alteration of the melody into a minor key lends itself well to

the nature of this lamenting stanza. Yet, Schubert satisfies the listener by finishing the piece in

its home key of G Major. The text in summary reads: Were I a bird, I would bask in the

sunbeams of spring and sing another song for her. In summation, one can clearly see that

Schubert’s methods of text painting here are superb. Schubert employs both general and specific

elements of word painting in order to more effectively incite the listener into a state of

imagination, seeing both the euphoria at love’s embrace on a beautiful spring day, and the tragic

lament of loves loss, compounded by a hope and longing of love’s gentle return.

Also meriting mention in this passage is Schubert’s impeccable and fascinating style of

voice leading, which sports complex and genial modulations, intriguing chord progressions that

insist on delaying inevitable resolutions, and brilliant melodic contour which contributes

immensely to the smooth modulations and striking nature of the piece.

Primarily, it is incumbent that an in-depth discussion of Schubert’s modulations be made,

in order that one gain a further appreciation for their brilliance and novelty. Im Frühling begins

in G Major, but after only six measures modulates to C major, the subdominant key area. The

modulation here is of the common chord variety, but Schubert adds a bit of interest by first

tonicizing the supertonic area of G major with a V43/ii chord, whose resolution to the anticipated

A minor chord represents a pivot into C major (the ii chord in G becomes vi in C).

G: I I6 IV V43/ii ii or C:vi ii6 V7 I

Example 1, mm. 5-6

23

Mc Combs 4

Within the same stanza, Schubert modulates again, but this time from C major to A major. This

modulation is slightly more intriguing, as Schubert opts for a V43/vi chord in C major.

However, the chord resolves to an A Major chord instead of the expected resolution to a minor,

and Schubert then continues in the key area of A Major for a measure before changing mode to a

minor, thus finally resolving the V43/vi properly. But, even this modulation to A minor serves a

purpose, for it leads into a common chord modulation. (What was a i chord in A minor becomes

the ii chord in G major) The phrases in which these take place are manifest below:

Though Schubert dabbles in tonicization during much of the second stanza, he refrains from

modulation until nearly the end of the phrase, where he cadences in C Major, and remains for a

very short time before returning to the home key.

G: ii64 V43/IV IV G: IV Vsub6 vi C: I V65 I

Example 3, mm. 14-15

C: V65/V V V6 I V43/vi or A: V43

A: I V65 I V43 a: i6 (iv65) i64 V7 i G: ii iio64 I64 V7 I

Example 2, mm. 7-10

24

Mc Combs 5

Similar modulations occur in the third and fourth stanzas. However, Schubert alters the

accompaniment figure in both stanzas four and five, and thus garners additional interest from the

listener. This is a subject reserved for later discussion.

The material in the fifth stanza contrasts very strikingly with that of the first four.

Certainly, the greatest reason for this is that Schubert affects a change of mode from G Major to

G minor, likely to complement the much darker nature of this stanza’s text. Though highly

chromatic, the listener does not encounter the first modulation until the end of the first full

phrase (the phrase is a repeated phrase, being played instrumentally first by the piano, and then

repeated with voice). The most likely label for this particular modulation is “common chord,”

but the difficulty in analysis lies in the fact that the common chord serves as the Neapolitan in G

minor, which becomes a VI chord in C minor. Therefore, though the chord is common between

the two, it is not truly a diatonic chord in the original key area, and thus complicates the

conclusion. However, another possible analysis which exhibits some merit is that this is simply

a direct modulation, though given the involvement of several chords which concertedly work to

smooth this transition, the term direct modulation seems hardly fitting. Note the example below:

Example 4, mm. 35-36

g: I V7/iv iv64 V65/N N6 c: VI iio6 V i V65/V

25

Mc Combs 6

As is Schubert’s manner and prerogative, the piece does not remain in C minor, but modulates to

the key area of Ab Major in the second full phrase. This is approached by the tonic chord

(second inversion) in the key area of C minor, and the pivot for this altered chord modulation is a

tonicization of the sub-mediant (a V7/VI or Eb Mm7), which also functions as the dominant in

the new key area (Ab Major). Note that this key area was the original Neapolitan in the key

areas of both G Major and minor.

Example 5, mm. 37-38

Conveniently, the tonic chord in Ab Major on beat 3 of measure 39 (which interestingly moves

from root position to second inversion) serves subsequently to modulate back to G minor at the

end of the phrase, as the Neapolitan, of course. Example 6, mm. 39-40

Regarding the final stanza, the only modulation that is not a repetition represented in a previous

section is the transition back to G minor, which is accomplished rather simply by ending the

phrase with a Major tonic chord in G minor, which serves as a mode-mixture/common chord.

c: v V7 i64 V7/VI Ab: V7 I iiФ42 I V65

Ab: I IV I V7 I53 I64 g: N53 N64 i64 V7 i

26

Mc Combs 7

Then, Schubert simply changes the key signature from that of G minor to G major, thus

continuing with the piece. Nevertheless, the number of total modulations in the short span of the

four-minute piece is rather remarkable, and what is even more noteworthy than thus is the

smoothness with which Schubert accomplishes these, using both voice and piano to smoothly

lead from one key area to another. Truly, this piece is an exemplary token of complex, yet

cleanly cut modulatory technique.

Before continuing to the apex of the analysis, which is voice leading, a note must be

given regarding Schubert’s use of contrasting accompaniment figures. Note first that the piece is

loosely structured around the following form: Two contrasting phrases equal one period, and

contrasting periods combine for what might be described as either a double period or, perhaps

more accurate for this analysis, a strophe (though this term has its own problems, as there are

major differences between the strophes). There are three double periods/strophes in the piece,

and the first two are rather similar to each other, while the third is of great contrast during the

first period and greatly similar during the final period. This leads to the loose analysis of A A’ B

as the overarching form, which generally indicates Bar Form. The piece is diagramed below:

In continuation, Schubert refreshes each reprise of the similar A material with a different

accompaniment form, ranging from utterly simplistic during the first period to rhythmically

complex figures with much thicker textures during the later stanzas. Examples of these can be

seen in the Appendix.

Double Period Double Period A’ Double Period B with A material for final phrase

G: PAC G: PAC G: PAC G: PAC g: PAC G: PAC

B mm. 33-50 Fig. 1 A mm. 1-16 A’ mm. 17-32

Mm 10 Mm 16 Mm 26 Mm 32 Mm 40 Mm 50

27

Mc Combs 8

As a final installation, a discussion of Schubert’s voice leading in Im Frühling is a

necessary feature for this discourse, as many of the progressions are masterfully crafted and

exhibit obvious depth of thought process. Primarily, there is a common ostinatto figure which

appears in effectively every period with the exception of the G minor phrase (which uses a pedal

figure, instead). This ostinatto motive may be seen in several rhythmic forms, but tonally, it is

effectively identical for each of its appearances.

To speak on specific voice leading techniques, an incredibly common theme with Schubert’s

writing entails a progression of inversions of the same chord. This is to say that, when a chord or

series of chords is repeated several times in the course of very few measures, Schubert tends to

add interest and contrast by varying the inversion of the chords. Generally, these are dominant

seventh chords which progress from second inversion to first inversion, such as in the following

examples:

Secondly, Schubert seems adamant regarding resolutions of chords. However, though each

chord eventually resolves to the correct destination, that resolution is often delayed by a large

G: V43 V7 I IV V64 V43 A: I V65 I V43

Example 8A mm. 16

Example 8B mm. 24

Ostinatto in first major appearance Ostinatto in later appearance

Example 7B, mm. 17

Example 7A

mm. 1

28

Mc Combs 9

G: ii65 viiø7/ I64 V vii6/ V65 V V

Example 9 mm. 2

margin, due normally to tonicizations of one form or another. This is especially true with the

Cadential 64 figure, which appears time and again, and effectively appears unwaveringly in an

embellished and expanded form. A prime example of just such a delay comes in the second

measure as part of the ostinatto figure. The chord is approached by a supertonic chord (first

inversion) in the key area of G Major, which then progresses to a half dimished secondary

leading tone seventh chord (root position), tonicizing the key area of the dominant. However,

instead of resolving directly to the dominant that it tonicizes, the chord progresses first to a tonic

chord in second inversion, and then resolves to a dominant seventh chord in first inversion.

Also, observe the following example, which exhibits perhaps one of the most drawn out

resolutions in the piece:

As is clear, the Neapolitan (in root position, no less) serves as the pivot chord in this modulation,

and as it serves this role, the final resolution of the Neapolitan back into G minor does not occur

until many measures later. In fact, from C minor, the key is modulated once again to Ab Major,

the key area of the original Neapolitan of G minor. Ironically, it is actually from Ab Major that

g: i V7/iv iv64 (pedal) V65/N N53 c: VI53 iio6 V7 i V65/V

Example 10

mm. 35-36

29

Mc Combs 10

the Neapolitan is finally resolved, and the home key of G minor (soon to become Major) is once

again established.

Effectively, this delayed resolution is truly the pinnacle of all the modulations in this piece, for

not only does the Neapolitan create a total of three different modulations, but also because it is a

hyperbolic representation of an incredibly important motif in the piece: that of delaying the

inevitable resolution for as long as musically possible.

There are several fascinating instances of ambiguity which are well exemplified in measure nine.

The difficulty in analysis lies in the fact that multiple different chords may be postulated, given

the tones present in beats one and three. If the C natural is considered, then the chord might be

best analyzed as a iv65 chord with the B natural as a neighbor tone, while if the C natural is

considered an Appogiatura, then the chord might better be analyzed as a iiø43 chord.

Admittedly, the most accurate analysis would amount to something along the lines of higher

tertian, but given the time period in which this piece was written, that seems unfavorable.

a: i6 iiø43 I i or iv65 G: ii iio64 I64

Example 12 mm. 9

Ab: I IV6 I64 V7 I 64 g: N53 N64 i64 V7 i

Example 11 mm. 39

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Mc Combs 11

It merits mention that normative chord progressions are discarded in Example 12, as are diatonic

chord spellings, and yet measure nine serves as a pivotal sequence and a seemingly smooth

transition from one key to another, mostly thanks to the melodic simplicity and contour. As a

final note on voice leading, it should be noted that Schubert is incredibly stringent on resolving

sevenths wherever they occur, and his progressions, though complex, tend to rely on very simple

techniques of voice leading, including keeping common tones wherever possible and movement

that is otherwise very conjunct.

Observe the simplicity in the right hand; the forms are mostly triadic and many of the changes

are conjunct, while the chords in the left hand keep common tones when possible, an also exhibit

very conjunct motion.

Overall, an analysis of Franz Schubert’s lied “Im Frühling” yields many fascinating

aspects, varying from modulations to both nearly and distantly related keys, incredibly effective

voice leading, and rich text painting. To understand the subtle-yet-striking compositional style

of Schubert is to understand a very fundamental approach to musical composition in the

Romantic era, but with the added twist of fascinating but effective chromaticism.

Example 13, mm. 17-19

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Mc Combs 12

Appendix

mm. 5 mm. 17

mm. 41

mm. 33

32

Stanton 1  

Chelsea Stanton

Dr. Josselyn-Cranson

MUS231:01

7 December 2009

Chelsea Kay Stanton’s

Music Ministry Manifesto

“Where the world lives by legalistic fictions, the church lives by grace,” Paul

Westermeyer remarks in The Church Musician.1 In the life of a church music director, the

reality—hopefully—of grace in the church through Christ brings relief and freedom to strive to

fearlessly lead God’s people in song in the midst of contradicting expectations. On the other

hand, at this time in my life, the expectations I have of myself as a cantor come down to three

primary roles, each with many tasks: leading the people’s song, nurturing and strengthening the

congregation in their faith, and equipping the people to help each other sing—all with the help of

God’s healing grace.

First, the music minister leads the people’s song. The goal of a worship leader should be

to make it possible for the people to sing, rather than simply showing off their own virtuosity.

Westermeyer explains this idea: “The better the cantor does his or her job, the more the people

sing. The more the people sing, the less they seem to depend upon the cantor…[T]he cantor, like

the good teacher, aspires to become transparent.”2 While the cantor seeks invisibility, s/he still

needs to convey a confident demeanor, in order to assure the people that their song is in safe

hands. Portraying confidence includes standing tall with shoulders back, enunciating words to

songs and hymns clearly, singing the melody accurately, relaying instructions with surety,

                                                             1 Paul Westermeyer. The Church Musician, Revised ed. (Minneapolis: Augsburg Fortress, 1997), 108. 2 Ibid, 63.

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Stanton 2  

making eye contact, etc. All of these seemingly self-centered details help the congregation to

sing—a realization that occurred only recently in my life. A cantor with an apologetic or

defeated posture causes the congregation to feel insecure; even worse, a musically-unprepared

leader communicates to the congregation that their song is unimportant. On the other hand, an

arrogant church musician who appears to simply show off their own musical abilities leave the

congregation feeling mocked. Cantors work to avoid both of these pitfalls.

The cantor not only helps the people sing, but leads them in song that encourages

deepening of their relationships with God. The church musician uses his/her knowledge and

education to pick music that benefits the congregation spiritually--drawing the people to a fuller

understanding of Jesus, the Gospel, and themselves. To fill this role, the music director picks

songs and hymns that speak to the people and/or allow the people to speak. In other words, the

music the cantor extends to the people gives them the opportunity to sing their story together as

well as respond to God with their voices. A church music director, just as the pastor, recognizes

the importance of words in the life of the Church and seeks hymns and songs that communicate

Christ’s love and our love for each other through their words. Specifically, a few ways of loving

through words, for me, include trying to exclude insensitive language related to sex, gender

roles, handicaps, race, etc.; ensuring that the congregation understands all the words to songs,

through explanation, if need be; and avoiding unnecessary or unhelpful archaic language (for

example, using King James Version language in newer texts). Also, the cantor picks hymns that

highlight different aspects of God’s character in order to bring the people a fuller picture of God

and rid them of misconceptions or extremes. The music director may choose to incorporate

global music into the service to tell the story of the Church and allow the people to commune

with saints around the world. Also, the cantor works to incorporate new music into a

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Stanton 3  

congregation’s life; this challenges them musically and brings them another opportunity to see

the Church and its music in a new way. All of these options and more will a cantor employ, with

the help of the Holy Spirit, to bring the congregation to a stronger, more courageous trust and

hope in Christ.

Also, the music minister will assist in leading the people’s song through equipping others

to do the same. This role often involves directing smaller ensembles within the local church as a

whole; for example, leading a worship team, a choir, a children’s choir, a teen choir, a bell

ensemble, another instrumental ensemble, etc. Even small churches often run a volunteer choir

and/or praise band. While both of these positions necessitate many different technical skills,

both involve scheduling and running rehearsals, selecting music, and altogether serving each

ensemble in love. This job requires patience from the cantor as s/he works to help people with

varying levels of musical training to create a sound that praises God—striving for perfection

while trusting in grace. Also, the music director may need to fulfill any number of related

managerial tasks, such as scheduling special music for different groups, meeting with the pastor,

helping prepare the bulletin, etc.

Although a description of the life and ministry of a cantor could include much more than

this, I believe that these three tasks provide an overview of the purpose and place of a music

minister in the church: more specifically, what I hope to be as a cantor. I expect that many of the

details will become clearer as my experiences as a church musician continue to accumulate.

Overall, the music minister, vital to a healthy church, serves God through leading the people of

their congregation in love and truth. The cantor uses their special knowledge and skill, given and

grown through the grace of God, to fulfill their calling to love God and others through the service

of music.

35

Lundgren 1  

Emma Lundgren

Dr. Thomas Holm

History of Music I

23 November 2009

From Medieval to Contemporary: A Comparison of L’homme armé Masses

The purpose of this paper is to explore the famed L’Homme armé tune by comparing two

Masses that are based on the tune: one by Guillaume Dufay from the Medieval period, and one

by Karl Jenkins from the Contemporary period. This will be done by starting with background

information about the tune itself including its possible origins, interpretations of the text, and its

makeup. Then the two Masses’ applications of the tune will be described and compared.

The composer of the original L’Homme armé tune is unknown. Some scholars believe it

was Antoine Busnois (Lockwood 100), though this cannot be confirmed. It may have originated

as a popular folk song of the time, or it may have served as the tenor line of a three-part chanson.

Despite some controversy over which came first, Lockwood believes it is possible that the folk

song and tenor line origins occurred almost simultaneously (100). In contrast, Planchart seems to

lean toward the view that the number symbolism1 contained within the tune clearly shows that it

was invented by a skilled composer and could not have merely been a folk song (311). Most

scholarly research is inconclusive. What is absolutely certain is that L’Homme armé was a

familiar tune in Western Europe as of the 1450s.

Figure 1 shows the entire L’homme armé tune in modern notation along with the original

text. As the editors have labeled, the tune is in an ABA form, meaning the melody from the

_________________

1. For further information on the number symbolism related to the Burgundian ducal court’s Order of the Golden Fleece found in L’Homme armé, see Planchart 311-313.

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Lundgren 2  

beginning returns at the end. The triple meter coupled with alternating half notes and quarter

notes throughout give it syncopation and a jaunty feel. This rhythm adds excitement to the tune,

along with the generally rising melody line which climaxes on the high A in measure 20.

Figure 1

(Wright and Simms 129)

Note that in this example of the tune, there is no given key signature, nor are there any

accidentals. In the two Masses I will be discussing later, the composers made different choices

when to use or not use the B-flat. Without the flat, the tune sounds rather cheerful in Mixolydian

mode in section A. The B-flat alters the melody’s mood considerably, making it darker, and

shifting to Dorian mode transposed up to G in section B. By changing the mood, it possibly

changes the way listeners understand the meaning of the words. The text itself, translated from

French, means:

The armed man, the armed man, should be feared.

Everywhere the cry has gone out,

Everyone should arm himself

With a breastplate of iron.

The armed man, the armed man, should be feared. (Wright and Simms 129)

37

Lundgren 3  

The difference between a cheerful or dark mood makes the “armed man” someone to either be

admired or to be truly feared.

Along the same lines of varying moods, different interpretations of this text itself make

the song a call to arms either for military or religious purposes. The military implications are

apparent, but for it to be used in a Mass, the armed man would have been understood as a

Christian, whether as a 15th century soldier on a crusade or someone fighting against everyday

sin. He may have even been Jesus along with his Christian soldiers (Wright and Simms 129).

These potentially religious meanings made it acceptable for composers to use the tune within

their Masses, which a large number of them did. More than forty Masses written between 1450

and 1700 contain the L’homme armé tune (Fallows).

One of these Masses was Guillaume Dufay’s Missae L’homme armé,2 which was written

in the mid 1400s (Fallows), placing it in the Medieval period. Masses from this period were

written for a capella choirs and were often cantus firmus Masses. A cantus firmus Mass is one

that uses a previously existing melody as unifying base for all movements of the Ordinary of the

Mass, usually within the tenor line (Wright and Simms 130). Dufay’s L’homme armé is such a

Mass. Within the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei, which are the movements that

make up the Ordinary in a standard Mass, the L’homme armé tune constitutes nearly all the notes

in the tenor line with a few exceptions in the first sections of the Gloria and the Credo, as well as

parts of the Sanctus and Agnus Dei. When it is not in the tenor line, it appears in the alto lines. In

the Sanctus starting in measure 35, the bass line takes the lead with the tune, and the tenor line

imitates it starting three measures later.

_________________

2. Throughout this paper, any reference to Dufay’s Missae L’homme armé, namely measure numbers, will be from the Dufay score listed on the Works Cited page.

38

Lundgren 4  

Throughout Dufay’s Mass the L’homme armé tune takes on several different forms that

depend on duration and octave. In the Kyrie, the duration of notes follows the same pattern

shown in Figure 1, only as adjusted for a 3/2 time signature. However, in the Gloria, Credo, and

the first half of the Sanctus, every instance of the cantus firmus has augmented note durations, a

slightly altered rhythm, and extended rests throughout as shown in Figure 2, which is taken from

measures 17-26 of the Gloria. When the tune is spread out with long notes and rests, it is harder

to hear it when it is mixed in with the other more showy and melismatic parts, but in Dufay’s

time, it may have been known well enough that the people who heard it were still able to

recognize it.

Figure 2

The Agnus Dei is easily the most attention-grabbing occurrence of the L’homme armé.

The movement begins with the tune in the tenor with the standard note durations and rhythms

illustrated in Figure 1. However, starting in measure 76, the tenor outlines the entire L’homme

armé in retrograde motion and then returns to forward motion in measure 114 (see Appendix 1).

The forward-retrograde-forward motion represents the circular path Jesus Christ took from

Heaven to Earth, then to Hell to conquer death, stopping a short time again on Earth, and finally

returning to Heaven (Wright and Simms 130). Thus, Dufay affirmed his use of the L’homme

armé tune for the Mass; by using the symbolism of the retrograde motion, he depicted Jesus as a

death-conquering soldier who should be feared, just as the original text suggests.

Another L’homme armé Mass that uses militaristic musical themes is Karl Jenkins’s The

Armed Man: A Mass For Peace. Written in the late 1990s, Jenkins’s Mass contains many

39

Lundgren 5  

contemporary musical aspects and has more of a goal to be a musical masterpiece and production

rather than to be used in liturgy. This is evidenced in the use of instrumentation for a full

orchestra in addition to the music for the choir, as well as nine completely new movements with

some of the text taken from the Koran and the Mahàbhàrata mixed in with the standard Catholic

ones. Jenkins chooses to only include the Kyrie, Sanctus, and Agnus Dei, plus the Benedictus

that Dufay did not use. The new movements tell a story of a war that can be followed in their

titles: “The Armed Man,” “Call to Prayers,” “Save Me from Bloody Men,” “Hymn Before

Action,” “Charge!,” “Angry Flames,” “Torches,” “Now the Guns have Stopped,” and “Better is

Peace.” Each of the movements, even the liturgically-based ones, use instrumental

accompaniment and dramatic singing styles or vocal solos to set a certain mood or to further

convey the events being reported by the text. An instrumental example is in “The Armed Man,”

where trumpets and a snare drum simulate music that a military band might play while marching

to battle. At the end of “Charge!,” the vocalists are instructed to sing any notes in order to sound

like a horrified mass of people. These and other convincing effects, along with the single story

being told, give the Mass a unified theme, much like the cantus firmus does in Dufay’s Mass.

In Jenkins’s, the L’homme armé is not used throughout, but rather as bookends: it serves

as the melody of the first and last movements. It is first presented at the beginning of the first

movement, “The Armed Man,” in the piccolo part in measure 5, shortly followed by the upper

voices of the choir in measure 16. Every time the tune is used, it is in virtually the same rhythmic

pattern as shown in Figure 1, only adjusted for a 12/8 time signature. Figure 3 is a vocal excerpt

from the first movement, and it illustrates the aforementioned rhythm.

_________________

3. Throughout this paper, any reference to Jenkins’s The Armed Man: A Mass for Peace will be from the Jenkins score and recording listed on the Works Cited page.

40

Lundgren 6  

Figure 3

As Figure 3 also shows, much of this movement is sung in unison, which is true of most of the

Mass. Also, the words are the text from the original tune. This makes sense, as the first

movement is the call to arms for the war that is about to begin within the composition.

At the end of the war and the Mass, “Better is Peace,” the L’homme armé tune reappears,

but in a slightly different way than at the beginning. It starts out the same with the piccolo, but

the soprano and alto voices alternate entrances with the tenor and bass from measures 16-41.

Then all the voices sing together in measures 42-52, which is the final occurrence of the tune. All

but measures 34-41 have different words for the L’homme armé tune in this movement. Instead

of the original words, they say, “Better is peace than always war.” The final section of text is

taken from Revelation 21:4. These words provide an end that complements the beginning by

being a call for peace.

One small but significant way the last movement provides satisfactory closure is shown

in Figure 4 with the use of a B-natural in the L’homme armé tune rather than the B-flat that was

present in the first movement.

41

Lundgren 7  

Figure 4

As mentioned earlier, the natural gives it a more cheerful sound. With this cheerful sound comes

the sense of triumph and finality one might expect at the end of a musical depiction of war.

In summary, both Dufay and Jenkins incorporated the same L’homme armé melody into

their Masses as a unifying theme, but they did so in very different ways. Dufay chose, as was

typical in Medieval times, to place the melody in the tenor in all movements of the Ordinary. The

words sung with the tune are melismatic; the melismas and the augmented note values make it

extremely difficult to distinguish the L’homme armé from the other voices singing at the same

time. In contrast, Jenkins includes the tune only in the first and last movements of his Mass, but

he writes it into all of the vocal parts in unison. Also, Jenkins places a syllable of text with every

note, making it syllabic rather than melismatic. By doing so, the tune is unmistakably heard

when it is performed. These differences, along with others, reflect the changes that have occurred

over time within music composition.

42

Lundgren 8  

Works Cited

Dufay, Guillaume. Missa “L’homme armé.” Ed. Gábor Darvas. Budapest: Editio Musica

Budapest, 1971. Musical score.

---. Missa L’homme armé. Perf. Oxford Camerata. Cond. Jeremy Summerly. Naxos, 1995. CD.

Fallows, David. "L’homme armé." Grove Music Online. Oxford Music Online. Web. 12 Nov.

2009.

Jenkins, Karl. The Armed Man: A Mass For Peace. Boosey and Hawkes, 1999. Musical Score.

---. The Armed Man: A Mass For Peace. Perf. The National Youth Choir of Great Britain; The

London Philharmonic Orchestra. Virgin Records, 2001. CD.

Lockwood, Lewis. “Aspects of the ‘L’Homme armé’ Tradition.” Proceedings of the Royal

Musical Association. 100 (1973-1974): 97-122. JSTOR. Web. 31 Oct. 2009.

Planchart, Alejandro Enrique. “The Origins and Early History of ‘L’homme arme.’” The Journal

of Musicology, 20.3 (2003): 305-57. JSTOR. Web. 31 Oct. 2009.

Wright, Craig, and Bryan Simms. Music in Western Civilization. Thomson Schirmer, 2006. 129-

130. Print.

43

Lundgren 9  

Appendix 1

Excerpt of Dufay’s Agnus Dei—example of retrograde motion in the tenor (Dufay 55)

44

A Comparison of Three Troubadour Songs by Bernart de Ventadorn

Carolyn Dundas

History of Music I

Dr. Holm

17 November 2009

45

Dundas 2

Rarely do people use the word “troubadour” in modern times; the contributions of these

early poetic court musicians are easily overlooked or forgotten. Yet secular music, in particular

that about love, would not be what it is today without the influence of troubadours (Parrish 27).

This paper will explore three compositions by one such poet-musician, Bernart de Ventadorn.

More precisely, these pages will compare Can vei la lauzeta, Non es meravelha s’eu chan, and

Be m’an perdut, both musically—including an analysis of modes, melodic figures, and both

broad and specific musical structures—as well as textually, through looking at syllables, rhyme

schemes, and thematic ideas. By the end, the reader will be able to identify some of Bernart de

Venatadorn’s traits incorporated into these melodies and texts that show a common style.

To begin the comparison among these three works, it is important to study the musical

structure of the pieces, noting the composer’s original intent. Even upon briefly skimming the

attached versions of the pieces, one may note that Bernart only scored Can vei la lauzeta in

treble clef (Roden 30), whereas his Be m’an perdut is unique in that it includes rhythmic

notations beyond just note heads (Parrish 32). However, with knowledge of the historical

context, the analyst must understand that a male would have sung the troubadour melody,

making the clef sign and prescribed pitch irrelevant. The rhythm in the one score is presumably a

modern editor’s interpretation of the melody, since troubadours in the Middle Ages would have

written their melodies similar to chants, leaving room for rhythmic improvisation based on the

insights of the performer. Despite how any certain person would sing these lines, this paper seeks

only to compare what is defined in the score, recognizing the slight variations in rhythmic

interpretation. Therefore, the only valid similarity on a basic level in the scores is that each of the

three works is monophonic, written for only one voice without any specified instrumental

accompaniment.

46

Dundas 3

In continuation of a musical structure analysis, another notable means of comparison in

the melodic figures is the mode of each piece. As with other monophonic chants from the Middle

Ages, the method of determining the mode comes from the final pitch and range of the piece.

Can vei la lauzeta ends on a D, and the range only expands upward; therefore, this melody is in

Dorian mode (Roden 30). Likewise, Non es meravelha s’eu chan also ends on a D, and the range

of this voice extends up to a C and down to a lower C (Hoppin 81). Thus, the modes of both of

these are the same: Dorian. In contrast, although the beginning of the third troubadour song, Be

m’an perdut, emphasizes the pitches of G and D, the final note is a C (Parrish 32). Interestingly,

this particular work is not in any of the church modes, and certainly not in Dorian (unless the

editor of this particular score transposed the melody). Rather, it is in the Ionian mode, similar to

a major key, surprising because it was written before the time frame of tonal music. These first

similarities can be viewed in Table 1, Example 1A.

Although only two of the pieces are in the same mode, all three of these troubadour

melodies present virtually the same melodic figures. Each of the solos is conjunct in melody; that

is, the voice moves mostly by step. Be m’an perdut again differs slightly from the other two with

its more frequent use of leaps, often in perfect fourths or in thirds. All three of Bernart de

Ventadorn’s pieces being analyzed contain a distinct trait of slurred notes moving downward by

step, generally in groups of three. This can be seen on the first half of the word “contral” in Can

vei la lauzeta (Figure 1-A); on the word “chan’” in Non es meravelha s’eu chan (Figure 1-B);

and on the first half of the word “m’a-ma” in Be m’an perdut (Figure 1-C).

Figure 1-A 1-B 1-C

47

Dundas 4

Bernart expands this by moving either upward or else downward and then upward in both Can

vei la lauzeta and Non es meravelha s’eu chan especially. Furthermore, each of these melodies

contains several of these runs by whole steps or half steps, which are used as decoration even

though the text does not change on these notes.

Beyond small melodic figures in the pieces, another interesting idea to delve into is their

musical structures, both broadly and more in-depth. The layout for these troubadour songs by

Bernart de Ventadorn is perhaps the most striking similarity out of all the different areas

analyzed, apparent even at first glance: all three are strophic musical works, without refrain.

Similarly, each song consists of several verses with a tornada at the end. These tornadas are

“concluding stanza[s] addressed to the person for whom the song is written,” common in

troubadour melodies (Parrish 28). Both Can vei la lauzeta and Non es meravelha s’eu chan

contain seven verses followed by a tornada; Be m’an perdut contains six verses and a tornada

(Table 1, Ex. 1B).

Even more specifically, the musical structures and repetition of melodies can be analyzed

within each of the works. The melody in Can vei la lauzeta only contains one repeated phrase

within each verse, the fourth and the seventh, giving it a structure of abcdefdg. However, each of

the other two melodies has more intricately patterned phrases. In Non es meravelha s’eu chan,

the melodic figure for the first line of text in each verse appears again (with different words) for

the fifth line of text. Thus, by taking each line separately as a phrase, the overall musical

structure of each verse can be written as abcdaefd. The first half of the verse (lines 1-4) thus ends

the same as the last half of the verse, unifying the entire verse as one. Likewise, Be m’an perdut

contains distinct musical phrases for each line of text. The structure for each verse in this song is

ababcdb; Bernart again chose to repeat one of the earlier melodic lines as the final phrase, giving

48

Dundas 5

a more final conclusion and tying the entire work together (Parrish 28). In this regard, a listener

can notice Bernart de Ventadorn’s style especially in the composition of the second and third of

the pieces being analyzed (Table 1, Ex. 1C), as both contain repetition of musical figures that

creates more cohesion among the verses.

Now that Bernart de Ventadorn’s works have been analyzed musically, it is time to

compare the texts of the pieces. To fully appreciate any poetry, one must look at the word

structure. As far as meter, both Can vei la lauzeta and Non es meravelha s’eu chan contain eight

syllables per line of text. This not only affects the flow of the lyrics, but it also helps to shape

similar phrasing musically, showing a consistent mindset of the composer, Bernart de Ventadorn.

The final piece, Be m’an perdut, contains ten syllables per line of text, which is rather similar to

the other two, especially since it has one fewer verse (Table 1, Ex. 1D). With this in mind, all

three works appear to be of around the same length.

Likewise, all three of these troubadour songs contain concise rhyme schemes, though

none of them are identical. By looking at the end word of each line of text in its original French,

the rhyming patterns can be noted. While Can vei la lauzeta contains little musical repetition, the

words in this song are perhaps the most beautiful stylistically. The rhyme scheme within each

verse of this work can be labeled as ababcdcd, but Bernart de Ventadorn went even further by

continuing the same pattern in all seven verses as well as in the tornada. Thus, the “a” ending

words in verse one also rhyme with all of the “a” ending words in all of the other verses. In this

light, the Bernart’s effort in writing the lyrics of this troubadour song should not be overlooked,

as every word was carefully chosen to both reflect the mood and follow the rhyme pattern. The

same is the case for the second piece, Non es meravelha s’eu chan. Although this song’s rhyme

pattern is abbacddc for each of the verses—a slight modulation from the rhyme scheme of the

49

Dundas 6

previous piece—this pattern is likewise carried through for the entire composition. In Be m’an

perdut, the final song being analyzed, Bernart de Ventadorn integrated something even more

unique into the rhyming pattern: he included only two different endings for the lines. Thus, the

rhyme scheme is ababaab, containing seven lines per verse instead of the eight in the other two

pieces. As far as a broad view on this song, he used the same rhyme endings for the first two

verses, and then switched to different endings for the second two, and the final two verses as

well as the tornada have yet again new endings. These comparisons show that Be m’an perdut is

the least like the other two pieces, but also that Bernart consistently used rhyme schemes in all

three poetic songs (Table 1, Ex. 1E-1F).

Lastly, in the analysis of three works by Bernart to Ventadorn, it is important to note the

striking similarities in themes among the texts. As with other troubadour melodies, these served

the purpose of entertainment in the courts of nobility, not for religious meditation. Bernart de

Ventadorn, in all of his pieces, sings of love through “sorrow, joy, disillusionment, and hope”

(Topsfield 112). More specifically, in Non es meravelha s’eu chan, the text is about finding life

in loving someone. Indeed, love is apparently his very reason for existence and singing, so he

continues telling of his “intense feelings” (Topsfield 112). Along with being completely

consumed by loving a woman, he realizes that there is pain in love when he sings, “This love so

gently wounds my heart with a sweet savor” (Hoppin 82). Still, he promises to serve this lady.

Likewise, the thematic idea in Be m’an perdut is that although his “lady loves [him] not,” he

finds “joy and pleasure in loving” her (Parrish 29). Again, he vividly describes how love changes

him and gives him life, and how he wants to serve his lady out of love. Finally, in Can vei la

lauzeta, Bernart laments about loving a lady who does not return his love. While the previous

two songs were about the joys of love, this one instead emphasizes the pain. He even states, “I

50

Dundas 7

despair of ladies; I shall not trust them again” (Roden 31). By placing all three musical works

together textually, the picture is painted more vividly: Bernart loves a woman of higher class

who inspires him to sing, so when she (or another lady) does not return the love, he finds no

point in life. Thus the themes of all are clearly intertwined with his ideas of love. Furthermore,

all three pieces are descriptive of the feelings, thoughts, and emotions of the troubadour. As one

researcher phrased it, “Bernart’s originality and greatness lie in his lyric power to express with

immediacy his feelings of joy, sorrow, rebellion, acceptance, and humility” (Parrish 135). These

three poetic writings of Bernart de Ventadorn all contain this emotional vantage point of love, a

striking parallel in all his works.

After analyzing all areas—musically, through looking at modes, melodic figures, broad

musical structures, and specific musical structures, as well as textually, including syllables

patterns, rhyme schemes, and thematic ideas—of three of Bernart de Ventadorn’s works

throughout this paper, one can recognize several similarities in the composer’s writing of

troubadour songs. While Can vei la lauzeta, Non es meravelha s’eu chan, and Be m’an perdut

each contain distinct traits in musical style and rhyming patterns, they also contain striking

parallels in strophic features, melodic figures, and textual themes of love. Thus Bernart de

Ventadorn demonstrated his creative genius in carefully capturing emotion in his troubadour

melodies, while still remaining true to his concise metric style.

51

Dundas 8

Bibliography

Hoppin, Richard H, ed. Anthology of Medieval Music. New York: W.W. Norton & Company,

Inc, 1978. 81-83. Print.

Parrish, Carl, ed. A Treasury of Early Music. N.p.: W.W. Norton & Company, Inc, 1958. 28-32.

Print.

Roden, Timothy, Craig Wright, and Bryan Simms, eds. Anthology for Music in Western

Civilization. Vol. I. Belmont, CA: Thomson Schirmer, 2006. 29-31. Print. II vols.

Topsfield, L.T. Troubadours and Love. N.p.: Cambridge University Press, 1975. 111-35. Print.

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beg

in a

ny

tim

e—to

nig

ht

if y

ou

lik

e.1 –

C.S

.

Lew

is

T

he

div

ine

my

ster

y o

f th

e tr

iun

e g

od

hea

d p

erp

lex

es b

oth

iv

ory

to

wer

th

eolo

gia

ns

and

fait

hfu

l la

yp

eop

le w

ith

lit

tle

fam

ilia

rity

wit

h n

uan

ced

th

eolo

gic

al j

arg

on

. Y

et d

esp

ite

the

inab

ilit

y o

f th

e fi

nit

e m

ind

to

un

der

stan

d t

he

intr

icat

e w

ork

ing

s o

f a

un

ifie

d T

rin

itar

ian

Go

d,

Ch

rist

ian

s th

rou

gh

ou

t h

isto

ry h

ave

affi

rmed

th

e ex

iste

nce

an

d i

mp

ort

ance

of

no

t o

nly

dia

log

uin

g

abo

ut

bu

t ex

per

ien

cin

g t

his

my

ster

iou

s G

od

. W

het

her

in

th

e q

uie

t ex

per

ien

ced

by

a r

eclu

se

des

ert

mo

ther

in

th

e se

con

d c

entu

ry o

r sh

ou

ts o

f p

rais

e in

a P

ente

cost

al w

ors

hip

ser

vic

e in

th

e

21

st c

entu

ry,

each

has

so

ug

ht

a re

lati

on

ship

an

d c

on

nec

tio

n w

ith

Go

d.

Th

e T

rin

ity

rem

ain

s a

hal

lmar

k o

f th

e C

hri

stia

n l

ife

and

ex

per

ien

ce.

Alt

ho

ug

h c

ereb

ral

un

der

stan

din

g o

f G

od

is

lim

ited

by

hu

man

ity

’s i

nab

ilit

y t

o c

on

ceiv

e o

f a

bei

ng

th

at i

s th

ree

in o

ne,

Ch

rist

ian

s ca

n e

xp

erie

nce

th

is

my

ster

y a

s th

ey a

re d

raw

n i

nto

th

e T

rin

ity

th

rou

gh

pra

yer

, w

ors

hip

, o

r o

ther

sp

irit

ual

en

cou

nte

rs

wit

h d

ivin

ity

. “

In i

ts r

itu

als,

its

pro

clam

atio

ns,

an

d i

ts s

ing

ing

, th

e ch

urc

h t

esti

fies

to

th

e tr

iun

e

Go

d.”

2

Bap

tism

dem

on

stra

tes

ho

w o

ne

is b

apti

zed

in

to t

he

firs

t p

erso

n o

f th

e T

rin

ity

an

d t

her

eby

un

ited

to

Ch

rist

th

rou

gh

th

e S

pir

it.3

Sim

ilar

Tri

nit

aria

n p

arad

igm

s ex

ist

in t

he

cele

bra

tio

n o

f th

e

Eu

char

ist,

pre

ach

ing

, an

d s

ing

ing

. T

her

efo

re,

thro

ug

h t

his

co

nti

nu

ed t

riu

ne

emp

has

is i

n t

he

sacr

amen

ts,

pre

ach

ing

, an

d m

usi

cal

wo

rsh

ip,

po

ssib

le t

o i

den

tify

th

at “

Ch

rist

ian

wo

rsh

ip a

t it

s

1 C

.S.

Lew

is.

Mer

e C

hri

stia

nit

y. N

ew Y

ork

: M

acM

illa

n P

ub

lish

ing

Co

mp

any

, 1

95

2.

14

3.

2 R

uth

C.

Du

ck.

"Tri

nit

aria

n L

ang

uag

e in

Hy

mn

s."

In P

rais

ing

Go

d:

Th

e T

rin

ity

in C

hri

stia

n W

ors

hip

, b

y R

uth

C.

Du

ck a

nd

Pat

rici

a W

ilso

n-K

astn

er,

81

-97

. L

ou

isv

ille

: W

estm

inst

er J

oh

n K

no

x P

ress

, 1

99

9.

81

. 3 I

bid

.

Kl

um

pp

| 2

ver

y h

eart

is

Tri

nit

aria

n.”

4

Bec

ause

of

the

spec

ial

role

of

wo

rsh

ip i

n a

Ch

rist

ian

’s r

elat

ion

ship

wit

h t

he

Tri

nit

y,

this

pap

er e

stab

lish

es t

he

imp

ort

ance

of

Tri

nit

aria

n w

ors

hip

to

No

rth

wes

tern

Co

lleg

e in

Ora

ng

e C

ity

, Io

wa

in l

igh

t o

f it

s re

lig

iou

s h

erit

age

and

ass

esse

s th

e p

rese

nce

of

Tri

nit

aria

n l

ang

uag

e an

d t

heo

log

y w

ith

in m

usi

cal

wo

rsh

ip a

t tw

o w

eek

ly s

erv

ices

ov

er a

th

ree-

mo

nth

per

iod

.

T

his

ass

essm

ent

firs

t d

iscu

sses

th

e h

isto

rica

l d

evel

op

men

t o

f T

rin

itar

ian

wo

rsh

ip a

nd

th

en

pro

vid

es a

nal

ysi

s o

f b

oth

ser

vic

es.

It

beg

ins

by

ex

po

un

din

g u

po

n a

his

tori

cal

un

der

stan

din

g o

f

the

imp

ort

ance

an

d a

ffir

mat

ion

of

Tri

nit

aria

n w

ors

hip

th

rou

gh

th

e co

nti

nu

al d

evel

op

men

t o

f

Ch

rist

ian

ort

ho

do

xy

. B

ecau

se o

f N

ort

hw

este

rn C

oll

ege’

s af

fili

atio

n w

ith

th

e R

efo

rmed

Ch

urc

h

in A

mer

ica,

th

is h

isto

rica

l an

aly

sis

par

ticu

larl

y f

oll

ow

s th

e R

efo

rmed

tra

dit

ion

of

Tri

nit

aria

n

wo

rsh

ip.5

T

he

sect

ion

co

ncl

ud

es b

y f

oll

ow

ing

th

e le

gac

y o

f w

ors

hip

an

d t

he

Tri

nit

y f

rom

th

e

fou

nd

ing

of

No

rth

wes

tern

Co

lleg

e in

18

82

un

til

the

pre

sen

t.

Th

is r

ud

imen

tary

un

der

stan

din

g o

f

No

rth

wes

tern

Co

lleg

e’s

his

tori

cal

con

tex

t an

d a

ffir

mat

ion

of

the

imp

ort

ance

th

e T

rin

ity

in

wo

rsh

ip l

ead

s d

irec

tly

to

a s

tud

y o

f th

e T

ues

day

Ch

apel

an

d S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip

serv

ices

. T

his

an

aly

sis

exam

ines

th

e p

rese

nce

of

Tri

nit

aria

n l

ang

uag

e in

mu

sica

l w

ors

hip

at

each

serv

ice

by

fir

st c

on

sid

erin

g e

ach

per

son

of

the

Tri

nit

y i

nd

ivid

ual

ly,

then

see

kin

g t

o r

eco

gn

ize

spec

ific

ref

eren

ces

the

Tri

un

e G

od

, an

d f

inal

ly b

y c

on

sid

erin

g a

mb

igu

ou

s an

d s

ub

stit

uti

on

ary

lan

gu

age

wit

hin

wo

rsh

ip.

Th

is s

tud

y c

on

clu

des

by

co

nsi

der

ing

qu

and

arie

s th

at m

ay a

rise

du

e to

the

fin

din

gs

pre

sen

ted

an

d p

oss

ible

way

s to

bo

lste

r th

e T

rin

itar

ian

asp

ects

of

thes

e se

rvic

es.

4 I

bid

. 5 T

his

is

no

t to

say

th

at T

rin

itar

ian

wo

rsh

ip c

ease

d t

o e

xis

t in

Ort

ho

do

x C

hu

rch

aft

er t

he

sch

ism

in

10

54

CE

, th

at t

he

En

gli

sh h

ym

no

dy

of

Wat

ts a

nd

th

e W

esle

ys

was

no

t si

gn

ific

ant,

or

oth

er p

oin

ts o

f d

evia

tio

n d

id n

ot

fost

er a

n

ort

ho

do

x a

pp

reci

atio

n o

f th

e T

rin

ity

. T

hes

e m

usi

cal

and

th

eolo

gic

al d

evel

op

men

t si

mp

ly h

ad a

les

s d

irec

t in

flu

ence

on

No

rth

wes

tern

Co

lleg

e.

60

Kl

um

pp

| 3

Ch

rist

ian

Ort

ho

do

xy

an

d T

rin

ita

ria

n W

ors

hip

Th

e si

gn

ific

ance

an

d c

entr

alit

y o

f w

ors

hip

ing

an

d a

ckn

ow

led

gin

g t

he

Tri

nit

y o

rig

inat

es i

n

earl

y f

orm

s o

f C

hri

stia

nit

y e

xis

tin

g i

n t

he

apo

sto

lic,

po

st-a

po

sto

lic,

an

d p

atri

stic

era

s an

d

con

tin

ues

to

man

ifes

t it

self

in

th

e cu

rren

t cr

eed

al c

on

fess

ion

s, w

ors

hip

pra

ctic

es,

and

fun

dam

enta

l b

elie

fs o

f o

rth

od

ox

Ch

rist

ian

ity

. T

he

Tri

nit

aria

n h

erit

age

of

Ch

rist

end

om

str

on

gly

con

trib

ute

s to

th

e le

gac

y o

f C

hri

stia

n w

ors

hip

. M

ov

emen

ts,

cou

nci

ls,

theo

log

ian

s, a

nd

mu

sici

ans

hav

e ad

vo

cate

d f

or

the

auth

ori

ty,

do

ctri

nal

sig

nif

ican

ce,

and

in

ten

tio

nal

use

of

Tri

nit

aria

n

tho

ug

ht

and

lan

gu

age

in w

ors

hip

. T

he

pre

sen

t-d

ay c

hu

rch

an

d t

he

com

mu

nit

y o

f N

ort

hw

este

rn

Co

lleg

e am

on

g i

t b

ears

th

is a

bu

nd

ant

inh

erit

ance

.

Th

e co

nce

ptu

al a

nd

th

eolo

gic

al u

nd

erst

and

ing

of

the

Tri

nit

y o

rig

inat

es w

ith

in B

ibli

cal

tex

ts.6

B

egin

nin

g w

ith

th

e P

auli

ne

dis

cuss

ion

of

Ch

rist

ian

wo

rsh

ip f

ou

nd

in

1 C

ori

nth

ian

s 1

4:2

6,

ther

e is

a c

lear

dis

cou

rse

con

cern

ing

th

e el

emen

ts o

f w

ors

hip

.7

Th

is p

assa

ge

stat

es,

“Wh

en y

ou

com

e to

get

her

, ea

ch o

ne

has

a h

ym

n,

a le

sso

n,

a re

vel

atio

n,

a to

ng

ue,

or

an i

nte

rpre

tati

on

. L

et a

ll

thin

gs

be

do

ne

for

bu

ild

ing

up

,” a

nd

cal

ls b

elie

ver

s to

en

gag

e b

oth

th

eir

spir

its

and

th

eir

min

ds

in

the

wo

rsh

ip e

xp

erie

nce

.8

Th

is c

ou

nse

l to

th

e ch

urc

h i

n C

ori

nth

ill

ust

rate

s a

Pau

lin

e v

iew

of

wo

rsh

ip,

wh

ich

in

clu

des

am

on

g o

ther

th

ing

s, b

oth

cer

ebra

l en

gag

emen

t an

d m

usi

cal

pra

ctic

es.

Acc

ord

ing

to

Pau

l, m

usi

cal

wo

rsh

ip i

s an

in

teg

ral

po

rtio

n o

f th

e o

ver

all

Ch

rist

ian

ex

per

ience

an

d

cou

ld a

id i

n m

enta

l st

imu

lati

on

th

at i

s p

resu

med

to

acc

om

pan

y t

heo

log

ical

po

stu

lati

on

s an

d

con

un

dru

ms,

wh

ich

oft

en i

ncl

ud

es w

ork

ing

un

der

stan

din

gs

of

the

Tri

nit

y.

6 W

hil

e th

ere

are

a m

yri

ad o

f te

xts

th

at r

efer

to

wo

rsh

ip t

hro

ug

ho

ut

the

Bib

lica

l n

arra

tiv

e, t

he

pu

rpo

se o

f th

is

dis

cou

rse

is t

o u

nd

erst

and

an

d a

pp

reci

ate

the

mu

sica

l as

pec

ts o

f w

ors

hip

as

they

ref

lect

a p

arti

cula

r em

ph

asis

on

Tri

nit

aria

n t

heo

log

y.

Th

eref

ore

, th

e te

xts

dis

cuss

ed a

re n

ot

rep

rese

nta

tiv

e o

f th

e en

tire

ty o

f B

ibli

cal

lite

ratu

re

dia

log

uin

g a

bo

ut

Ch

rist

ian

wo

rsh

ip b

ut

serv

e as

ex

emp

lary

pas

sag

es f

or

stu

dy

reg

ard

ing

wo

rsh

ip.

7 I

am

in

deb

ted

to

Osc

ar C

ull

man

n,

auth

or

of

Ea

rly

Ch

rist

ian

Wo

rsh

ip,

for

the

refe

ren

ce t

o t

his

scr

iptu

ral

pas

sag

e.

8 B

ibli

cal

refe

ren

ces

are

tak

en f

rom

th

e N

ew R

evis

ed S

tan

dar

d V

ersi

on

un

less

tra

nsl

ated

dir

ectl

y f

rom

th

e o

rig

inal

Gre

ek,

in w

hic

h c

ase,

th

e d

irec

t tr

ansl

atio

n w

ill

be

app

rop

riat

ely

den

ote

d.

Sch

ola

rs b

elie

ve

that

th

e b

oo

k o

f 1

Co

rin

thia

ns

was

wri

tten

bet

wee

n t

he

53

-55

C.E

. R

ich

ard

B.

Hay

s. F

irst

Co

rin

thia

ns:

In

terp

reta

tio

n,

a B

ibli

cal

Co

mm

enta

ry f

or

Tea

chin

g a

nd

Pre

ach

ing

. L

ou

isv

ille

: Jo

hn

Kn

ox

Pre

ss,

19

97

.

Kl

um

pp

| 4

Alt

ho

ug

h t

her

e ar

e a

mu

ltit

ud

e o

f B

ibli

cal

pas

sag

es t

hat

sig

nif

ican

tly

aid

ed i

n t

he

dev

elo

pm

ent

of

Tri

nit

aria

n d

oct

rin

e an

d a

ttit

ud

es c

on

cern

ing

wo

rsh

ip,

the

mo

st e

xp

lici

t o

f th

ese

pas

sag

es i

s fo

un

d i

n E

ph

esia

ns

5:1

7-2

0.9

In

th

is p

assa

ge,

th

e au

tho

r in

stru

cts

the

Ch

rist

ian

com

mu

nit

y t

o:

…b

e fi

lled

wit

h t

he

Sp

irit

, as

yo

u s

ing

psa

lms

and

hy

mn

s an

d s

pir

itu

al s

on

gs

amo

ng

yo

urs

elv

es,

sin

gin

g a

nd

mak

ing

mel

od

y t

o t

he

Lo

rd i

n y

ou

r h

eart

s, g

ivin

g t

han

ks

to G

od

the

Fat

her

at

all

tim

es a

nd

fo

r ev

ery

thin

g i

n t

he

nam

e o

f o

ur

Lo

rd J

esu

s C

hri

st.

Th

is p

arti

cula

r p

assa

ge

is o

ne

of

the

mo

st e

xp

lici

t N

ew T

esta

men

t p

assa

ges

th

at d

emo

nst

rate

s

mu

sica

l w

ors

hip

vie

wed

fro

m a

Tri

nit

aria

n v

anta

ge

po

int.

T

he

Gre

ek w

ord

s u

sed

to

dis

cuss

wo

rsh

ip “a|;dobtej

” an

d “ya,llontej

” ex

pli

citl

y r

efer

ence

sin

gin

g/m

elo

dy

mak

ing

an

d

the

use

of

thes

e tw

o p

arti

cip

ial

ph

rase

s as

a d

iplo

id r

eite

rate

s th

e P

auli

ne

emp

has

is o

n t

he

actu

al

mu

sica

l as

pec

t fo

r w

hic

h P

aul

adv

oca

tes.

10

In a

dd

itio

n t

o i

nst

ruct

ing

th

is y

ou

ng

ch

urc

h o

n t

he

pro

per

man

ner

of

wo

rsh

ip,

the

Tri

nit

y

is i

nla

yed

in

to t

he

wo

rsh

ipfu

l at

mo

sph

ere.

11

Ear

ly C

hri

stia

ns

bel

iev

ed t

hat

wo

rsh

ip w

as

exp

erie

nce

d “

in t

he

Sp

irit

.”1

2

Th

e p

rese

nce

of

and

co

mm

un

ion

wit

h t

he

thir

d p

erso

n o

f th

e

Tri

nit

y i

n w

ors

hip

was

an

acc

epte

d t

ruth

reg

ard

ing

wo

rsh

ip a

nd

is

refl

ect

in t

his

pas

sag

e’s

refe

ren

ce t

o b

ein

g “

fill

ed w

ith

th

e S

pir

it.”

T

his

pas

sag

e co

nti

nu

es t

o a

sser

t th

at w

hen

“si

ng

ing

and

mak

ing

mel

od

y,”

th

e C

hri

stia

n s

ho

uld

mai

nta

in f

irm

fo

cus

on

th

e F

ath

er a

nd

th

ank

sgiv

ing

for

all

thin

gs

in t

he

nam

e o

f C

hri

st t

he

So

n.

Wh

ile

this

in

terp

reta

tio

n m

ay s

eem

to

in

dic

ate

a

less

er C

hri

sto

log

y,

the

gre

ater

co

nte

xt

of

this

pas

sag

e fo

un

d i

n t

he

enti

re b

oo

k o

f E

ph

esia

ns

pre

sen

ts a

vie

w o

f C

hri

st a

s th

e p

hy

sica

l m

anif

esta

tio

n o

f th

e T

rin

itar

ian

go

dh

ead

. A

cco

rdin

g t

o

9 S

ee a

lso

1

0 A

po

int

of

dis

pu

te o

ccas

ion

ally

men

tio

ned

wit

h t

his

pas

sag

e re

late

s to

th

e re

fere

nce

to

“w

ith

yo

ur

hea

rt;”

ho

wev

er,

th/ kardi,a| i

s p

rese

nt

in t

he

dat

ive

ten

se a

nd

can

be

acce

pta

bly

an

d c

on

fid

entl

y i

nte

rpre

ted

as

a “d

ativ

e o

f

inst

rum

ent”

cla

use

in

dic

atin

g t

hat

th

e u

se o

f th

e h

eart

in

th

is i

nst

ance

is

an e

xp

lan

atio

n o

f h

ow

on

e is

to

wo

rsh

ip n

ot

wh

ere

the

sin

gin

g/m

elo

dy

mak

ing

is

to t

ake

pla

ce.

11 I

t is

no

t cl

ear

that

th

is e

pis

tle

was

wri

tten

on

ly f

or

the

chu

rch

at

Ep

hes

us;

ho

wev

er,

it i

s m

ore

acc

ura

te t

o

ack

no

wle

dg

e th

at i

t w

as w

ritt

en f

or

a n

ewly

fo

rmed

co

ng

reg

atio

n(s

).

12 C

.F.D

Mo

ule

. W

ors

hip

in

th

e N

ew T

esta

men

t. R

ich

mo

nd

: Jo

hn

Kn

ox

Pre

ss,

19

67

. 6

4.

61

Kl

um

pp

| 5

Pau

l, t

her

efo

re,

the

role

of

Ch

rist

in

wo

rsh

ip e

asil

y e

qu

aled

th

ose

of

bo

th t

he

Fat

her

an

d t

he

Sp

irit

.13

Wit

hin

th

is b

rief

pas

sag

e, t

he

Pau

lin

e au

tho

r ex

pli

citl

y a

dd

ress

es m

usi

cal

wo

rsh

ip

wit

hin

a T

rin

itar

ian

co

nte

xt.

Th

e n

arra

tiv

e fo

llo

win

g t

he

dev

elo

pm

enta

l p

ath

of

Tri

nit

aria

n w

ors

hip

ex

ten

ds

fro

m t

his

par

ticu

lar

pas

sag

e an

d o

ther

s li

ke

it w

ith

in t

he

Bib

lica

l ca

no

n t

hro

ug

h t

he

beg

inn

ing

of

no

n-

can

on

ical

pri

mar

y s

ou

rces

an

d t

he

do

cum

enta

tio

n o

f w

ors

hip

in

th

e ap

ost

oli

c, p

ost

-ap

ost

oli

c, a

nd

pat

rist

ic e

ras.

14

Th

e in

itia

l w

ors

hip

pra

ctic

es o

f C

hri

stia

ns

do

no

t d

evia

te f

rom

th

eir

Jew

ish

bre

thre

n b

ecau

se “

off

icia

l se

par

atio

n b

etw

een

Ju

dai

sm a

nd

Ch

rist

ian

ity

did

no

t ta

ke

pla

ce u

nti

l

the

end

of

the

firs

t ce

ntu

ry,

and

was

in

stig

ated

pri

mar

ily

by

Ju

dai

sm,

no

t C

hri

stia

nit

y.”

15

Th

is

stro

ng

co

nn

ecti

on

to

Ch

rist

ian

ity

’s r

elig

iou

s an

cest

ry i

nd

icat

es t

hat

mu

sica

l p

ract

ices

of

the

earl

y

chu

rch

wo

uld

res

emb

le t

ho

se f

ou

nd

in

Jew

ish

co

mm

un

itie

s at

th

e sa

me

tim

e.1

6

Th

e o

nly

dif

fere

nce

s fr

om

Ju

dai

sm c

ente

red

in

th

e re

surr

ecti

on

of

the

Ch

rist

an

d t

he

wo

rk o

f th

e S

pir

it.1

7

Th

ese

dev

iati

on

s af

firm

th

e se

con

d a

nd

th

ird

per

son

s o

f th

e T

rin

ity

as

nec

essa

ry c

om

po

nen

ts o

f

wo

rsh

ip,

wh

ich

wo

uld

hav

e b

een

ab

sen

t in

th

e Je

wis

h a

ffir

mat

ion

of

the

on

e G

od

fo

un

d i

n t

he

Sh

ema

Yis

rael

.18

Th

is i

den

tifi

able

dep

artu

re f

rom

Ju

dai

sm i

nd

icat

es t

he

nec

essa

ry r

ole

th

at

Tri

nit

aria

n a

ffir

mat

ion

pla

yed

in

Ch

rist

ian

wo

rsh

ip.

Th

e m

usi

cal

com

po

nen

ts o

f w

ors

hip

du

rin

g t

his

era

of

Ch

rist

ian

his

tory

co

nse

qu

entl

y

mir

ror

the

stro

ng

Jew

ish

tra

dit

ion

fo

un

d i

n b

oth

th

e te

mp

le a

nd

lo

cal

syn

ago

gu

es.

Jew

ish

13 P

rofe

sso

r R

od

Sp

idah

l in

itia

lly

pre

sen

ted

th

e o

rig

inal

th

ou

gh

t b

ehin

d t

he

Ch

rist

olo

gic

al c

resc

end

o f

ou

nd

in

th

e

bo

ok

of

Ep

hes

ian

s, w

hil

e th

e re

sear

ch i

tsel

f re

mai

ns

ori

gin

al.

14 W

hil

e th

e ap

ost

oli

c p

erio

d o

ver

lap

s w

ith

man

y B

ibli

cal

tex

ts,

it w

ill

be

dis

cuss

ed i

n c

on

jun

ctio

n w

ith

th

e p

ost

-

apo

sto

lic

dev

elo

pm

ent

of

Ch

rist

ian

ity

in

ord

er t

o g

ive

a h

oli

stic

ov

erv

iew

of

the

dev

elo

pm

ent

of

Ch

rist

ian

wo

rsh

ip

du

rin

g t

his

per

iod

. 1

5 R

erd

inan

d H

ahn

. T

he

Wo

rsh

ip o

f th

e E

arl

y C

hu

rch

. P

hil

adel

ph

ia:

Fo

rtre

ss P

ress

, 1

97

3.

33

. 1

6 A

lex

and

er B

. M

acD

on

ald

. C

hri

stia

n W

ors

hip

in

th

e P

rim

itiv

e C

hu

rch

. E

din

bu

rgh

: T

&T

Cla

rk,

19

34

. 1

21

. T

his

con

clu

sio

n i

s b

ased

pri

mar

ily

on

Jew

ish

wri

tin

gs

sin

ce l

ittl

e w

as w

ritt

en a

bo

ut

wo

rsh

ip p

ract

ices

in

th

e ea

rly

ch

urc

h

du

e to

its

vie

w o

f th

e im

med

iacy

of

the

Ch

rist

’s s

eco

nd

co

min

g.

17 H

ahn

, 3

3-3

5.

18 T

he

Sh

ema

Yis

rael

is

fou

nd

in

Deu

tero

no

my

6:4

.

Kl

um

pp

| 6

anti

ph

on

al s

ing

ing

pro

du

ced

a s

imil

ar m

usi

cal

phen

om

eno

n w

ith

in t

he

gro

win

g C

hri

stia

n s

ect.

19

Th

e h

ym

no

dy

pra

ctic

ed i

n t

he

earl

y d

ays

of

Ch

rist

ian

ity

was

no

t m

etri

cal

bu

t cl

ose

r to

ch

ant;

ho

wev

er,

ther

e w

ere

no

t st

rin

gen

t g

uid

elin

es d

eter

min

ing

th

e p

ath

of

Ch

rist

ian

wo

rsh

ip m

usi

c

du

rin

g t

his

per

iod

. I

nst

ead

, so

me

var

ian

ce o

ccu

rred

bet

wee

n d

iffe

ren

t g

rou

ps

bas

ed p

rim

aril

y o

n

thei

r cu

ltu

ral

bac

kg

rou

nd

s—H

elle

nis

tic,

Ara

mai

c, J

ewis

h.2

0

Mu

sica

l v

aria

nce

bas

ed o

n e

thn

icit

y

in l

igh

t o

f u

nif

orm

ity

in

bas

ic t

heo

log

ical

po

ints

in

dic

ates

th

at e

arly

Ch

rist

ian

s p

lace

d a

hig

her

imp

ort

ance

on

th

e th

eolo

gic

al m

essa

ge

pre

sen

ted

in

th

eir

hy

mn

od

y t

han

th

e p

arti

cula

r m

usi

cal

pra

ctic

es b

ein

g u

sed

by

in

div

idu

al g

rou

ps.

Th

rou

gh

ou

t th

e fo

llo

win

g c

entu

ries

, C

hri

stia

nit

y d

evel

op

ed f

rom

a f

led

gli

ng

, d

iso

wn

ed

sect

of

Jud

aism

in

to a

n a

ccep

ted

an

d t

hen

off

icia

l re

lig

ion

of

the

Ro

man

Em

pir

e.

Du

rin

g t

his

tim

e o

f g

row

th,

cree

dal

co

nfe

ssio

ns

wer

e re

lati

vel

y s

ho

rt p

hra

ses

and

hy

mn

s w

ere

lon

ger

stat

emen

ts o

f fa

ith

, b

oth

of

wh

ich

wo

uld

hav

e af

firm

ed t

he

cen

tral

ity

of

the

Tri

nit

y.2

1

Th

is

affi

nit

y f

or

the

Tri

nit

y i

s w

itn

esse

d i

n a

do

xo

log

y a

ttri

bu

ted

to

Po

lyca

rp:

“Jes

us

Ch

rist

, th

rou

gh

wh

om

, w

ith

[th

e F

ath

er]

and

th

e H

oly

Sp

irit

, b

e g

lory

…”2

2

Ch

rist

ian

s fr

equ

entl

y u

sed

th

is

do

xo

log

y t

hro

ug

ho

ut

the

seco

nd

cen

tury

un

til

it b

ecam

e cu

sto

mar

y p

art

of

Ch

rist

ian

wo

rsh

ip i

n

foll

ow

ing

cen

turi

es.2

3

Th

e co

nti

nu

ed u

se o

f T

rin

itar

ian

lan

gu

age

bey

on

d t

he

apo

sto

lic

era

ind

icat

es t

hat

aff

irm

ing

all

th

ree

per

son

s re

mai

ned

a n

eces

sity

in

wo

rsh

ip.

Th

e d

evel

op

men

t o

f h

eret

ical

sec

ts o

f C

hri

stia

nit

y s

uch

as

Do

ceti

sm a

nd

Ari

anis

m

bro

ug

ht

the

ver

bal

an

d m

usi

cal

affi

rmat

ion

s o

f o

rth

od

ox

Ch

rist

ian

ity

in

to q

ues

tio

n.2

4

Su

bse

qu

ent

chu

rch

co

un

cils

ass

emb

led

to

est

abli

sh s

tro

ng

, u

nif

ied

sta

nce

s o

n t

he

iden

tity

of

Ch

rist

an

d

19 M

acD

on

ald

, 1

13

. 2

0 H

ahn

, 5

3.

21 R

alp

h P

. M

arti

n.

Wo

rsh

ip i

n t

he

Ea

rly

Ch

urc

h.

Gra

nd

Rap

ids:

Wil

liam

B.

Eer

dm

ans

Pu

bli

shin

g C

om

pan

y,

19

74

.

53

, 6

1.

22M

acD

on

ald

, 1

08

. 2

3 I

bid

. 2

4 R

alp

h K

een

. T

he

Ch

rist

ian

Tra

dit

ion

. U

pp

er S

add

le R

iver

: P

ren

tice

Hal

l In

c.,

20

04

. 6

3.

62

Kl

um

pp

| 7

pro

du

ced

fo

un

dat

ion

al d

ocu

men

ts—

incl

ud

ing

th

e N

icen

e C

reed

—fo

r th

e fu

rth

er d

evel

op

men

t o

f

Ch

rist

ian

ity

.25

Th

is t

ext

stro

ng

ly a

ffir

ms

the

dic

ho

tom

y w

itn

esse

d i

n t

he

my

ster

y o

f th

e se

con

d

per

son

of

the

Tri

nit

y b

ein

g b

oth

hu

man

an

d d

ivin

e, b

ut

also

sp

ecif

ical

ly m

enti

on

s th

e p

lace

of

the

Fat

her

an

d H

oly

Sp

irit

. T

ho

ug

h t

his

cre

ed w

as n

ot

nec

essa

rily

a m

usi

cal

stan

dar

d a

t th

e ti

me

of

its

ince

pti

on

, it

wo

uld

dev

elo

p i

nto

on

e o

f th

e m

ost

sig

nif

ican

t ec

um

enic

al c

reed

s in

Ch

rist

end

om

.

Th

e h

ym

ns

of

Sai

nt

Am

bro

se s

ou

gh

t to

aff

irm

th

is T

rin

itar

ian

per

spec

tiv

e.

He

is o

ften

con

sid

ered

th

e fa

ther

of

Lat

in h

ym

no

dy

, an

d i

n h

is w

ork

, h

e ai

med

to

eas

e th

e fe

ars

of

bel

iev

ers

wh

o w

ere

stru

gg

lin

g a

gai

nst

th

e h

eres

y o

f A

rian

ism

.26

His

hy

mn

od

y s

erv

ed a

ped

ago

gic

al

pu

rpo

se f

or

Ch

rist

ian

s co

nfr

on

ted

by

th

e A

rian

s w

ho

den

ied

th

e T

rinit

y.

Th

is i

nte

nt

is e

vid

ent

in

his

hy

mn

s A

tern

e re

rum

co

nd

ito

r, I

am

su

rgit

ho

ra t

erti

a,

Inte

nd

e q

ue

Reg

is I

sra

el, an

d D

eus

crea

tor

Om

niu

m.2

7

Th

e m

ost

fam

ou

s T

rin

itar

ian

mu

sica

l st

atem

ent

pre

sen

ted

by

Am

bro

se i

s in

the

do

xo

log

y t

he

that

co

ncl

ud

es D

eus

crea

tor

Om

niu

m.

It

is t

ran

slat

ed:

“We

pra

y t

o C

hri

st a

nd

the

Fat

her

an

d t

he

Sp

irit

of

the

Ch

rist

an

d t

he

Fat

her

, o

nly

po

wer

in

all

th

ing

s; s

ust

ain

th

ose

wh

o

pra

y t

o y

ou

, T

rin

ity

.”2

8

Cle

arly

, A

mb

rose

’s r

esp

on

se t

o A

rian

ism

th

rou

gh

hy

mn

od

y w

as n

ot

on

ly i

nte

nti

on

ally

Tri

nit

aria

n b

ut

also

mea

nt

for

the

edif

icat

ion

of

bel

iev

ers.

Th

e im

po

rtan

ce o

f m

usi

c an

d a

ffir

mat

ion

of

the

Tri

nit

y i

s m

ain

tain

ed i

n t

he

wri

tin

gs

of

Sai

nt

Au

gu

stin

e.

In h

is C

on

fess

ion

s, A

ug

ust

ine

ack

no

wle

dg

es t

he

po

wer

of

mu

sic

on

Ch

rist

ian

dev

elo

pm

ent.

25 E

cum

enic

al

Cre

eds

an

d R

efo

rmed

Co

nfe

ssio

ns.

Gra

nd

Rap

ids:

Fai

th A

liv

e C

hri

stia

n R

eso

urc

es,

19

88

. 8

. T

he

Co

un

cil

of

Nic

ea (

32

5 C

E)

is w

her

e th

e N

icen

e C

reed

ori

gin

ated

, af

firm

ing

bo

th t

he

div

init

y a

nd

hu

man

ity

of

Ch

rist

and

co

nse

qu

entl

y,

the

Tri

nit

y;

ho

wev

er,

this

cre

ed w

ou

ld b

e re

vis

ed a

t th

e C

ou

nci

l o

f C

on

stan

tin

op

le (

38

1)

and

fin

aliz

ed a

t th

e C

ou

nci

l o

f C

hal

ced

on

(4

51

).

26 D

uck

, 8

3.

27 I

bid

. 2

8 I

bid

.

Kl

um

pp

| 8

I fe

el t

hat

wh

en t

he

sacr

ed w

ord

s ar

e ch

ante

d w

ell,

we

are

mo

ved

an

d a

re m

ore

reli

gio

usl

y a

nd

wit

h a

war

mer

dev

oti

on

kin

dle

d t

o p

iety

th

an i

f th

ey a

re n

ot

so s

un

g.

All

the

div

erse

em

oti

on

s o

f o

ur

spir

it h

ave

thei

r v

ario

us

mo

des

in

vo

ice

and c

han

t ap

pro

pri

ate

in e

ach

cas

e, a

nd

are

sti

rred

by

a m

yst

erio

us

inn

er k

insh

ip.2

9

Au

gu

stin

e’s

ob

serv

atio

ns

con

cern

ing

th

e p

ow

er o

f m

usi

c ar

e a

test

amen

t to

th

e im

po

rtan

ce o

f

mu

sic;

ho

wev

er,

the

loca

tio

n o

f th

e p

ow

er a

cco

rdin

g t

o A

ug

ust

ine

is i

n t

he

“sac

red w

ord

s.”

Th

e

mes

sag

e b

ein

g d

ecla

red

th

rou

gh

th

e m

usi

c is

cen

tral

to

his

un

der

stan

din

g.

Th

e d

oct

rin

e o

f th

e

Tri

nit

y i

s al

so r

eite

rate

d t

hro

ug

ho

ut

Au

gu

stin

e’s

wri

tin

gs.

H

e w

rote

a s

erie

s o

f 1

5 b

oo

ks

atte

mp

tin

g t

o e

xp

lain

at

len

gth

th

e d

oct

rin

e o

f th

e T

rin

ity

.30

Au

gu

stin

e co

nti

nu

ally

ref

eren

ces

the

rela

tio

nal

asp

ect

of

the

Tri

nit

y a

nd

th

e im

po

rtan

ce o

f u

nd

erst

and

ing

Go

d i

n t

his

way

.31

Cle

arly

,

this

gre

at c

hu

rch

Fat

her

co

nti

nu

es t

o m

ain

tain

th

e im

po

rtan

ce o

f th

eolo

gic

ally

so

un

d m

usi

c an

d

the

sig

nif

ican

ce o

f u

nd

erst

and

ing

an

d a

ckn

ow

led

gin

g t

he

Tri

nit

y.

Aft

er t

he

fall

of

the

Ro

man

Em

pir

e, m

on

asti

c co

mm

un

itie

s, s

uch

as

tho

se o

f S

ain

t

Ben

edic

t (4

80-5

50

CE

), b

egan

to

est

abli

sh r

elig

iou

s o

rder

s th

at f

req

uen

tly

in

corp

ora

ted

Tri

nit

aria

n l

ang

uag

e in

to t

hei

r w

ors

hip

. T

he

ob

serv

ance

of

the

Off

ice

ho

urs

in

clu

ded

sin

gin

g

thro

ug

h t

he

Psa

lter

eac

h w

eek

.32

Mu

sic

was

su

ng

an

tip

ho

nal

ly b

ased

aro

un

d a

str

uct

ure

th

at

con

clu

ded

eac

h p

salm

wit

h a

do

xo

log

y,

wh

ich

aff

irm

ed t

he

Tri

nit

y a

nd

was

in

clu

ded

in

ord

er t

o

iden

tify

th

e p

salm

s as

dis

tin

ctiv

ely C

hri

stia

n.3

3

Th

e d

evel

op

men

t o

f th

ese

reli

gio

us

ob

serv

ance

s

and

th

e co

nti

nu

ed i

ncl

usi

on

of

Tri

nit

aria

n d

ox

olo

gie

s re

mai

ned

pre

val

ent

wit

hin

mo

nas

tic

soci

etie

s th

rou

gh

ou

t m

uch

of

the

Med

iev

al E

ra.3

4

29 S

ain

t A

ug

ust

ine,

Co

nfe

ssio

ns

10

.49

, tr

ansl

ated

by

Hen

ry C

had

wic

k.

Ox

ford

: O

xfo

rd U

niv

ersi

ty P

ress

19

98

. 2

07

-

20

8.

30 S

ain

t A

ug

ust

ine,

On

th

e T

rin

ity,

tra

nsl

ated

by

Ste

ph

en M

cKen

na,

ed

ited

by

Gar

eth

B.

Mat

thew

s.

New

Yo

rk:

Cam

bri

dg

e U

niv

ersi

ty P

ress

20

02

. x

i.

31 I

bid

. 8

.2,

23

. 3

2 C

raig

Wri

gh

t an

d B

ryan

Sim

ms.

M

usi

c in

Wes

tern

Cu

ltu

re.

Bel

mo

nt:

Th

om

aso

n S

chir

mer

, 2

00

6.

21

. 3

3 I

bid

. 2

2.

34 A

s d

iffe

ren

t m

on

asti

c m

ov

emen

ts d

evel

op

ed,

var

ian

ce f

rom

Ru

le o

f S

t. B

ened

ict

occ

urr

ed;

ho

wev

er,

for

the

sak

e

of

this

stu

dy

, m

usi

cal

com

po

nen

ts a

s re

late

d t

o T

rin

itar

ian

th

eolo

gy

, re

mai

ned

rel

ativ

ely

co

nsi

sten

t.

Ad

dit

ion

ally

,

mo

nas

tic

com

mu

nit

ies

con

tin

ue

to i

ncl

ud

e a

do

xo

log

y a

fter

sin

gin

g a

psa

lm.

63

Kl

um

pp

| 9

Tri

nit

aria

n m

usi

c co

nti

nu

ed t

o b

e af

firm

ed i

n C

hri

stia

n w

ors

hip

av

aila

ble

to

lai

ty i

n t

he

form

of

the

Cat

ho

lic

Mas

s.

Wh

ile

the

Cre

do

, w

hic

h i

s si

mp

ly t

he

Nic

ene

Cre

ed s

et t

o m

usi

c,

was

use

d a

s a

par

t o

f th

e o

rdin

ary

of

the

mas

s, i

nit

iall

y i

t w

as o

nly

use

d f

or

bap

tism

al s

erv

ices

.35

Th

e p

rese

nce

of

this

mu

sica

l af

firm

atio

n o

f th

e T

rin

ity

at

bap

tism

was

pre

sen

t fr

om

th

e en

d o

f

the

pat

rist

ic e

ra;

ho

wev

er,

it w

as n

ot

com

mo

nly

use

d i

n t

he

Cat

ho

lic

mas

s u

nti

l th

e ei

gh

th

cen

tury

an

d w

as o

ffic

iall

y a

do

pte

d a

s p

art

of

the

Ro

man

Cat

ho

lic

Mas

s in

10

14 C

E a

t th

e

insi

sten

ce o

f E

mp

ero

r H

enry

II.

36

Th

e u

niv

ersa

lity

of

the

Wes

tern

ch

urc

h’s

use

of

the

ord

inar

y

of

the

mas

s si

gn

ifie

s th

at f

rom

th

e ei

gh

th c

entu

ry u

nti

l th

e P

rote

stan

t R

efo

rmat

ion

, th

e C

red

o

con

stit

ute

d o

ne

of

the

fiv

e co

nsi

sten

t m

usi

cal

com

po

nen

ts o

f w

ors

hip

.37

Th

ou

gh

mu

sic

beg

an t

o

dev

elo

p i

nto

org

anu

m a

nd

po

lyp

ho

ny

, th

e te

xt

of

the

Cre

do

th

at w

as s

et t

o m

usi

c re

mai

ned

th

e

sam

e.

Th

eref

ore

, re

gar

dle

ss o

f m

usi

cal

dev

elo

pm

ents

of

a p

arti

cula

r ti

me

per

iod

, th

is t

heo

log

ical

tex

t re

mai

ned

a h

allm

ark

of

Cat

ho

lic

mas

s th

rou

gh

ou

t th

e M

edie

val

Era

an

d c

on

tin

ues

to

be

use

d

in w

eek

ly w

ors

hip

.

O

n O

cto

ber

31

, 1

51

7,

Mar

tin

Lu

ther

nai

led

his

95

Th

eses

to

th

e d

oo

r o

f W

itte

nb

urg

Cas

tle

and

eff

ecti

vel

y c

han

ged

th

e la

nd

scap

e o

f C

hri

sten

do

m.3

8

Wit

h t

he

on

set

of

Ref

orm

atio

n

idea

ls a

nd

th

eir

imp

lem

enta

tio

n,

chan

ge

cam

e n

ot

on

ly t

o t

he

theo

log

ical

pre

mis

es b

ehin

d

par

ticu

lar

app

roac

hes

to

un

der

stan

din

g G

od

bu

t al

so t

o w

ors

hip

. L

uth

er m

ain

tain

ed a

ro

bu

st

app

reci

atio

n f

or

mu

sic

as a

n a

ctiv

e p

erfo

rmer

, p

arti

cip

ant,

an

d c

om

po

ser.

39

Wit

h i

ts u

se o

f th

e

ver

nac

ula

r, n

ew m

elo

dic

an

d h

arm

on

ic a

rran

gem

ents

, an

d n

ew t

exts

, L

uth

eran

mu

sic

beg

an t

o

35 W

este

rmey

er,

Pau

l. T

e D

eum

: T

he

Ch

urc

h a

nd

Mu

sic.

Min

nea

po

lis:

Fo

rtre

ss P

ress

, 1

99

8.

10

4.

36 M

iria

m T

her

ese

Win

ter.

W

hy

Sin

g.

Was

hin

gto

n D

.C.:

Th

e P

asto

ral

Pre

ss,

19

84

. 3

4.

an

d D

on

Mic

hae

l R

and

el.

Th

e H

arv

ard

Dic

tio

na

ry o

f M

usi

c. C

amb

rid

ge:

Th

e B

elk

nap

Pre

ss o

f H

arv

ard

Un

iver

sity

Pre

ss,

20

03

. 2

23

. 3

7 T

he

oth

er f

ou

r co

mp

on

ents

of

the

ord

inar

y o

f th

e C

ath

oli

c m

ass

incl

ud

e th

e K

yrie

, G

lori

a,

Sa

ntu

s, a

nd

Ben

edic

tus.

3

8 K

een

, 2

10

. 3

9W

este

rmey

er,

14

3.

Kl

um

pp

| 1

0

dev

iate

fro

m t

he

stan

dar

d o

rth

od

ox

mu

sic

fou

nd

in

a C

ath

oli

c m

ass.

40

Lu

ther

’s w

ork

in

Ch

rist

ian

hy

mn

od

y,

esp

ecia

lly

as

the

inst

igat

or

of

the

Lu

ther

an/G

erm

an c

ho

rale

, p

rov

ided

a n

ew m

usi

cal

ven

ue

for

the

theo

log

ical

mes

sag

e h

eld

by

ch

urc

h m

usi

c to

be

exp

ress

ed.

Lu

ther

ex

pan

ded

th

e m

usi

c o

f th

e ch

urc

h b

y d

epar

tin

g f

rom

th

e st

rict

ob

serv

ance

of

trad

itio

n m

usi

cal

form

s, t

he

imp

lem

enta

tio

n o

f th

e G

erm

an c

ho

ral,

an

d w

elco

min

g t

he

ver

nac

ula

r; h

e m

ain

tain

ed,

ho

wev

er,

a st

ron

g s

tan

ce o

n t

he

imp

ort

ance

of

sou

nd

th

eolo

gic

al

mat

eria

l in

ch

urc

h m

usi

c.

Bec

ause

Lu

ther

was

no

t a

syst

emat

ic t

heo

log

ian

, h

e d

id n

ot

atte

mp

t to

esta

bli

sh a

n e

nti

re b

elie

f sy

stem

in

his

wri

tin

gs.

In

stea

d,

his

wri

tin

gs,

wh

ich

are

ref

lect

ed i

n h

is

hy

mn

od

y,

con

cern

a p

leth

ora

of

top

ics

oft

en c

on

tin

gen

t u

po

n t

hei

r p

erti

nen

ce t

o c

urr

ent

eccl

esia

stic

al a

nd

th

eolo

gic

al i

ssu

es.4

1

Lu

ther

als

o h

eld

mu

sic

in a

ver

y h

igh

reg

ard

, co

nsi

der

ing

it n

ext

to t

heo

log

y i

n i

mp

ort

ance

an

d c

on

seq

uen

tly

, th

e tw

o c

ou

ld b

e ea

sily

in

tert

win

ed.4

2

His

inte

nti

on

al f

ocu

s o

n i

nte

gra

tin

g T

rin

itar

ian

th

eolo

gy

th

rou

gh

str

uct

ure

an

d d

ox

olo

gic

al e

lem

ents

is e

xh

ibit

ed i

n h

ym

ns

such

as

We

all

Bel

ieve

in

On

e T

rue

Go

d a

nd

Ma

y G

od

Bes

tow

Up

on

Us

His

Gra

ce r

esp

ecti

vel

y.4

3 T

his

hig

h v

iew

of

mu

sic

cou

ple

d w

ith

wri

tin

gs

and

aff

irm

atio

ns

of

Lu

ther

mak

e it

po

ssib

le t

o d

isce

rn t

hat

th

is f

irst

fo

ray

in

to P

rote

stan

t h

ym

no

dy

rem

ain

ed c

lose

ly

con

nec

ted

to

man

y o

f th

e th

eolo

gic

al r

oo

ts p

rese

nt

in t

he

Ro

man

Cat

ho

lic

Ch

urc

h,

incl

ud

ing

th

e

do

ctri

ne

of

the

Tri

nit

y.

As

the

spar

k o

f th

e R

efo

rmat

ion

sp

read

th

rou

gh

ou

t E

uro

pe,

th

e m

ov

emen

t ev

entu

ally

pro

gre

ssed

in

to F

ran

ce w

her

e it

en

cou

nte

red

a F

ren

chm

an n

amed

Jo

hn

Cal

vin

wh

o w

ou

ld s

oo

n

40 A

lth

ou

gh

Lu

ther

use

d p

re-e

xis

tin

g m

elo

die

s fo

r m

any

of

his

mat

eria

l, h

is m

ater

ial

was

oft

en p

asse

d o

n c

han

t,

mo

tets

, an

d o

ther

ver

nac

ula

r h

ym

ns,

no

t “b

ar t

un

es”

as i

s o

ften

ru

mo

red

. I

bid

., 1

48

. 4

1 I

bid

., 1

44

. 4

2 I

bid

. 4

3 W

e a

ll B

elie

ve i

n O

ne

Tru

e G

od

is

an a

dap

tati

on

of

the

Nic

ene

Cre

ed a

nd

th

eref

ore

, co

nta

ins

thre

e v

erse

s ea

ch

add

ress

ing

on

e p

erso

n o

f th

e T

rin

ity

. M

ay

Go

d B

esto

w U

po

n U

s H

is G

race

was

wri

tten

by

Lu

ther

an

d c

on

tain

s a

do

xo

log

ical

ref

eren

ce e

xp

lici

tly

nam

ing

“G

od

th

e F

ath

er,

Go

d t

he

So

n,

and

Go

d t

he

Sp

irit

” in

dir

ect

succ

essi

on

.

64

Kl

um

pp

| 1

1

intr

od

uce

his

ow

n v

ersi

on

of

syst

emat

ized

th

eolo

gic

al r

efle

ctio

ns.

44

Bec

ause

Cal

vin

pro

du

ced

a

hig

hly

sy

stem

ized

th

eolo

gy

, it

is

po

ssib

le t

o c

lear

ly v

iew

his

un

der

stan

din

g o

f m

usi

c’s

pla

ce i

n

wo

rsh

ip a

s w

ell

as h

is v

iew

of

the

Tri

nit

y.

His

wo

rk i

n G

enev

a, S

wit

zerl

and

als

o m

akes

it

po

ssib

le t

o s

ee a

man

ifes

ted

im

ple

men

tati

on

of

his

vie

ws

of

Ch

rist

ian

wo

rsh

ip.

Cal

vin

dis

cuss

ed m

usi

c in

th

e th

ird

bo

ok

of

his

In

stit

ute

s o

f C

hri

stia

n R

elig

ion i

n t

he

chap

ter

reg

ard

ing

pra

yer

. H

e st

ates

th

at s

ing

ing

in

ch

urc

h i

s “v

ery

an

cien

t” a

nd

“in

use

am

on

g

the

apo

stle

s,”

refe

ren

cin

g s

crip

ture

.45 B

y e

stab

lish

ing

a c

on

nec

tio

n t

o c

ano

nic

al s

crip

ture

, th

e u

se

of

mu

sic

in c

hu

rch

is

ther

eby

ju

stif

iab

le t

o C

alv

in n

ot

by

th

e tr

adit

ion

wit

nes

sed

in

th

e R

om

an

Cat

ho

lic

Ch

urc

h b

ut

by

th

e ex

amp

le w

ith

in t

he

Wo

rd o

f G

od

. F

rom

Cal

vin

’s t

heo

log

ical

per

spec

tiv

e, m

usi

c w

as u

niq

uel

y c

reat

ed t

o p

rocl

aim

Go

d’s

pra

ise

and

as

a m

ean

s fo

r th

e el

ect

to

edif

y o

ne

ano

ther

.46

It w

as a

gif

t fr

om

Go

d;

in f

act,

sin

gin

g w

as “

on

e o

f th

e th

ree

fun

dam

enta

l

exp

ress

ion

s o

f C

hri

stia

n w

ors

hip

.”4

7

Th

is g

ift

is c

ause

fo

r re

joic

ing

an

d e

mb

raci

ng

mu

sic

bu

t

cert

ain

ly n

ot

wit

ho

ut

pro

per

ly s

yst

emat

ized

gu

idel

ines

th

at w

ere

mad

e m

anif

est

in t

he

com

mis

sio

nin

g a

nd

im

ple

men

tati

on

of

the

Gen

eva

n P

salt

er.

Wh

en d

iscu

ssin

g m

usi

c su

itab

le f

or

use

in

wo

rsh

ip,

Cal

vin

co

nce

rned

him

self

wit

h b

oth

the

tex

t an

d t

he

mu

sic,

wh

ich

wil

l b

e d

iscu

ssed

res

pec

tiv

ely

. T

he

imm

ense

po

wer

an

d u

niq

ue

role

th

at m

usi

c p

lay

ed i

n C

hri

stia

n w

ors

hip

led

Cal

vin

to

dee

m t

he

on

ly t

ext

app

rop

riat

e fo

r

wo

rsh

ip t

o b

e th

e P

salm

s.4

8

Bec

ause

of

the

iner

ran

t n

atu

re o

f th

e B

ibli

cal

nar

rati

ve,

th

e P

salm

s

cou

ld b

e id

enti

fied

as

Go

d-b

reat

hed

an

d s

uit

able

fo

r w

ors

hip

; h

ow

ever

, th

e P

salm

s’ l

oca

tio

n i

n

44 J

oh

n C

alv

in a

nd

his

vie

ws

on

mu

sic

are

of

par

ticu

lar

inte

rest

bec

ause

it

is f

rom

th

is r

elig

iou

s tr

adit

ion

th

at t

he

Ref

orm

ed C

hu

rch

in

Am

eric

a an

d c

on

seq

uen

tly

No

rth

wes

tern

Co

lleg

e, d

eriv

e.

Th

is i

s w

hy

it

may

ap

pea

r th

at t

her

e

is a

dis

pro

po

rtio

nat

e am

ou

nt

of

tim

e sp

ent

dis

cuss

ing

Cal

vin

’s v

iew

s ra

ther

th

an t

ho

se o

f h

is f

ore

run

ner

Lu

ther

. 4

5 J

oh

n C

alv

in.

In

stit

ute

s o

f C

hri

stia

n R

elig

ion

III

.xx.

32

. tr

ansl

ated

by

Fo

rd L

ewis

Bat

tles

. e

dit

ed b

y J

oh

n T

.

McN

eill

. L

ou

isv

ille

: W

estm

inst

er J

oh

n K

no

x P

ress

, 2

00

6.

89

5.

46 W

este

rmey

er,

15

6.

47 C

har

les

Gar

sid

e Jr

. “C

alv

in’s

Pre

face

to

th

e P

salt

er:

A R

e-A

pp

rais

al.”

Th

e M

usi

cal

Qu

ate

rly,

Oct

ob

er 1

95

1:

56

8.

Th

e o

ther

tw

o f

un

dam

enta

l ex

pre

ssio

ns

of

Ch

rist

ian

wo

rsh

ip a

cco

rdin

g t

o C

alv

in i

ncl

ud

e p

reac

hin

g G

od

’s w

ord

an

d

adm

inst

rati

on

of

the

sacr

amen

ts.

48 W

este

rmey

er,

15

7.

Kl

um

pp

| 1

2

the

Old

Tes

tam

ent

pla

ces

Ch

rist

- an

d S

pir

it-p

rofe

ssin

g C

hri

stia

ns

in a

bit

of

a th

eolo

gic

al

con

un

dru

m.4

9

Bec

ause

th

e P

salt

er o

nly

ack

no

wle

dg

ed G

od

th

e F

ath

er,

Cal

vin

ex

pla

ined

th

e

pre

sen

ce o

f th

e o

ther

per

son

s o

f th

e T

rin

ity

by

sta

tin

g,

“Ch

rist

is

the

chie

f co

nd

uct

or

of

ou

r

hy

mn

s an

d t

he

Ho

ly S

pir

it t

he

pro

mp

ter.

”50

Th

is i

nte

rpre

tati

on a

llo

wed

th

ese

Old

Tes

tam

ent

psa

lms

to b

e u

sed

in

th

e G

enev

an

Psa

lter

to

cre

ate

an i

dea

l C

hri

stia

n w

ors

hip

bo

ok

.51

In a

dd

itio

n t

o s

trin

gen

t g

uid

elin

es a

bo

ut

the

tex

ts t

hat

co

uld

be

use

d f

or

wo

rsh

ip,

in o

rder

to

kee

p

mu

sica

l w

ors

hip

co

mp

lete

ly G

od

cen

tere

d i

n h

is c

on

gre

gat

ion

, C

alv

in p

lace

d a

nu

mb

er o

f

mu

sica

l re

stri

ctio

ns

wit

hin

th

e G

enev

an

Psa

lter

. “

Th

e st

rict

ure

s w

ere

met

rica

l p

salm

s, a

sin

gle

mo

no

ph

on

ic l

ine,

on

e n

ote

per

sy

llab

le,

wit

ho

ut

mel

ism

as,

wit

ho

ut

inst

rum

ents

, w

ith

ou

t

cho

irs.

”52

Cal

vin

vie

wed

th

ese

gu

idel

ines

as

pro

vid

ing

th

e id

eal

env

iro

nm

ent

for

wo

rsh

ipin

g

Go

d w

ith

ou

t b

ein

g d

istr

acte

d b

y f

lori

d m

elo

dic

lin

es,

orn

ate

har

mo

nie

s, o

r sk

ille

d c

ho

irs.

W

hil

e

thes

e g

uid

elin

es r

emai

ned

in

th

e G

enev

an

Psa

lter

, ch

urc

hes

in

th

e N

eth

erla

nd

s an

d G

erm

any

that

use

d t

he

Psa

lter

ev

entu

ally

ad

ded

bo

th o

rgan

an

d p

oly

ph

on

y i

nto

th

eir

pu

bli

c w

ors

hip

ser

vic

es.5

3

A

s R

efo

rmed

co

ng

reg

atio

ns

wer

e es

tab

lish

ed t

hro

ug

ho

ut

Eu

rop

e, t

hey

beg

an t

o o

rgan

ize

into

mo

re r

egio

nal

ly b

ased

den

om

inat

ion

s.

Ref

orm

ed c

on

gre

gat

ion

s in

th

e N

eth

erla

nd

s b

ecam

e

kn

ow

n a

s th

e D

utc

h R

efo

rmed

Ch

urc

h.

Th

e p

rog

ress

ion

of

Cal

vin

ist

theo

log

y p

rom

pte

d t

hes

e

con

gre

gat

ion

s p

rod

uce

fai

th s

tate

men

ts t

wo

of

wh

ich

, th

e B

elg

ic C

on

fess

ion a

nd

Hei

del

ber

g

Ca

tech

ism

, co

nta

in s

tro

ng

Tri

nit

aria

n t

hem

es.

Th

ese

tex

ts a

ug

men

ted

th

e ec

um

enic

al c

reed

s an

d

Cal

vin

’s I

nst

itu

tes,

wh

ile

serv

ing

as

a fo

un

dat

ion

fo

r th

e C

an

on

s o

f D

ort

(1

61

9.)

N

ear

the

end

of

49 T

he

Psa

lms

on

ly r

efer

ence

th

e fi

rst

per

son

of

the

Tri

nit

y;

ther

efo

re,

usi

ng

th

em e

xcl

usi

vel

y d

oes

no

t n

eces

sari

ly

ack

no

wle

dg

e th

e T

rin

ity

. 5

0 W

este

rmey

er,

15

7.

51 I

bid

. T

he

Gen

eva

n P

salt

er a

lso

in

clu

ded

th

e A

po

stle

’s C

reed

an

d s

elec

ted

can

ticl

es s

uch

as

Nu

nc

dim

itti

s.

52 I

bid

., 1

57

. 5

3 I

bid

., 1

58

.

65

Kl

um

pp

| 1

3

the

17

th c

entu

ry,

the

Pro

test

ant

Du

tch

Ref

orm

ed C

hu

rch

54 b

egan

to

im

mig

rate

to

th

e N

ew W

orl

d,

bri

ng

ing

its

new

ly a

ffir

med

co

nfe

ssio

n a

nd

est

abli

shin

g i

tsel

f o

n t

he

Eas

t C

oas

t o

f w

hat

wo

uld

bec

om

e U

nit

ed S

tate

s.5

5

Th

is a

uto

no

mo

us

chu

rch

mai

nta

ined

str

on

g c

ult

ura

l co

nn

ecti

on

s w

ith

Du

tch

Cal

vin

ism

’s t

heo

log

ical

id

enti

ty a

nd

wo

rsh

ip p

ract

ices

.

Wit

h t

he

beg

inn

ing

of

the

19

th c

entu

ry,

“Du

tch

im

mig

ran

ts a

rriv

ed i

n l

arg

e n

um

ber

s an

d

sett

led

in

Mic

hig

an a

nd I

ow

a.”5

6

Th

ese

imm

igra

nts

cla

imed

a s

imil

ar r

elig

iou

s an

d c

ult

ura

l

his

tory

to

th

e D

utc

h c

urr

entl

y l

ivin

g i

n t

he

Un

ited

Sta

tes

and

ther

efo

re,

fou

nd

mem

ber

ship

in

Ref

orm

ed C

hu

rch

in

Am

eric

a (R

CA

) co

ng

reg

atio

ns.

57

In 1

85

7,

the

Tru

e D

utc

h R

efo

rmed

(la

ter

the

Ch

rist

ian

Ref

orm

ed)

Ch

urc

h s

ucc

eed

ed f

rom

th

e R

CA

as

a re

spo

nse

to

wh

at s

om

e d

eem

ed t

o

be

“a c

orr

up

t an

d f

alse

ch

urc

h [

in r

efer

ence

to

th

e A

mer

ican

ch

urc

h].

”58

Am

on

g t

he

six

pri

mar

y

gri

evan

ces

lod

ged

ag

ain

st t

he

exis

tin

g c

hu

rch

was

th

e in

tro

du

ctio

n o

f a

hy

mn

al i

ncl

ud

ing

78

8

hy

mn

s th

at a

ug

men

ted

psa

lms

in w

ors

hip

.59

Th

ese

hy

mn

s in

clu

ded

sev

en s

on

gs

such

as

Ad

ora

tio

n a

nd

Pra

ise

to t

he

Ho

ly T

rin

ity

that

ex

pli

citl

y w

ors

hip

ed t

he

Tri

nit

y a

nd

ov

er 1

00

so

ng

s

dir

ecte

d t

o t

he

thre

e p

erso

ns

of

the

Tri

nit

y i

nd

ivid

ual

ly.6

0

Th

is i

nd

icat

es t

hat

th

e u

se o

f h

ym

ns

rath

er t

han

th

e P

salt

er a

s p

rosc

rib

ed b

y J

oh

n C

alv

in,

reg

ard

less

of

theo

log

ical

so

un

dn

ess,

rem

ain

ed a

po

int

of

con

ten

tio

n f

or

mem

ber

s o

f th

e R

efo

rmed

tra

dit

ion

in

th

e m

id-1

80

0s.

T

his

54 A

fter

th

e R

evo

luti

on

ary

War

, th

e w

ord

Pro

test

ant

was

ad

ded

to

th

e d

eno

min

atio

nal

nam

e in

th

e U

nit

ed S

tate

s, b

ut

is o

ften

use

d t

o r

efer

to

th

e D

utc

h R

efo

rmed

Ch

urc

h a

s it

ex

iste

d b

efo

re t

he

Rev

olu

tio

nar

y W

ar a

s w

ell.

5

5 A

rie

R.

Bro

uw

er.

Ref

orm

ed C

hu

rch

Ro

ots

. N

ew Y

ork

: R

efo

rmed

Ch

urc

h P

ress

, 1

97

7.

78

-79

. 5

6 J

. G

ord

an M

elto

n.

En

cycl

op

edia

of

Am

eric

an

Rel

igio

ns.

Wil

min

gto

n:

McG

rath

Pu

bli

shin

g C

om

pan

y,

19

78

.

1:1

19

. 5

7 I

n t

he

earl

y 1

85

0s,

th

e P

rote

stan

t D

utc

h R

efo

rmed

Ch

urc

h c

han

ged

its

off

icia

l ti

tle

to t

he

Ref

orm

ed C

hu

rch

in

Am

eric

a.

58 R

ob

ert

P.

Sw

iere

ng

a an

d E

lto

n J

. B

ruin

s. F

am

ily

Qu

arr

els

in t

he

Du

tch

Ref

orm

ed C

hu

rch

es i

n t

he

Nin

etee

nth

Cen

tury

. G

ran

d R

apid

s: W

m.

B.

Eer

dm

ans

Pu

bli

shin

g C

o.,

19

99

. 8

2,

61

. 5

9 I

bid

., 8

4-8

5.

Th

e o

ther

fiv

e g

riev

ance

s lo

dg

ed a

gai

nst

th

e ch

urc

h w

ere

pra

ctic

ing

op

en c

om

mu

nio

n,

fail

ing

to

teac

h a

nd

pre

ach

th

e ca

tech

ism

, ig

no

rin

g f

amil

y l

ife,

mem

ber

ship

in

th

e F

reem

aso

ns,

an

d v

iew

s o

f th

e im

mig

ran

ts’

cho

ice

to s

eced

e fr

om

th

e st

ate

chu

rch

in

th

e N

eth

erla

nd

s.

6

0 P

salm

s a

nd

Hym

ns.

P

hil

adel

ph

ia:

Wil

liam

G.

Men

tz,

18

47

. h

ttp

://w

ww

.arc

hiv

e.o

rg/d

etai

ls/c

u3

19

24

02

93

27

50

3.

29

1-2

96

.

Kl

um

pp

| 1

4

gri

evan

ce h

igh

lig

hts

th

e co

nti

nu

ed i

mp

ort

ance

th

at m

usi

cal

wo

rsh

ip a

nd

co

nce

rns

abo

ut

fro

m

wo

rsh

ip a

s in

stru

cted

by

Cal

vin

.

Sh

ort

ly a

fter

th

e es

tab

lish

men

t o

f tw

o d

isti

nct

bra

nch

es o

f R

CA

, D

utc

h s

ettl

ers

in

No

rth

wes

t Io

wa

sou

gh

t o

pp

ort

un

itie

s to

co

nti

nu

e to

nu

rtu

re a

nd

ed

ify

th

eir

chil

dre

n t

hro

ug

h

reli

gio

us

edu

cati

on

. I

t is

fro

m t

his

par

ticu

lar

gro

up

an

d i

ts q

ues

t to

pro

vid

e d

isti

nct

ly C

hri

stia

n

edu

cati

on

th

at N

ort

hw

este

rn C

oll

ege

ori

gin

ates

. T

his

co

mm

un

ity

, it

s p

lace

wit

hin

Ch

rist

ian

ort

ho

do

xy

, an

d a

ffil

iati

on

wit

h t

he

RC

A p

rov

ide

a co

nn

ecti

on

to

th

e T

rin

ity

an

d w

ors

hip

.

In 1

88

2,

com

mu

nit

y m

emb

ers

and

cle

rgy

est

abli

shed

th

e o

rig

inal

co

nst

itu

tio

n o

f

No

rth

wes

tern

Cla

ssic

al A

cad

emy

(N

WC

A),

wh

ich

ser

ved

to

pro

vid

e a

dis

tin

ct v

isio

n f

or

this

new

in

stit

uti

on

:

Th

e o

bje

ct o

f th

is I

nco

rpo

rati

on

sh

all

be

to e

stab

lish

an

In

stit

uti

on

of

lear

nin

g f

or

the

pro

mo

tio

n o

f S

cien

ce a

nd

Lit

erat

ure

in

har

mo

ny

wit

h,

and

Rel

igio

n a

s ex

pre

ssed

in

, th

e

Do

ctri

nal

Sta

nd

ard

s o

f th

e R

efo

rmed

Ch

urc

h i

n A

mer

ica;

an

d t

o e

xer

cise

su

ch o

ther

an

d

inci

den

tal

po

wer

s as

are

gra

nte

d t

o c

orp

ora

tio

ns

for

Ed

uca

tio

nal

an

d R

elig

iou

s

Pu

rpo

ses.

61

Wit

hin

th

is s

tate

men

t, t

her

e is

an

im

pli

cit

con

nec

tio

n t

o s

tro

ng

Tri

nit

aria

n t

heo

log

y a

nd

th

e

Ref

orm

ed w

ors

hip

tra

dit

ion

fo

un

d i

n t

he

dir

ect

refe

ren

ce t

o D

oct

rin

al S

tan

dar

ds

of

the

Ref

orm

ed

Ch

urc

h i

n A

mer

ica.

62

Th

e h

isto

rica

l p

rox

imit

y o

f re

cen

t sc

his

m w

ith

in t

he

do

min

atio

n a

nd

th

is

clea

r al

ign

men

t w

ith

th

e R

CA

wo

uld

hav

e co

nn

ote

d r

ejec

tio

n o

f th

e g

riev

ance

s ra

ised

by

th

e

Tru

e D

utc

h R

efo

rmed

Ch

urc

h,

thu

sly

co

nd

on

ing

th

e u

se o

f h

ym

ns

wit

hin

wo

rsh

ip.

Th

eref

ore

,

this

sta

tem

ent

serv

es t

o i

llu

stra

te t

he

pre

sen

ce a

nd

cen

tral

ity

of

the

go

dh

ead

as

exp

ou

nd

ed i

n b

oth

61 C

on

stit

uti

on

an

d B

y-L

aw

s o

f th

e B

oa

rd o

f T

rust

ees

of

the

No

rth

wes

tern

Cla

ssic

al

Aca

dem

y (1

88

2)

as q

uo

ted

by

Dal

e H

ub

er’s

in

A H

isto

ry o

f th

e N

ort

hw

este

rn C

lass

ica

l A

cad

emy,

Ora

ng

e C

ity,

Io

wa

, 1

88

2-1

95

7,

13

. 6

2 R

efo

rmed

Ch

urc

h i

n A

mer

ica

. 2

00

9.

htt

p:/

/ww

w.r

ca.o

rg/P

age.

asp

x?p

id=

29

9.

(A

cces

sed

No

vem

ber

16

, 2

00

9).

Am

on

g t

he

do

cum

ents

an

d c

reed

s ci

ted

as

stan

dar

ds

of

the

RC

A,

see

Th

e A

po

stle

s’ C

reed

, th

e A

tha

na

sia

n C

reed

,

Art

icle

s 8

an

d 9

of

Th

e B

elg

ic C

on

fess

ion

an

d Q

ues

tio

n a

nd

An

swer

25

of

Th

e H

eid

elb

erg

Ca

tech

ism

fo

r ex

pli

cit

Tri

nit

aria

n r

efer

ence

s.

66

Kl

um

pp

| 1

5

ecu

men

ical

an

d R

efo

rmed

do

ctri

ne

at N

ort

hw

este

rn’s

in

cep

tio

n a

nd

its

ap

pro

val

of

bo

th t

he

Psa

lter

an

d h

ym

no

dy

.63

T

he

pla

ce o

f C

hri

stia

n e

dif

icat

ion

has

rem

ain

ed c

entr

al t

o t

he

dev

elo

pm

ent

at

No

rth

wes

tern

an

d t

he

imp

lem

enta

tio

n o

f a

chap

el p

rog

ram

at

the

NW

CA

. T

he

firs

t b

uil

din

g

pu

rch

ased

fo

r ed

uca

tio

nal

pu

rpo

ses

was

co

nv

erte

d i

nto

fo

ur

larg

e cl

assr

oo

ms

on

on

e fl

oo

r an

d

pro

vid

ed f

or

a sp

ace

to b

e d

esig

nat

ed a

s th

e ch

apel

on

th

e se

con

d f

loo

r.6

4

As

enro

llm

ent

incr

ease

d,

the

nee

d t

o e

xp

and

fac

ilit

ies

to b

ette

r ac

com

mo

dat

e th

e n

eed

s o

f st

ud

ents

bec

ame

per

tin

ent.

In

18

94

, a

cere

mo

ny

per

form

ed i

n D

utc

h d

edic

ated

Zw

emer

Hal

l an

d t

he

seco

nd

flo

or

chap

el t

hat

hel

d o

ver

20

0 s

tud

ents

.65

Th

e af

firm

atio

n o

f R

efo

rmed

do

ctri

ne

just

ov

er a

dec

ade

earl

ier

and

th

e ce

ntr

alit

y a

nd

co

nti

nued

in

clu

sio

n o

f sp

aces

ded

icat

ed t

o c

hap

el s

erv

ices

hig

hli

gh

ts t

he

imp

ort

ance

th

e N

WC

A g

ave

to p

rov

idin

g p

up

ils

wit

h o

pp

ort

un

itie

s to

fo

ster

spir

itu

al g

row

th a

nd

th

e d

evel

op

men

t o

f st

ron

g t

heo

log

y.

T

hro

ug

ho

ut

the

NW

CA

’s m

etam

orp

ho

sis

into

a J

un

ior

Co

lleg

e an

d s

ub

seq

uen

tly

in

to a

fou

r-y

ear

inst

itu

tio

n,

the

sig

nif

ican

ce o

f m

ain

tain

ing

a C

hri

stia

n i

den

tity

fir

mly

ro

ote

d w

ith

in t

he

do

ctri

nal

sta

nd

ard

s o

f th

e R

CA

has

rem

ain

ed i

nte

gra

l.6

6

Du

rin

g t

he

per

iod

of

tran

siti

on

to

a f

ou

r-

yea

r in

stit

uti

on

in

th

e ea

rly

195

0s,

No

rth

wes

tern

Co

lleg

e’s

(NW

C)

seco

nd

pre

sid

ent,

Dr.

Fre

der

ick

H.

Wez

eman

rei

tera

ted

th

is R

efo

rmed

id

enti

ty i

n a

sta

tem

ent

to t

he

Bo

ard

of

Tru

stee

s:

“On

ly p

rin

cip

les

can

bri

ng

un

ity

an

d t

imel

ess

pu

rpo

se i

nto

th

e w

ho

le p

rog

ram

. F

or

us,

fo

r o

ur

inst

itu

tio

n,

thes

e ar

e th

e p

rin

cip

les

of

ou

r C

hri

stia

n f

aith

, o

ur

Ref

orm

ed d

oct

rin

e, a

nd

ou

r

63 T

he

use

of

the

term

ecu

men

ical

ref

eren

ces

Th

e A

po

stle

s’,

Ath

an

asi

an

, a

nd

Nic

ene

Cre

eds,

wh

ich

are

acc

epte

d a

s

Ref

orm

ed D

oct

rin

e b

ut

also

ele

vat

ed a

s st

and

ard

s o

f C

hri

stia

n o

rth

od

ox

y a

ffir

med

by

no

n-R

efo

rmed

Ch

rist

ian

s.

64 G

eral

d F

. D

e Jo

ng

. F

rom

Str

eng

th t

o S

tren

gth

. G

ran

d R

apid

s: W

illi

am B

. E

erd

man

s P

ub

lish

ing

Co

., 1

98

2.

21

.

Inte

rest

ing

ly,

the

ori

gin

al c

hap

el w

as d

esig

ned

an

d u

sed

as

a sk

atin

g r

ink

bef

ore

th

e b

uil

din

g w

as p

urc

has

ed b

y t

he

Aca

dem

y.

65 I

bid

., 3

5.

66 A

lth

ou

gh

ref

eren

ces

to a

“C

hri

stia

n”

iden

tity

cer

tain

ly e

xte

nd

bey

on

d t

he

con

fin

es o

f a

chap

el p

rog

ram

, re

fere

nce

s

to “

Ch

rist

ian

” ed

ific

atio

n a

nd

gro

wth

are

un

der

sto

od

to

tak

e p

lace

in

par

t th

rou

gh

th

e co

lleg

iate

ch

apel

pro

gra

m.

Kl

um

pp

| 1

6

Cal

vin

ist

wo

rld-

and

lif

e-v

iew

.”6

7

Th

ese

sen

tim

ents

an

d c

on

nec

tio

ns

to i

nst

itu

tio

nal

th

eolo

gic

al

roo

ts w

ere

reit

erat

ed b

y P

resi

den

t W

ezem

an’s

su

cces

sor

Dr.

Pre

sto

n S

teg

eng

a w

ho

cal

led

on

No

rth

wes

tern

to

pro

gre

ss i

n l

igh

t o

f it

s h

erit

age.

68

Th

e tr

end

of

pre

sid

enti

al r

eaff

irm

atio

n N

WC

’s p

lace

wit

hin

th

e R

efo

rmed

tra

dit

ion

wan

ed a

bit

as

the

21

st c

entu

ry a

pp

roac

hed

, w

hic

h i

s q

uit

e ap

par

ent

in s

tate

men

ts i

ssu

ed b

y

form

er P

resi

den

ts J

ames

Bu

ltm

an a

nd

Bru

ce M

urp

hy

Ph

D.

Bo

th m

en p

rais

e N

ort

hw

este

rn f

or

its

ded

icat

ion

to

th

e C

hri

stia

n f

aith

an

d p

ersp

ecti

ve;

nei

ther

, h

ow

ever

, m

enti

on

s th

e R

efo

rmed

trad

itio

n.6

9

Des

pit

e th

is,

the

Iden

tity

Sta

tem

ent

ado

pte

d i

n O

cto

ber

of

20

09

aff

irm

s

No

rth

wes

tern

’s g

rou

nd

ing

in

th

e R

efo

rmed

Tra

dit

ion

wh

en i

s st

ates

: “N

ort

hw

este

rn C

oll

ege

is a

Ch

rist

ian

co

lleg

e in

th

e R

efo

rmed

tra

dit

ion

, fo

un

ded

in

18

82

by

th

e R

efo

rmed

Ch

urc

h i

n

Am

eric

a.”7

0

Th

e re

turn

to

lan

gu

age

that

ref

eren

ces

Ref

orm

ed d

oct

rin

e an

d t

rad

itio

n a

llo

ws

for

the

un

der

stan

din

g o

f th

e N

ort

hw

este

rn’s

in

stit

uti

on

al e

nd

ors

emen

t o

f th

e T

rin

itar

ian

th

eolo

gy

and

wo

rsh

ip t

hat

has

dev

elo

ped

fro

m t

his

tra

dit

ion

.

Th

ere

is a

cle

ar p

auci

ty o

f d

irec

t re

fere

nce

s to

bo

th w

ors

hip

an

d T

rin

itar

ian

th

eolo

gy

thro

ug

ho

ut

mu

ch o

f N

WC

’s h

isto

ry.

Th

e cl

eare

st r

efer

ence

to

th

e T

rin

ity

an

d i

ts r

elat

ion

to

wo

rsh

ip a

t N

ort

hw

este

rn o

ccu

rs i

n t

he

Vis

ion

fo

r L

earn

ing

ad

op

ted

in

20

06.

Th

is s

tate

men

t

incl

ud

es t

hre

e cl

ause

s th

at d

irec

tly

ref

eren

ce a

nd

aff

irm

th

e im

po

rtan

ce o

f T

rin

itar

ian

wo

rsh

ip:

67 I

bid

., 1

24

. 6

8 I

bid

., 1

25

. 6

9 S

ylv

io J

. S

corz

a. "

Th

e F

ifth

Qu

arte

r."

Su

pp

lem

ent

to G

eral

d F

. D

eJo

ng

's F

rom

Str

eng

th t

o S

tren

gth

, 2

00

7.

2.

70 N

ort

hw

este

rn C

oll

ege.

20

09

. h

ttp

://w

ww

.nw

cio

wa.

edu

/new

s/co

nte

ntI

D.2

77

2/a

rtic

le.a

spx

. (a

cces

sed

Oct

ob

er 2

8,

20

09

).

Th

e B

oar

d o

f T

rust

ees

of

No

rth

wes

tern

Co

lleg

e at

its

fal

l m

eeti

ng

on

Oct

ob

er 5

-6,

20

09

ap

pro

ved

th

is

stat

emen

t.

67

Kl

um

pp

| 1

7

No

rth

wes

tern

Co

lleg

e is

a c

om

mu

nit

y r

oo

ted

in

Scr

iptu

re a

nd

th

e co

nfe

ssio

n o

f R

efo

rmed

theo

log

y a

nd

th

us

shap

ed b

y a

ro

bu

st i

nte

gra

tiv

e an

d t

ran

sfo

rmat

ive

vis

ion

of

the

Tri

un

e

Go

d w

ho

cre

ates

, re

dee

ms

and

su

stai

ns.

(e

mp

has

is a

dd

ed).

Tru

st,

lov

e a

nd

wo

rsh

ip G

od

Un

der

stan

din

g t

hat

Go

d i

s th

e ce

nte

r o

f li

fe,

lear

nin

g a

bo

ut

Go

d t

hro

ug

h c

aref

ul

and

rig

oro

us

stu

dy

, an

d a

spir

ing

to

tru

st,

lov

e, a

nd

wo

rsh

ip G

od

as

the

sov

erei

gn

Lo

rd o

f th

e

un

iver

se.

En

ga

ge

idea

s

Pu

rsu

ing

tru

th f

aith

full

y i

n a

ll a

spec

ts o

f li

fe;

dev

elo

pin

g,

arti

cula

tin

g a

nd

su

pp

ort

ing

thei

r o

wn

bel

iefs

; an

d s

eek

ing

mea

nin

gfu

l d

ialo

gu

e w

ith

th

ose

ho

ldin

g d

iffe

ren

t

con

vic

tio

ns.

71

Th

is d

ocu

men

t o

ffic

iall

y a

ckn

ow

led

ges

th

e T

rin

ity

an

d t

hen

pro

ceed

s to

ex

po

un

d p

arti

cula

rly

on

way

s th

at t

he

“Tri

un

e G

od

” is

wo

rsh

iped

wit

hin

th

e R

efo

rmed

par

adig

m.

Th

e se

con

d c

lau

se i

s a

dir

ect

call

to

wo

rsh

ip,

wh

ich

has

alr

ead

y b

een

est

abli

shed

as

nec

essi

tati

ng

a m

ann

er o

f m

usi

cal

exp

ress

ion

. T

he

thir

d c

lau

se r

efle

cts

the

imp

ort

ance

of

equ

ipp

ing

stu

den

ts t

o g

row

in

th

eir

un

der

stan

din

g o

f th

eir

fait

h,

wh

ich

in

clu

des

bo

th t

he

Tri

nit

y a

nd

its

pla

ce i

n w

ors

hip

wh

en i

t

refe

ren

ces

“dev

elo

pin

g,

arti

cula

tin

g a

nd

su

pp

ort

ing

” b

elie

fs.

Wit

h t

his

go

al o

f d

evel

op

ing

,

arti

cula

tin

g,

and

su

pp

ort

ing

co

mp

on

ents

of

thei

r fa

ith

, st

ud

ents

sh

ou

ld c

on

seq

uen

tly

be

able

to

wo

rsh

ip i

nte

llig

entl

y t

hro

ug

h m

usi

c th

at f

ost

ers

un

der

stan

din

g a

nd

ed

ific

atio

n.

Ch

apel

mu

sic,

ther

efo

re,

sho

uld

bo

lste

r o

rth

od

ox

Ch

rist

ian

bel

iefs

, w

hic

h i

ncl

ud

es a

ffir

min

g t

he

Tri

nit

y.

Th

ou

gh

th

is d

ocu

men

t d

oes

no

t sp

ecif

ical

ly m

enti

on

ch

apel

, it

sh

ou

ld s

erv

e as

a c

lear

co

mp

ass

for

con

tin

ued

att

emp

ts t

o a

lig

n b

oth

th

e ch

apel

pro

gra

m a

nd

th

e m

usi

cal

wo

rsh

ip u

sed

wit

hin

it

wit

h t

he

do

ctri

nal

sta

nd

ard

s an

d i

nst

itu

tio

nal

go

als

pre

sen

t at

No

rth

wes

tern

.

In h

is p

roje

ct p

aper

Gro

wth

To

wa

rd F

ait

h M

atu

rity

th

rou

gh

a C

oll

egia

te C

ha

pel

Pro

gra

m,

form

er N

ort

hw

este

rn C

oll

ege

chap

lain

Rev

. D

r. M

atth

ew F

lod

ing

see

ks

to d

efin

e an

d

71 T

hes

e ar

e d

irec

t q

uo

tes

fro

m s

elec

ted

po

rtio

ns

of

No

rth

wes

tern

Co

lleg

e’s

Vis

ion

fo

r L

earn

ing

ad

op

ted

in

20

06

.

To

rea

d t

he

enti

re d

ocu

men

t se

e A

pp

end

ix B

.

Kl

um

pp

| 1

8

un

der

stan

d t

he

con

trib

uti

on

th

at t

he

chap

el p

rog

ram

off

ers

to t

he

stu

den

ts.7

2

In h

is s

tud

y,

Flo

din

g i

den

tifi

es t

he

pri

mar

y p

urp

ose

of

chap

el a

t N

ort

hw

este

rn a

s co

ntr

ibu

tin

g t

o t

he

spir

itu

al

gro

wth

of

the

stu

den

t b

od

y.7

3

Th

is v

iew

pro

ves

div

erg

ent

fro

m t

he

stat

emen

t p

rese

nt

on

No

rth

wes

tern

’s w

ebsi

te t

hat

id

enti

fies

ch

apel

as

“ab

ou

t li

sten

ing

to

Go

d’s

cal

l to

1)

be

chil

dre

n

of

Go

d,

2)

be

life

lon

g l

earn

ers,

3)

dis

cov

er a

vo

cati

on

in

Go

d’s

kin

gd

om

, 4

) le

arn

ab

ou

t G

od

’s

wo

rld

, an

d 5

) b

e en

cou

rag

ed a

nd

no

t af

raid

.” 7

4

Th

is l

ess

dir

ectl

y m

enti

on

s th

e sp

irit

ual

fo

cus

of

chap

el.

Flo

din

g’s

ap

pra

isal

of

the

chap

el p

rog

ram

, w

hic

h i

s co

nsi

sten

t w

ith

Ref

orm

ed d

oct

rin

e

,co

up

led

wit

h t

he

stat

emen

t p

rese

nte

d o

n N

ort

hw

este

rn’s

web

site

cre

ates

a m

ore

ho

list

ic

un

der

stan

din

g o

f th

e p

urp

ose

of

chap

el t

o e

ng

age

bo

th t

he

spir

it a

nd

th

e m

ind

.

Th

e o

ver

arch

ing

pri

nci

ple

beh

ind

a c

hap

el p

rog

ram

at

the

coll

egia

te l

evel

, ac

cord

ing

to

Flo

din

g,

is t

o p

rov

ide

op

po

rtu

nit

ies

for

con

tin

ual

sp

irit

ual

gro

wth

fo

r a

stu

den

t th

rou

gh

ou

t h

is/h

er

tim

e at

No

rth

wes

tern

.75

Th

is f

ocu

s o

n s

pir

itu

al g

row

th i

s au

gm

ente

d b

y t

he

stat

emen

t p

rese

nte

d

on

No

rth

wes

tern

’s w

ebsi

te a

ffir

min

g t

he

chap

el p

rog

ram

’s r

ole

in

em

po

wer

ing

stu

den

ts t

o s

eek

bo

th G

od

an

d u

nd

erst

and

ing

. T

her

efo

re,

the

agg

reg

ate

of

exp

erie

nce

s w

ith

th

e ch

apel

pro

gra

m

con

trib

ute

to

bo

th s

pir

itu

al g

row

th a

nd

an

em

po

wer

ing

un

der

stan

din

g o

f b

oth

Go

d a

nd

stu

den

ts’

con

nec

tio

n t

o G

od

. W

ith

Flo

din

g’s

ack

no

wle

dg

emen

t th

at s

pir

itu

al g

row

th a

s a

sum

mat

ion

of

nu

mer

ou

s ch

apel

ex

per

ien

ces,

it

is s

ensi

ble

to

ass

um

e th

at m

usi

cal

com

po

nen

ts c

on

trib

ute

to

th

is

gro

wth

. S

uch

an

in

fere

nce

ser

ves

to

ju

stif

y t

he

imp

ort

ance

of

sou

nd

th

eolo

gic

al b

asis

fo

r th

e

mu

sic

pre

sen

t in

ch

apel

. T

her

efo

re,

qu

esti

on

s re

gar

din

g t

he

theo

log

y t

hat

is

bei

ng

ex

pre

ssed

in

72 T

his

stu

dy

is

no

t in

ten

ded

to

lo

ok

at

the

mu

sica

l as

pec

ts o

f w

ors

hip

bu

t in

stea

d s

eek

s to

co

nsi

der

th

e ro

le o

f th

e

chap

lain

; h

ow

ever

, it

pro

vid

es v

alu

able

in

sig

ht

reg

ard

ing

th

e p

arti

cula

r ro

le o

f N

ort

hw

este

rn’s

ch

apel

pro

gra

m a

nd

its

pla

ce w

ith

in t

he

cam

pu

s co

mm

un

ity

. 7

3 M

atth

ew D

. F

lod

ing

"G

row

th T

ow

ard

Fai

th M

atu

rity

Th

rou

gh

a C

oll

egia

te C

hap

el P

rog

ram

." P

roje

ct P

aper

, 1

99

6.

4.

74 N

ort

hw

este

rn C

oll

ege.

20

09

. h

ttp

://w

ww

.nw

cio

wa.

edu

/ch

apel

/def

ault

.asp

x (

acce

ssed

Oct

ob

er 2

9,

20

09

).

75F

lod

ing

,, 4

.

68

Kl

um

pp

| 1

9

the

mu

sica

l w

ors

hip

at

No

rth

wes

tern

are

rai

sed

an

d m

ust

be

add

ress

ed.

Tri

nit

ari

an

Wo

rsh

ip a

t N

ort

hw

este

rn C

oll

ege

T

he

sig

nif

ican

ce o

f so

un

d t

heo

log

ical

wo

rsh

ip a

nd

in

form

al o

bse

rvat

ion

s th

rou

gh

ou

t

thre

e y

ears

as

a st

ud

ent

led

to

th

e p

urs

uit

of

a st

ud

y d

esig

ned

to

co

nsi

der

th

e p

rese

nce

of

Tri

nit

aria

n l

ang

uag

e an

d t

heo

log

y i

n w

ors

hip

at

No

rth

wes

tern

Co

lleg

e.

Th

is s

tud

y w

as

con

du

cted

by

co

nsi

der

ing

th

e ap

pea

ran

ce o

f te

rmin

olo

gy

ref

erri

ng

to

Go

d i

n m

usi

cal

wo

rsh

ip a

t

Tu

esd

ay C

hap

el a

nd

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

ser

vic

es.

In

ord

er t

o g

ain

an

acc

ura

te

pic

ture

of

wo

rsh

ip l

ang

uag

e at

th

ese

two

ser

vic

es,

bet

wee

n S

epte

mb

er a

nd

No

vem

ber

of

20

09

,

each

ref

eren

ce t

o d

eity

, w

het

her

th

e T

rin

ity

, an

y o

f it

s in

div

idu

al p

erso

ns,

or

an a

mb

igu

ou

s te

rm,

was

do

cum

ente

d a

nd

th

en c

atal

og

ued

by s

erv

ice.

76

Th

e n

um

ber

of

term

s u

sed

in

clu

des

all

rep

eate

d v

erse

s o

r p

hra

ses

that

var

ied

bas

ed o

n t

he

par

ticu

lar

situ

atio

n.

Th

e to

tal

nu

mb

er o

f

term

s al

so s

ou

gh

t to

un

der

stan

d t

erm

s co

nte

xtu

ally

, w

hic

h a

llo

wed

th

e w

ord

s “h

e” a

nd

“y

ou

” to

be

pla

ced

in

mo

re s

pec

ific

cat

ego

ries

wh

en t

hey

cle

arly

ref

eren

ced

a s

pec

ific

per

son

of

the

Tri

nit

y.

Th

e su

mm

atio

n o

f th

ese

term

s w

ere

cate

go

rize

d a

cco

rdin

g t

o w

het

her

th

ey u

sed

refe

ren

ces

to t

he

firs

t, s

eco

nd

, o

r th

ird

per

son

s o

f th

e T

rin

ity

, G

od

, an

am

big

uo

us

pro

no

un

, o

r

sub

stit

uti

on

ary

ter

m i

n t

he

pla

ce o

f G

od

. T

his

dat

a th

en a

llo

wed

fo

r th

e n

um

ber

of

refe

ren

ces

to

each

per

son

of

the

Tri

nit

y t

o b

e u

nd

erst

oo

d b

oth

in

rel

atio

n t

o o

ne

ano

ther

an

d t

o t

he

tota

l

nu

mb

er o

f re

fere

nce

s to

Go

d t

hro

ug

ho

ut

the

sem

este

r.

Det

erm

inin

g t

he

nu

mb

er o

f re

fere

nce

s in

each

so

ng

was

als

o c

on

sid

ered

by

id

enti

fyin

g t

he

nu

mb

er o

f so

ng

s w

ith

ref

eren

ces

to e

ach

of

the

cate

go

ries

lis

ted

ab

ov

e.

Th

e fi

rst

serv

ice

stu

die

d t

o p

rov

ide

info

rmat

ion

reg

ard

ing

th

e p

rese

nce

of

Tri

nit

aria

n

mu

sica

l w

ors

hip

at

No

rth

wes

tern

was

th

e T

ues

day

Ch

apel

ser

vic

e.

Th

is s

erv

ice

pri

mar

ily

76 I

n o

rder

to

ass

ure

acc

ura

te n

um

ber

s, t

he

term

s w

ere

cou

nte

d b

ased

on

th

e P

ow

erP

oin

t p

rese

nta

tio

ns

use

d a

t ea

ch

serv

ice.

Kl

um

pp

| 2

0

dev

elo

ped

du

rin

g R

ev.

Dr.

Mat

thew

Flo

din

g’s

ch

apla

incy

wh

en T

hu

rsd

ay c

hap

el w

as

dis

con

tin

ued

an

d T

ues

day

ch

apel

was

len

gth

ened

to

all

ow

fo

r an

“ex

ten

ded

lec

ture

;” h

ow

ever

,

bas

ed o

n p

ersi

sten

t st

ud

ent

sug

ges

tio

ns,

th

is “

exte

nd

ed l

ectu

re”

slo

wly

dev

elo

ped

in

to a

mo

re

op

po

rtu

nit

ies

to w

ors

hip

.77

Th

is s

erv

ice

beg

ins

at 1

1:0

5 o

n T

ues

day

mo

rnin

gs

and

las

ts f

or

app

rox

imat

ely

50

min

ute

s.

It f

eatu

res

bo

th m

usi

cal

wo

rsh

ip a

nd

a s

pea

ker

an

d s

tud

ents

rec

eiv

e

two

cre

dit

s to

war

ds

thei

r re

qu

ired

ch

apel

att

end

ance

fo

r at

ten

din

g o

ne

Tu

esd

ay c

hap

el.

Th

is

serv

ice

is p

lan

ned

, re

hea

rsed

, an

d l

ed b

y a

wo

rsh

ip t

eam

co

mp

rise

d o

f st

ud

ents

. T

he

mu

sic

at

this

ser

vic

e ra

ng

es f

rom

hy

mn

s to

rec

entl

y r

elea

sed

wo

rsh

ip m

usi

c.

Bec

ause

th

e am

ou

nt

of

mu

sica

l w

ors

hip

at

this

ser

vic

e is

oft

en c

on

tin

gen

t u

po

n t

he

spea

ker

(s,)

Tu

esd

ay C

hap

el c

an

incl

ud

e b

etw

een

th

ree

and

six

so

ng

s d

epen

din

g u

po

n t

he

par

ticu

lar

spea

ker

.

Th

e se

con

d s

erv

ice

stu

die

d r

egar

din

g T

rin

itar

ian

lan

gu

age

wit

hin

mu

sica

l w

ors

hip

at

No

rth

wes

tern

was

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

. F

or

ov

er f

ort

y y

ears

, th

ere

has

bee

n s

om

e

typ

e o

f st

ud

ent-

init

iate

d w

ors

hip

or

Bib

le s

tud

y i

n t

he

chap

el o

n S

un

day

ev

enin

gs,

an

d w

ith

th

e

dev

elo

pm

ent

of

the

con

tem

po

rary

wo

rsh

ip m

usi

c m

ov

emen

t in

th

e m

id-1

99

0s,

wh

at b

egan

as

an

info

rmal

Bib

le s

tud

y s

low

ly d

evel

op

ed i

nto

a w

ors

hip

ser

vic

e.7

8

Th

is s

erv

ice

beg

ins

at 9

:00

on

Su

nd

ay e

ven

ing

s an

d l

asts

fo

r ap

pro

xim

atel

y o

ne

ho

ur.

T

his

ser

vic

e in

clu

des

bo

th m

usi

cal

wo

rsh

ip a

nd

a s

pea

ker

; h

ow

ever

, th

e sp

eak

er i

s al

mo

st e

xcl

usi

vel

y a

stu

den

t.

Th

is s

erv

ice

is a

lso

pre

par

ed f

or

and

led

by

a s

tud

ent

wo

rsh

ip t

eam

. T

he

mu

sica

l g

enre

s u

sed

at

this

ser

vic

e ar

e

sim

ilar

to

th

ose

use

d a

t T

ues

day

Ch

apel

. B

ecau

se t

he

spea

ker

is

con

sist

entl

y a

stu

den

t an

d t

he

serv

ice

is l

on

ger

th

an T

ues

day

Ch

apel

, ea

ch s

erv

ice

incl

ud

es e

ith

er e

igh

t o

r n

ine

son

gs.

79

Th

e

asse

ssm

ent

of

the

pre

sen

ce o

f th

e T

rin

ity

wit

hin

th

e m

usi

c u

sed

at

thes

e se

rvic

es b

egin

s w

ith

an

77 H

arla

n V

an O

ort

in

terv

iew

by

An

dre

w K

lum

pp

. (D

ecem

ber

4,

20

09

).

78 I

bid

. 7

9 T

his

is

con

sist

entl

y t

rue

afte

r th

e se

con

d S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip s

erv

ice

on

Sep

tem

ber

13

, 2

00

9 w

ith

on

e ex

cep

tio

n o

ccu

rrin

g o

n S

epte

mb

er 2

7,

20

09

wh

en s

even

so

ng

s w

ere

use

d.

69

Kl

um

pp

| 2

1

app

rais

al o

f th

e p

rese

nce

of

each

per

son

of

the

Tri

nit

y i

n w

ors

hip

an

d c

on

clu

des

wit

h

con

sid

erat

ion

s o

f th

e p

rese

nce

of

Tri

nit

aria

n a

nd

am

big

uo

us

lan

gu

age.

Ref

eren

ces

to t

he

firs

t p

erso

n o

f th

e T

rin

ity

in

th

is s

tud

y w

ere

tho

se t

hat

co

nn

ote

d t

he

fath

erly

or

crea

tiv

e q

ual

itie

s o

f G

od

. C

on

seq

uen

tly

, w

hen

co

nsi

der

ing

th

e an

aly

sis

of

the

term

ino

log

y,

refe

ren

ces

to a

fat

her

or

crea

tor

wer

e d

eem

ed d

irec

t re

fere

nce

s to

th

e fi

rst

per

son

of

the

Tri

nit

y.8

0

Th

rou

gh

ou

t T

ues

day

ser

vic

es o

ccu

rrin

g b

etw

een

Sep

tem

ber

8,

20

09

an

d

No

vem

ber

24

, 2

00

9,

ther

e w

ere

96

8 r

efer

ence

s to

Go

d o

ccu

rrin

g i

n 4

8 s

on

gs.

81

At

Su

nd

ay N

igh

t

Pra

ise

and

Wo

rsh

ip,

bet

wee

n S

epte

mb

er 6

, 2

00

9 a

nd

No

vem

ber

15

, 2

00

9,

ther

e w

ere

15

82

refe

ren

ces

to G

od

wit

hin

th

e 7

9 s

on

gs

use

d f

or

mu

sica

l w

ors

hip

.82

On

ly 2

4 o

f th

e 9

68

ref

eren

ce

to G

od

at

Tu

esd

ay C

hap

el r

efer

red

to

th

e fi

rst

per

son

of

the

Tri

nit

y,

wh

ich

on

ly r

epre

sen

ts 2

.48

%

of

the

refe

ren

ces

to G

od

at

this

ser

vic

e.8

3

Ref

eren

ces

to t

he

firs

t p

erso

n o

f th

e T

rin

ity

ap

pea

red

68

tim

es a

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip a

nd

acc

ou

nte

d f

or

on

ly 4

.30

% o

f th

e re

fere

nce

s to

the

firs

t p

erso

n o

f th

e T

rin

ity

at

this

ser

vic

e.

Eig

ht

dif

fere

nt

son

gs

of

the

48

use

d f

or

Tu

esd

ay C

hap

el r

efer

ence

d G

od

’s f

ath

erly

or

crea

tiv

e q

ual

itie

s.

Th

is i

s w

itn

esse

d i

n S

on

g o

f H

op

e w

hen

it

stat

es “

All

th

ing

s n

ew,

I ca

n s

tart

agai

n.

Cre

ato

r G

od

, ca

llin

g m

e y

ou

r fr

ien

d”

or

thro

ug

h H

old

My

Hea

rt’s

pet

itio

n,

“I’m

on

my

kn

ees.

F

ath

er,

wil

l y

ou

hea

r m

e?”

Th

ese

son

gs

and

oth

ers

con

tain

ing

sim

ilar

ref

eren

ces

acco

un

t

for

16

.67

% o

f th

e so

ng

s u

sed

fo

r w

ors

hip

th

rou

gh

ou

t th

e se

mes

ter

at T

ues

day

Ch

apel

. A

t

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

th

ere

wer

e se

ven

teen

so

ng

s th

at r

efer

ence

d G

od

’s f

ath

erly

or

crea

tiv

e q

ual

itie

s; h

ow

ever

, d

ue

to n

um

ero

us

rep

eate

d s

on

gs,

th

is n

um

ber

on

ly r

epre

sen

ts e

igh

t

80 O

ther

pro

no

un

s su

ch a

s “y

ou

” o

r “h

e” t

hat

ex

pli

citl

y r

efer

ence

d t

he

firs

t p

erso

n o

f th

e T

rin

ity

bas

ed o

n c

on

tex

t

wer

e al

so c

ou

nte

d i

n t

he

fin

al t

ota

l o

f re

fere

nce

s.

81 T

he

nu

mb

er o

f so

ng

s u

sed

fo

r w

ors

hip

, w

hic

h i

ncl

ud

es e

ach

tim

e a

son

g w

as r

epea

ted

th

rou

gh

ou

t th

e se

mes

ter.

8

2 T

hes

e se

rvic

es e

xcl

ud

e th

e T

ues

day

Ch

apel

ser

vic

e le

d b

y K

en M

edem

a o

n S

epte

mb

er 2

7,

20

09

. 8

3 T

his

nu

mb

er i

ncl

ud

es a

ll r

efer

ence

s to

th

e fi

rst

per

son

of

the

Tri

nit

y w

het

her

in

co

nju

nct

ion

wit

h t

he

So

n a

nd

Sp

irit

or

in a

n i

sola

ted

occ

urr

ence

.

Kl

um

pp

| 2

2

dif

fere

nt

son

gs.

G

od

’s f

ath

erly

an

d c

reat

ive

nat

ure

s ar

e ap

par

ent

in B

e T

ho

u m

y V

isio

n

pro

clam

atio

n,

“Th

ou

my

gre

at F

ath

er a

nd

I t

hy

tru

e ch

ild

” an

d “

Wh

at a

wo

nd

erfu

l m

aker

?” i

s

excl

aim

ed i

n W

on

der

ful

Ma

ker.

S

on

gs

that

dir

ectl

y r

efer

ence

th

e fi

rst

per

son

of

the

Tri

nit

y

con

stit

ute

21

.52

% o

f th

e so

ng

s u

sed

fo

r w

ors

hip

on

Su

nd

ay n

igh

ts t

hro

ug

ho

ut

the

sem

este

r.

Th

e

nu

mb

ers

of

son

gs

refe

ren

cin

g t

he

firs

t p

erso

n o

f th

e T

rin

ity

ref

lect

mo

re f

avo

rab

ly o

n t

he

pre

sen

ce o

f th

e fi

rst

per

son

of

the

Tri

nit

y w

ith

in w

ors

hip

th

an s

imp

le a

nal

ysi

s o

f th

e te

rmin

olo

gy

.

Bec

ause

so

ng

an

aly

sis

do

es n

ot

acco

un

t fo

r th

e fr

equ

ency

of

refe

ren

ces,

so

ng

s w

ith

on

ly o

ne

refe

ren

ce a

re i

ncl

ud

ed i

n t

he

fin

al t

ota

l o

f so

ng

s; t

her

efo

re,

the

per

cen

tag

e o

f so

ng

s re

fere

nci

ng

the

firs

t p

erso

n o

f th

e T

rin

ity

mo

re a

ccu

rate

ly d

escr

ibes

th

e d

istr

ibu

tio

n o

f te

rmin

olo

gy

. T

his

dis

tin

ctio

n i

s cl

ear

in s

on

gs

such

as

No

thin

g b

ut

the

Blo

od

an

d P

rais

e th

e L

am

b b

ecau

se e

ach

on

ly c

on

tain

s o

ne

refe

ren

ce t

o t

he

firs

t p

erso

n o

f th

e T

rin

ity

. T

hes

e so

ng

s co

ntr

ibu

te t

o t

he

sev

ente

en s

on

gs

that

ref

eren

ced

th

e fi

rst

per

son

of

the

Tri

nit

y a

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip;

ho

wev

er,

the

firs

t p

erso

n o

f th

e T

rin

ity

is

no

t fr

equ

entl

y r

efer

ence

d i

n t

he

lyri

cs o

f

eith

er o

f th

ese

son

gs.

84

Of

the

eig

ht

son

gs

men

tio

nin

g t

he

firs

t p

erso

n o

f th

e T

rin

ity

at

Tu

esd

ay C

hap

el,

two—

My

Go

d,

My

Sa

vio

r an

d G

ive

Th

an

ks—

refe

r to

bo

th t

he

firs

t an

d s

eco

nd

per

son

s o

f th

e T

rin

ity

.

Th

ese

refe

ren

ces

are

pri

mar

ily

th

rou

gh

id

enti

fyin

g C

hri

st a

s th

e S

on

an

d t

he

firs

t p

erso

n o

f th

e

Tri

nit

y a

s th

e F

ath

er.

Giv

e T

ha

nks

sta

tes,

“G

ive

Th

ank

s b

ecau

se H

e’s

giv

en J

esu

s C

hri

st,

his

So

n.”

W

ith

in t

hes

e ly

rics

, th

ere

is a

cle

ar p

ater

nal

rel

atio

nsh

ip e

xp

ress

ed.

Rel

atio

nal

ref

eren

ces

to t

he

firs

t an

d s

eco

nd

per

son

s o

f th

e T

rin

ity

are

on

ly d

istr

ibu

ted

th

rou

gh

ou

t 4

.17

% o

f th

e

wo

rsh

ip m

usi

c fo

r T

ues

day

Ch

apel

. A

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip,

ther

e w

ere

fiv

e

dif

fere

nt

son

gs,

wh

ich

wer

e co

llec

tiv

ely

use

d n

ine

tim

es,

that

ref

eren

ced

bo

th t

he

firs

t an

d

seco

nd

per

son

s o

f th

e T

rin

ity

by

rec

og

niz

ing

th

e re

lati

on

ship

bet

wee

n t

he

Fat

her

an

d t

he

So

n.

84 S

imil

ar l

og

ic i

n r

egar

ds

the

two

mo

des

of

anal

ysi

s ca

n b

e ap

pli

ed t

o e

ach

fo

llo

win

g s

ecti

on

of

anal

ysi

s.

70

Kl

um

pp

| 2

3

“Ho

w d

eep

th

e F

ath

er’s

lo

ve

for

us…

th

at H

e w

ou

ld g

ive

His

on

ly S

on

,” f

rom

Ho

w D

eep

th

e

Fa

ther

’s L

ove

fo

r U

s, p

rov

ides

an

oth

er e

xam

ple

of

this

co

nti

nu

ed e

xp

lora

tio

n o

f th

e re

lati

on

al

con

nec

tio

n b

etw

een

th

e fi

rst

and

sec

on

d p

erso

ns

of

the

Tri

nit

y.

Th

e n

ine

tim

es s

on

gs

that

sp

eak

of

bo

th t

he

firs

t an

d s

eco

nd

per

son

s o

f th

e T

rin

ity

th

at w

ere

use

d f

or

wo

rsh

ip r

epre

sen

t 1

1.3

9%

of

the

wo

rsh

ip m

usi

c at

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

.

Th

is r

elat

ion

al e

xp

lora

tio

n b

etw

een

th

e fi

rst

and

th

ird

per

son

s o

f th

e T

rin

ity

is

no

t p

rese

nt

in e

ith

er s

erv

ice.

N

on

e o

f th

e so

ng

s u

sed

at

Tu

esd

ay C

hap

el r

efer

ex

clu

siv

ely

to

th

e fi

rst

and

thir

d p

erso

ns

of

the

Tri

nit

y.

At

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

on

ly o

ne

son

g r

efer

ence

d b

oth

the

firs

t an

d t

hir

d p

erso

ns

of

the

Tri

nit

y—

Giv

e U

s C

lea

n H

an

ds.

T

his

so

lita

ry s

on

g (

1.2

7%

of

wo

rsh

ip s

on

gs)

do

es n

ot

exp

lore

th

e re

lati

on

al c

on

nec

tio

n b

etw

een

th

ese

two

per

son

s o

f th

e

Tri

nit

y b

ut

inst

ead

pet

itio

ns

the

Sp

irit

to

“co

me

mak

e u

s h

um

ble

” an

d o

n a

sep

arat

e o

ccas

ion

,

dec

lare

s, “

let

us

be

a g

ener

atio

n t

hat

see

ks

yo

ur

face

, O

Go

d o

f Ja

cob

.”8

5

Th

e re

mai

nin

g s

ix s

on

gs

use

d a

t T

ues

day

Ch

apel

are

div

ided

eq

ual

ly b

etw

een

th

ose

excl

usi

vel

y m

enti

on

ing

th

e fi

rst

per

son

of

the

Tri

nit

y a

nd

th

ose

men

tio

nin

g a

ll t

hre

e p

erso

ns.

86

Th

e 6

.25

% o

f so

ng

s m

enti

on

ing

on

ly t

he

firs

t p

erso

n o

f th

e T

rin

ity—

No

t to

Us,

Ho

ld m

y H

eart

,

and

So

ng

of

Ho

pe—

exp

ou

nd

up

on

bel

iefs

reg

ard

ing

th

e “f

ath

er”

or

“cre

ato

r” b

y d

irec

tly

off

erin

g

pra

ise

to t

his

per

son

of

the

Tri

nit

y.

Th

ree

of

rem

ain

ing

sev

en s

on

gs

sun

g a

t w

ors

hip

on

Su

nd

ay

nig

ht

refe

ren

ce t

he

Tri

nit

y a

nd

wil

l b

e d

iscu

ssed

lat

er a

nd

fo

ur—

No

t to

Us

and

Be

Th

ou

My

Vis

ion

, ea

ch u

sed

tw

ice—

excl

usi

vel

y r

efer

to

th

e fi

rst

per

son

of

the

Tri

nit

y.

So

ng

s th

at o

nly

men

tio

n t

he

firs

t p

erso

n o

f th

e T

rin

ity

rep

rese

nt

5.0

6%

of

the

wo

rsh

ip s

on

gs

use

d a

t th

is s

erv

ice.

85 T

he

refe

ren

ce t

o “

O G

od

of

Jaco

b”

is c

ateg

ori

zed

as

a re

fere

nce

to

th

e fi

rst

per

son

of

the

Tri

nit

y b

ecau

se o

f it

s

con

nec

tio

n t

o t

he

Old

Tes

tam

ent,

wh

ich

oft

en c

on

no

tes

a co

nn

ecti

on

to

th

e fi

rst

per

son

of

the

Tri

nit

y.

86 T

he

imp

lica

tio

ns

of

son

gs

refe

ren

cin

g t

he

Tri

nit

y w

ill

be

dis

cuss

ed i

n a

po

rtio

n o

f an

aly

sis

spec

ific

ally

dis

cuss

ing

the

Tri

nit

y b

ut

is p

rov

ided

her

e to

off

er a

mo

re h

oli

stic

un

der

stan

din

g o

f th

e d

ata

reg

ard

ing

th

e fi

rst

per

son

of

the

Tri

nit

y.

It

wil

l se

rve

the

sam

e p

urp

ose

in

su

bse

qu

ent

dis

cuss

ion

s o

f th

e o

ther

per

son

s o

f th

e T

rin

ity

an

d b

e ex

plo

red

mo

re f

ull

y w

hen

th

e to

pic

of

the

Tri

nit

y i

s tr

eate

d i

nd

ivid

ual

ly.

Kl

um

pp

| 2

4

Th

e am

ou

nt

of

lan

gu

age

in w

ors

hip

ref

erri

ng

to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

is

sub

stan

tial

ly g

reat

er t

han

th

at o

f th

e fi

rst.

T

his

co

uld

be

resu

ltan

t o

f th

e em

ph

asis

in

ev

ang

elic

al

mo

vem

ent’

s em

ph

asis

on

cru

cice

ntr

ism

an

d t

he

dev

elo

pm

ent

a “p

erso

nal

rel

atio

nsh

ip w

ith

th

e

Sav

ior.

”87

Th

ese

foci

pro

vid

e m

oti

vat

ion

an

d m

ater

ial

for

wo

rsh

ip m

usi

c; t

her

efo

re,

if t

he

mo

vem

ent’

s th

eolo

gic

al f

ocu

s is

Ch

rist

, it

is

sen

sib

le t

o p

resu

me

that

its

mu

sic

wo

uld

ref

lect

th

at.

In C

hri

st A

lon

e cl

earl

y r

efle

cts

this

th

eme:

“an

d a

s H

e [J

esu

s] s

tan

ds

in v

icto

ry,

sin

’s c

urs

e h

as

lost

its

gri

p o

n m

e.

Fo

r I

am H

is a

nd

He

is m

ine,

bo

ug

ht

wit

h t

he

pre

cio

us

blo

od

of

Ch

rist

.”

Th

is C

hri

sto

log

ical

th

eme

man

ifes

ts i

n n

um

ero

us

term

s an

d p

hra

ses

refe

ren

cin

g t

he

seco

nd

per

son

of

the

Tri

nit

y,

such

as

Jesu

s C

hri

st,

Del

iver

er,

Mes

siah

, th

e W

ay,

the

Tru

th,

the

Lig

ht,

Red

eem

er,

Lo

rd,

cho

sen

On

e, t

he

Man

up

on

th

e cr

oss

, m

y S

acri

fice

, S

avio

r, S

on

, an

d t

he

Lam

b,

dis

pla

y t

he

bre

adth

of

term

ino

log

y t

hat

is

use

d t

o r

efer

to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

.88

Des

pit

e th

is d

iver

sity

in

ter

min

olo

gy

, th

ese

term

s co

nti

nu

e to

co

mm

un

icat

e a

com

mo

n t

hem

e

rem

inis

cen

t o

f th

e fo

ci o

f th

e ev

ang

elic

al m

ov

emen

t: C

hri

st a

s a

red

eem

er w

ho

is

exp

erie

nce

d

thro

ug

h H

is i

nca

rnat

ion

, d

eath

, an

d r

esu

rrec

tio

n.

Ref

eren

ces

to t

he

seco

nd

per

son

of

the

Tri

nit

y a

cco

un

t fo

r 1

71

of

the

tota

l re

fere

nce

s to

Go

d a

t T

ues

day

Ch

apel

an

d 4

64

at

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

th

rou

gh

ou

t th

is t

hre

e-

mo

nth

stu

dy

. T

hes

e re

fere

nce

s re

pre

sen

t 1

7.6

7%

of

the

dir

ect

refe

ren

ces

to G

od

th

at o

ccu

rred

in

on

Tu

esd

ay m

orn

ing

s an

d 2

9.2

7%

of

refe

ren

ces

on

Su

nd

ay n

igh

ts.

Th

ere

wer

e 2

1 s

on

gs

sun

g,

rep

rese

nti

ng

43

.75

% o

f th

e 4

8 s

on

gs

use

d a

t T

ues

day

Ch

apel

, th

at i

ncl

ud

ed a

t le

ast

on

e re

fere

nce

to t

he

seco

nd

per

son

of

the

Tri

nit

y.

Th

ese

21

so

ng

s re

pre

sen

t 1

9 d

iffe

rin

g s

on

gs

wit

h o

nly

tw

o

son

gs

(Ho

w C

an

I K

eep

fro

m S

ing

ing

an

d M

igh

ty t

o S

ave

) b

ein

g r

epea

ted

. A

t S

un

day

Nig

ht

87 D

ou

gla

s A

. S

wee

ney

. T

he

Am

eric

an

eva

ng

elic

al

sto

ry :

a h

isto

ry o

f th

e m

ove

men

t.

Gra

nd

Rap

ids:

Bak

er

Aca

dem

ic,

20

05

. 1

3.

88 T

he

wo

rd “

Lo

rd”

is n

ot

con

sid

ered

a r

efer

ence

to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

bec

ause

in

cer

tain

co

nte

xts

, it

cou

ld r

efer

ence

mu

ltip

le p

erso

ns

of

the

Tri

nit

y.

71

Kl

um

pp

| 2

5

Pra

ise

and

Wo

rsh

ip,

the

nu

mer

ou

s re

fere

nce

s to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

wer

e sp

read

bet

wee

n 2

4 d

iffe

ren

t so

ng

s th

at w

ere

sun

g 4

6 t

imes

, co

mp

rom

isin

g 5

8.2

3%

of

the

79

so

ng

s u

sed

at t

his

ser

vic

e th

rou

gh

ou

t th

is t

he

cou

rse

of

this

stu

dy

. T

hes

e so

ng

s an

d t

he

term

s w

ith

in t

hem

oft

en e

mp

has

ized

th

e re

dem

pti

ve

mes

sag

e o

f Je

sus

Ch

rist

, a

per

son

al r

elat

ion

ship

or

con

nec

tio

n

wit

h H

im,

and

ded

icat

ion

to

Him

. S

on

gs

such

as

Am

azi

ng

Gra

ce (

My

Ch

ain

s a

re G

on

e),

Mee

t

wit

h M

e, a

nd

Hu

ng

ry d

emo

nst

rate

th

ese

emp

has

es w

ith

ph

rase

s su

ch “

my

Sav

ior

has

ran

som

ed

me,

” “J

esu

s, c

om

e an

d f

ill

this

pla

ce,”

an

d “

Jesu

s, y

ou

’re

all

this

hea

rt i

s li

vin

g f

or”

res

pec

tiv

ely

.

Th

e in

crea

sed

fre

qu

ency

of

refe

ren

ces

to t

he

seco

nd

per

son

of

the

Tri

nit

y a

nd

th

e g

reat

er n

um

ber

of

son

gs

in w

hic

h t

hes

e re

fere

nce

s ar

e d

istr

ibu

ted

in

dic

ate

a d

isp

rop

ort

ion

ate

focu

s o

n s

eco

nd

per

son

of

the

Tri

nit

y a

s co

mp

ared

to

th

e fi

rst.

Th

e so

ng

s th

at i

ncl

ud

ed r

efer

ence

s to

bo

th t

he

firs

t an

d s

eco

nd

per

son

s o

f th

e T

rin

ity

wer

e d

iscu

ssed

wit

h t

he

anal

ysi

s o

f th

e fi

rst

per

son

of

the

Tri

nit

y a

nd

rep

rese

nt

4.1

7%

an

d

11

.39

% o

f th

e to

tal

wo

rsh

ip m

usi

c u

sed

at

Tu

esd

ay C

hap

el a

nd

Su

nd

ay N

igh

t P

rais

e an

d

Wo

rsh

ip r

esp

ecti

vel

y.

Th

ere

are

on

ly t

wo

so

ng

s u

sed

at

Tu

esd

ay C

hap

el—

All

Wh

o a

re T

hir

sty

and

Wh

en I

th

ink

ab

ou

t th

e L

ord

—th

at m

enti

on

on

ly t

he

seco

nd

an

d t

hir

d p

erso

ns

of

the

Tri

nit

y,

wh

ich

rep

rese

nt

4.1

7%

of

the

son

gs

that

wer

e u

sed

. T

he

firs

t ex

amp

le d

oes

no

t ex

plo

re t

he

rela

tio

nal

asp

ect

bet

wee

n t

hes

e p

erso

ns,

bu

t in

stea

d s

ub

stit

ute

s “H

oly

Sp

irit

” in

th

e fi

nal

ch

oru

s

of

“Co

me,

Lo

rd J

esu

s, C

om

e” i

n s

ucc

essi

ve

inv

oca

tiv

e st

anza

s.

Th

e se

con

d r

efer

ence

s th

e S

on

fill

ing

th

e w

ors

hip

er w

ith

th

e H

oly

Gh

ost

. I

n t

his

cir

cum

stan

ce,

“… h

e [J

esu

s] f

ille

d m

e w

ith

th

e

Ho

ly G

ho

st”

ind

icat

es t

hat

th

e H

oly

Gh

ost

was

sen

t to

th

e w

ors

hip

er b

y J

esu

s an

d t

her

efo

re,

des

crib

es a

rel

atio

nsh

ip b

etw

een

th

ese

two p

erso

ns.

89

Th

e o

nly

so

ng

th

at m

enti

on

ed b

oth

th

e

seco

nd

an

d t

hir

d p

erso

ns

of

the

Tri

nit

y a

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip w

as I

Ca

nn

ot

Hid

e

89 T

his

is

a d

isti

nct

ivel

y W

este

rn i

nte

rpre

tati

on

of

the

rela

tio

nal

co

nn

ecti

on

of

the

seco

nd

an

d t

hir

d p

erso

ns

of

the

Tri

nit

y r

efle

cted

in

th

e fi

lio

qu

e cl

ause

th

at w

as a

dd

ed t

o t

he

Ap

ost

le’s

Cre

ed b

y t

he

Wes

tern

Ch

urc

h a

t th

e ti

me

of

the

Gre

at S

chis

m i

n 1

05

4.

Kl

um

pp

| 2

6

my

Lo

ve.

Th

is s

on

g w

as u

sed

tw

o t

imes

th

rou

gh

ou

t th

is t

hre

e-m

on

th s

tud

y a

nd

th

eref

ore

,

rep

rese

nts

2.5

3%

of

the

son

gs

use

d a

t th

is s

erv

ice.

S

imil

arly

to

All

Wh

o a

re T

hir

sty,

th

is s

on

g

do

es n

ot

atte

mp

t to

ex

po

un

d u

po

n t

he

rela

tio

nal

co

nn

ecti

on

bet

wee

n t

he

seco

nd

an

d t

hir

d p

erso

ns

of

the

Tri

nit

y.

In

stea

d,

ther

e ar

e si

mp

ly t

wo

su

bse

qu

ent

clau

ses

that

dis

pla

y l

ittl

e co

nn

ecti

on

bet

wee

n t

hem

bey

on

d a

cle

ver

rh

ym

e sc

hem

e.

Th

e so

ng

sta

tes,

“H

oly

Sp

irit

, I

nee

d y

ou

r to

uch

mo

re t

han

ev

er b

efo

re,”

wh

ich

is

foll

ow

ed b

y “

Oh

Jes

us,

I n

eed

yo

ur

lov

e an

d I

’m d

esp

erat

e fo

r

mo

re.”

T

her

efo

re,

wh

ile

this

so

ng

ack

no

wle

dg

es t

wo

per

son

s o

f th

e T

rin

ity

, th

is p

hra

seo

log

y n

ot

exp

ou

nd

up

on

th

e re

lati

on

ship

bet

wee

n t

hes

e p

erso

ns.

Th

ree

of

the

rem

ain

ing

so

ng

s co

nta

inin

g r

efer

ence

s to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

that

wer

e u

sed

at

Tu

esd

ay C

hap

el r

efer

ence

th

e T

rin

ity

an

d 1

4 s

pea

k e

xcl

usi

vel

y a

bo

ut

the

seco

nd

per

son

of

the

Tri

nit

y.

So

ng

s m

enti

on

ing

on

ly t

he

seco

nd

per

son

of

the

Tri

nit

y r

epre

sen

t

29

.14

% o

f th

e to

tal

wo

rsh

ip a

t T

ues

day

ch

apel

. O

f th

e 2

7 r

emai

nin

g s

on

gs

refe

ren

cin

g t

he

seco

nd

per

son

of

the

Tri

nit

y a

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip,

thre

e re

fere

nce

th

e T

rin

ity

an

d

24

ex

clu

siv

ely

ref

er t

o t

he

seco

nd

per

son

of

the

Tri

nit

y,

wh

ich

rep

rese

nts

30

.38

% o

f th

e so

ng

s

use

d a

t th

is s

erv

ice.

A

t b

oth

ser

vic

es,

thes

e so

ng

s d

o n

ot

focu

s o

n t

he

rela

tio

nal

asp

ects

of

the

go

dh

ead

, b

ut

inst

ead

oft

en f

ocu

s o

n 1

) th

e cr

oss

—B

eau

tifu

l O

ne,

“Y

ou

r cr

oss

has

sp

ok

en m

ercy

ov

er m

e,”—

2)

pro

pit

iati

on

fo

r si

ns

and

red

emp

tio

n—

Bef

ore

th

e T

hro

ne

of

Go

d A

bo

ve,

“bec

ause

a si

nle

ss S

avio

r d

ied

, m

y s

infu

l so

ul

is c

ou

nte

d f

ree,

”—an

d 3

) h

um

an r

elat

ion

ship

to

all

th

ree

of

thes

e as

pec

ts—

Lea

d m

e to

th

e C

ross

, “L

ead

me

to t

he

cro

ss,

wh

ere

yo

ur

lov

e p

ou

red

ou

t.

Bri

ng

me

to m

y k

nee

s, L

ord

, I

lay

me

do

wn

.”

Th

ese

rep

rese

nt

the

key

th

emes

wit

hin

Ch

rist

olo

gic

al

son

gs,

wh

ich

rep

rese

nt

app

rox

imat

ely

on

e th

ird

of

the

mu

sic

at e

ach

ser

vic

e.

Fin

ally

, it

is

imp

ort

ant

to c

on

sid

er t

he

men

tio

n o

f th

e th

ird

per

son

of

the

Tri

nit

y w

ith

in

wo

rsh

ip.

Th

e te

rmin

olo

gy

use

d t

o d

escr

ibe

the

thir

d p

erso

n o

f th

e T

rin

ity

is

mu

ch m

ore

lim

ited

72

Kl

um

pp

| 2

7

than

th

e fi

rst

and

th

e se

con

d p

erso

ns.

T

erm

s u

sed

to

des

crib

e th

is p

erso

n a

re e

xcl

usi

vel

y H

oly

Sp

irit

, H

oly

Gh

ost

, o

r si

mp

ly S

pir

it.9

0

Th

rou

gh

ou

t th

e co

urs

e o

f th

is s

tud

y,

ther

e w

ere

on

ly n

ine

dir

ect

refe

ren

ces

to t

he

thir

d p

erso

n o

f th

e T

rin

ity

at

Tu

esd

ay C

hap

el a

cco

un

tin

g f

or

0.9

3%

of

the

refe

ren

ces

to G

od

at

this

ser

vic

e.

Th

ere

wer

e 3

3 r

efer

ence

s to

th

e H

oly

Sp

irit

at

Su

nd

ay N

igh

t

Pra

ise

and

Wo

rsh

ip,

wh

ich

is

on

ly 2

.08

% o

f th

e re

fere

nce

s to

God

on

Su

nd

ay n

igh

ts.

Th

is l

ack

of

refe

ren

ce t

o t

he

thir

d p

erso

n o

f th

e T

rin

ity

is

also

ref

lect

ed i

n t

he

nu

mb

er s

on

gs

that

ad

dre

ss

the

Ho

ly S

pir

it.

Th

rou

gh

ou

t th

e th

ree

mo

nth

s o

f th

is s

tud

y,

at T

ues

day

Ch

apel

, o

nly

fiv

e so

ng

s

(10

.42

% o

f w

ors

hip

so

ng

s) r

efer

red

to

th

e H

oly

Sp

irit

. A

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip,

on

ly f

ive

dif

fere

nt

son

gs

that

wer

e su

ng

a t

ota

l o

f ei

gh

t ti

mes

ref

er t

o t

he

Ho

ly S

pir

it a

nd

rep

rese

nt

10

.13

% o

f th

e to

tal

son

gs

use

d f

or

this

ser

vic

e.

Inte

rest

ing

ly,

at T

ues

day

Ch

apel

th

e th

ird

per

son

of

the

Tri

nit

y w

as n

ever

men

tio

ned

wit

ho

ut

at l

east

on

e o

f o

ther

per

son

s o

f th

e T

rin

ity

an

d w

hen

men

tio

ned

, th

e H

oly

Sp

irit

was

alw

ays

men

tio

ned

les

s fr

equ

entl

y t

han

th

e o

ther

per

son

s w

ere.

T

his

is

exem

pli

fied

in

All

Wh

o

are

Th

irst

y, w

hic

h m

enti

on

s th

e se

con

d p

erso

n o

f th

e T

rin

ity

ten

tim

es a

nd

th

e th

ird

per

son

on

ly

fou

r, a

nd

Wh

en I

Th

ink

ab

ou

t th

e L

ord

, w

hic

h r

efer

ence

s th

e se

con

d p

erso

n o

f th

e T

rin

ity

18

tim

es a

nd

th

e th

ird

per

son

tw

ice.

O

n S

un

day

nig

hts

, o

nly

on

e o

f th

e fi

ve

son

gs

that

men

tio

ned

the

Ho

ly S

pir

it,

and

Qu

iet

No

w i

s th

e o

nly

on

e th

at e

xcl

usi

vel

y r

efer

s to

th

e th

ird

per

son

of

the

Tri

nit

y.

It

is a

rep

etit

ive

pet

itio

n t

hat

in

clu

des

th

e p

hra

se “

Ho

ly S

pir

it s

pea

k t

o u

s.”

Th

is s

on

g

focu

ses

on

in

vit

ing

th

e H

oly

Sp

irit

in

to w

ors

hip

. T

he

rem

ain

ing

fo

ur

son

gs

incl

ud

e re

fere

nce

s to

the

Ho

ly S

pir

it i

n c

on

jun

ctio

n w

ith

th

e o

ther

per

son

s o

f th

e H

oly

Tri

nit

y a

nd

are

dis

cuss

ed i

n

oth

er s

ecti

on

s o

f an

aly

sis.

T

he

pre

vai

lin

g t

hem

e in

ev

ery

so

ng

at

bo

th s

erv

ices

th

at m

enti

on

s th

e

Ho

ly S

pir

it w

ith

out

refe

ren

ces

to t

he

Tri

nit

y i

s th

e ex

per

ien

ce o

f th

e H

oly

Sp

irit

. A

ll W

ho

are

90 T

her

e is

so

me

amb

igu

ity

cre

ated

by

ter

ms

such

as

“Ho

ly F

ire”

th

at o

ccu

r in

so

me

wo

rsh

ip s

on

gs;

ho

wev

er,

refe

ren

ces

to “

Ho

ly F

ire”

co

nte

xtu

ally

in

dic

ated

th

at t

hey

wer

e n

ot

refe

ren

ces

to t

he

Sp

irit

an

d w

ere

no

t in

clu

ded

.

Kl

um

pp

| 2

8

Th

irst

y in

vo

kes

th

e p

hra

se “

Co

me,

Ho

ly S

pir

it,

Co

me.

” I

Ca

nn

ot

Hid

e m

y L

ove

dec

lare

s “H

oly

Sp

irit

, I

nee

d y

ou

r to

uch

mo

re t

han

ev

er b

efo

re.”

G

ive

us

Cle

an

Ha

nd

s in

vit

es t

he

Holy

Sp

irit

to

“co

me

mak

e u

s h

um

ble

.”

Wh

en I

Th

ink

ab

ou

t th

e L

ord

pro

clai

ms

that

“…

he

[Jes

us]

fil

led

me

wit

h t

he

Ho

ly G

ho

st,”

an

d Q

uie

t N

ow

in

vit

es t

he

Ho

ly S

pir

it t

o “

spea

k t

o u

s.”

Th

e p

red

om

inan

t

them

e w

ith

in t

hes

e so

ng

s is

th

e in

vo

cati

on

of

the

Ho

ly S

pir

it t

o j

oin

bel

iev

ers

in w

ors

hip

th

rou

gh

a p

erso

nal

ex

per

ien

ce w

ith

th

e su

per

nat

ura

l.

Alt

ho

ug

h t

he

Sp

irit

is

inv

ited

to

jo

in i

n w

ors

hip

,

bas

ed o

n t

his

dat

a, i

t is

fai

r to

ded

uce

th

at t

he

thir

d p

erso

n o

f th

e T

rin

ity

is

the

leas

t re

pre

sen

ted

per

son

of

the

Tri

nit

y a

t b

oth

Tu

esd

ay C

hap

el a

nd

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

ser

vic

es.

Alt

ho

ug

h i

nfo

rmat

ion

reg

ard

ing

th

e fr

equ

ency

wit

h w

hic

h e

ach

per

son

of

the

Tri

nit

y i

s

men

tio

ned

in

wo

rsh

ip p

rov

ides

in

form

atio

n r

egar

din

g t

he

dis

pro

po

rtio

nat

e ac

kn

ow

led

gem

ent

of

each

per

son

of

the

Tri

nit

y a

nd

par

ticu

lar

them

es t

hat

ari

se w

hen

th

ese

refe

ren

cin

g e

ach

per

son

, it

is a

lso

use

ful

to c

on

sid

er d

irec

t re

fere

nce

s to

th

e T

rin

ity

. T

ho

ug

h t

he

Tri

nit

y i

s ex

pre

ssed

in

thre

e d

isti

nct

per

son

s, i

t is

als

o m

anif

est

in o

ne

un

ifie

d G

od

. B

ecau

se o

f th

is,

it i

s cr

itic

al t

o

app

rais

e th

e u

se o

f ex

pli

citl

y T

rin

itar

ian

ter

min

olo

gy

an

d r

efer

ence

s in

mu

sica

l w

ors

hip

. T

he

use

of

the

term

s an

d p

hra

ses

“tri

un

e,”

“Tri

nit

y,”

an

d “

go

dh

ead

th

ree

in o

ne”

dis

pla

y a

n i

nte

nti

on

al

men

tio

nin

g o

f th

e T

rin

ity

an

d w

ere

cou

nte

d a

s T

rin

itar

ian

lan

gu

age.

E

ven

wh

en l

ack

ing

th

is

spec

ific

ter

min

olo

gy

, so

ng

s th

at m

enti

on

ed a

ll t

hre

e p

erso

ns

of

the

Tri

nit

y w

ere

cate

go

rize

d a

s

ack

no

wle

dg

ing

th

e tr

iun

e G

od

. T

hro

ug

ho

ut

the

cou

rse

of

this

stu

dy

, th

ree

son

gs

at T

ues

day

Ch

apel

, A

ll C

rea

ture

s o

f O

ur

Go

d a

nd

Kin

g,

Ho

w G

rea

t is

Ou

r G

od

, an

d T

he

Sta

nd

, re

fere

nce

d

the

Tri

nit

y.

Eac

h o

f th

ese

thre

e so

ng

s w

as u

sed

on

ce a

nd

co

llec

tiv

ely

th

ey o

nly

rep

rese

nt

6.2

5%

of

the

son

gs

use

d a

t th

is s

erv

ice

and

th

e T

rin

itar

ian

ter

ms

in t

hes

e so

ng

s re

pre

sen

t 0

.21

% o

f th

e

term

s u

sed

. A

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip,

ther

e w

ere

two

so

ng

s w

ith

on

e b

ein

g r

epea

ted

on

ce t

hat

ref

eren

ced

th

e T

rin

ity

. T

hes

e so

ng

s w

ere

All

Cre

atu

res

of

Ou

r G

od

an

d K

ing

an

d

73

Kl

um

pp

| 2

9

Th

ey’l

l K

no

w W

e a

re C

hri

stia

ns.

T

hes

e th

ree

use

s o

f so

ng

s th

at i

ncl

ud

e th

e T

rin

ity

(A

ll

Cre

atu

res

of

Ou

r G

od

an

d K

ing

use

d t

wic

e an

d T

hey

’ll

kno

w W

e a

re C

hri

stia

ns

use

d o

nce

)

rep

rese

nt

3.8

0%

of

the

son

gs

and

on

ly 0

.13

% o

f th

e te

rms

use

d a

t S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip.

Tw

o o

f th

ese

son

gs—

All

Cre

atu

res

of

Ou

r G

od

an

d K

ing

an

d H

ow

Gre

at

is O

ur

Go

d—

mad

e cl

ear

refe

ren

ces

to t

he

Tri

nit

y t

hro

ug

h t

he

use

of

clea

r T

rin

itar

ian

lan

gu

age.

A

ll C

rea

ture

s

of

Ou

r G

od

an

d K

ing

in

clu

des

th

e d

ox

olo

gic

al p

hra

se “

Pra

ise,

pra

ise

the

Fat

her

, p

rais

e th

e S

on

,

and

pra

ise

the

Sp

irit

, T

hre

e in

On

e” a

nd

in

a d

escr

ipti

ve

pas

sag

e, H

ow

Gre

at

is O

ur

Go

d

reco

gn

izes

Go

d a

s “T

he

Go

dh

ead

th

ree

in O

ne

Fat

her

Sp

irit

So

n.”

T

he

ph

rase

“T

hre

e in

On

e”

that

ap

pea

rs i

n b

oth

so

ng

s is

a d

irec

t re

fere

nce

to

th

e u

nit

y w

ith

in t

he

Go

dh

ead

. T

hes

e re

fere

nce

s

are

the

on

ly u

ses

of

exp

lici

tly

Tri

nit

aria

n t

erm

ino

log

y i

n b

oth

ser

vic

es t

hro

ug

ho

ut

this

stu

dy

.

Th

e o

ther

tw

o s

on

gs

that

are

co

nsi

der

ed T

rin

itar

ian—

Th

ey’l

l K

no

w W

e a

re C

hri

stia

ns

and

Th

e

Sta

nd

—d

o n

ot

con

tain

Tri

nit

aria

n t

erm

ino

log

y;

ho

wev

er,

each

rec

og

niz

es a

ll t

hre

e p

erso

ns

of

the

Tri

nit

y i

n a

man

ner

th

at a

llo

ws

to w

ors

hip

er t

o v

iew

all

th

ree

per

son

s as

a t

riu

ne

dei

ty.

Wit

hin

Th

ey’l

l K

no

w W

e a

re C

hri

stia

ns,

th

ere

is a

do

xo

log

ical

ver

se t

hat

res

emb

les

the

ver

se p

rese

nt

in

All

Cre

atu

res

of

Ou

r G

od

an

d K

ing

yet

lac

ks

exp

lici

t T

rin

itar

ian

ter

min

olo

gy

. T

his

ver

se

exp

ress

es t

hre

efo

ld s

et o

f p

rais

e: “

All

pra

ise

to t

he

Fat

her

, fr

om

wh

om

all

th

ing

s co

me,

an

d a

ll

pra

ise

to C

hri

st J

esu

s, G

od

’s o

nly

So

n,

and

all

pra

ise

to t

he

Sp

irit

, w

ho

mak

es u

s o

ne.

” T

he

Sta

nd

mai

nta

ins

this

th

reef

old

str

uct

ure

wit

h t

hre

e v

erse

s th

at e

ach

ref

eren

ces

a p

erso

n o

f th

e

Tri

nit

y:

Kl

um

pp

| 3

0

Ver

se 1

Yo

u s

too

d b

efo

re c

reat

ion

Ete

rnit

y i

n Y

ou

r h

and

Yo

u s

po

ke

the

eart

h i

nto

mo

tio

n

My

so

ul

no

w t

o s

tan

d

V

erse

2

Yo

u s

too

d b

efo

re m

y f

ailu

re

An

d c

arri

ed t

he

cro

ss f

or

my

sh

ame

My

sin

wei

gh

ed u

po

n y

ou

r sh

ou

lder

s

My

so

ul

no

w t

o s

tan

d

Ver

se 3

So

I’l

l w

alk

up

on

sal

vat

ion

Yo

ur

Sp

irit

ali

ve

in m

e

Th

is l

ife

to d

ecla

re y

ou

r p

rom

ise

My

so

ul

no

w t

o s

tan

d

Th

e fi

rst

ver

se r

efer

ence

s th

e cr

eati

ve

qu

alit

ies

of

the

firs

t p

erso

n w

ith

ou

t d

eno

tin

g “

fath

er”

or

“cre

ato

r,”

the

seco

nd

ver

se m

enti

on

s th

e re

dem

pti

ve

qu

alit

ies

of

the

seco

nd

per

son

wit

ho

ut

nam

ing

Ch

rist

, an

d t

hir

d v

erse

dir

ectl

y m

enti

on

s th

e th

ird

per

son

th

rou

gh

th

e u

se o

f th

e w

ord

“Sp

irit

.”

Eac

h p

erso

n o

f th

e T

rin

ity

was

rec

og

niz

ed w

ith

in t

he

succ

essi

ve

stan

zas,

wh

ich

cre

ates

a T

rin

itar

ian

str

uct

ure

. I

n b

oth

Th

ey’l

l K

no

w W

e a

re C

hri

stia

ns

and

Th

e S

tan

d,

the

un

ific

atio

n o

f

the

thre

e p

erso

ns

of

the

Tri

nit

y i

s n

ot

com

mu

nic

ated

as

clea

rly

as

it w

as i

n t

he

firs

t tw

o

exam

ple

s; h

ow

ever

, b

oth

so

ng

s d

escr

ibe

the

char

acte

rist

ics

of

each

per

son

of

the

Tri

nit

y m

ore

than

th

e b

oth

All

Cre

atu

res

of

Ou

r G

od

an

d K

ing

an

d H

ow

Gre

at

is O

ur

Go

d.

Th

eref

ore

, w

hil

e

the

Tri

nit

y w

as b

oth

pre

sen

t an

d e

xp

ou

nd

ed u

po

n,

it w

as d

on

e ra

rely

.

Wh

ile

the

pau

city

of

Tri

nit

aria

n l

ang

uag

e w

ith

in w

ors

hip

at

Tu

esd

ay C

hap

el i

s st

rik

ing

,

ano

ther

qu

esti

on

ari

ses

con

cern

ing

wh

eth

er t

he

son

gs

that

men

tio

ned

th

e T

rin

ity

co

mm

un

icat

ed

theo

log

ical

tru

th a

bo

ut

the

nat

ure

of

the

triu

ne

Go

d o

r si

mp

ly m

enti

on

ed a

ll t

hre

e p

erso

ns.

W

hil

e

the

latt

er i

s n

ot

an u

nd

esir

able

tra

it o

f w

ors

hip

mu

sic,

th

e fo

rmer

off

ers

mo

re o

pp

ort

un

itie

s fo

r

theo

log

ical

ed

ific

atio

n.

All

Cre

atu

res

of

Ou

r G

od

an

d K

ing

an

d H

ow

Gre

at

is O

ur

Go

d d

o n

ot

74

Kl

um

pp

| 3

1

nec

essa

rily

ex

po

un

d u

po

n t

he

rela

tio

nal

asp

ect

of

the

go

dh

ead

; h

ow

ever

, th

ey d

o a

ckn

ow

led

ge

the

un

ity

ex

per

ien

ced

wit

hin

it.

T

he

use

of

the

ph

rase

“th

ree

in o

ne”

co

mm

un

icat

es t

he

my

ster

iou

s re

lati

on

ship

bet

wee

n t

he

thre

e p

erso

ns

of

the

go

dh

ead

. T

he

Sta

nd

an

d T

hey

’ll

Kn

ow

We

are

Ch

rist

ian

s d

o n

ot

as c

lear

ly a

dd

ress

th

e re

lati

on

al a

spec

t o

f G

od

wit

hin

Go

dse

lf a

nd

inst

ead

see

ms

to s

imp

ly a

ckn

ow

led

ge

all

thre

e p

erso

ns

of

the

Tri

nit

y a

nd

rea

ffir

m t

he

asp

ects

of

each

per

son

’s c

har

acte

r th

at a

re a

sser

ted

th

rou

gh

ou

t o

ther

so

ng

s.

Th

eref

ore

, w

hil

e th

ere

is a

clea

r la

ck o

f T

rin

itar

ian

wo

rsh

ip,

in s

mal

l am

ou

nt

of

Tri

nit

aria

n w

ors

hip

th

at i

s p

rese

nt,

th

ere

is a

bal

ance

bet

wee

n a

ffir

mat

ion

of

the

intr

aper

son

al r

elat

ion

ship

of

un

ity

wit

hin

th

e T

rin

ity

an

d

pro

no

un

cem

ent

of

the

dis

tin

ctiv

e ch

arac

teri

stic

s at

trib

ute

d t

o t

he

per

son

s o

f th

e T

rin

ity

.

Du

rin

g t

he

stu

dy

of

bo

th T

ues

day

Ch

apel

an

d S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip,

a

surp

risi

ng

am

ou

nt

of

amb

igu

ou

s an

d s

ub

stit

uti

on

ary

lan

gu

age

was

use

d i

n b

oth

ser

vic

es.9

1

At

Tu

esd

ay C

hap

el t

her

e w

ere

57

6 a

mb

igu

ou

s te

rms

use

d t

o r

efer

ence

Go

d,

wh

ich

rep

rese

nts

59

.50

% o

f th

e te

rms

use

d f

or

Go

d.

Th

ese

nu

mb

ers

are

aug

men

ted

by

18

8 s

ub

stit

uti

on

ary

ter

ms

that

co

nst

itu

ted

19

.42

% o

f th

e to

tal

wo

rsh

ip t

erm

ino

log

y.

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

log

ged

79

2 a

mb

igu

ou

s re

fere

nce

s to

Go

d m

ade

thro

ug

ho

ut

this

th

ree-

mo

nth

stu

dy

, w

hic

h

rep

rese

nts

49

.97

% o

f th

e to

tal

refe

ren

ces

to G

od

. S

ub

stit

uti

on

ary

ter

ms

that

ref

eren

ce d

ivin

ity

acco

un

t fo

r 2

03

ter

ms

or

14

.53

% o

f th

e to

tal

refe

ren

ces

to G

od

. A

mb

igu

ou

s an

d s

ub

stit

uti

on

ary

term

s fo

r G

od

occ

urr

ed a

t T

ues

day

Ch

apel

wit

ho

ut

any

ref

eren

ce t

o a

per

son

of

the

Tri

nit

y i

n 1

9

son

gs,

wh

ich

is

39

.58

% o

f w

ors

hip

so

ng

s.9

2

On

Su

nd

ay n

igh

ts,

ther

e w

ere

26

so

ng

s th

at

91 A

mb

igu

ou

s te

rms

are

term

s fo

r G

od

th

at d

o n

ot

exp

lici

tly

ref

eren

ce a

par

ticu

lar

per

son

of

the

Tri

nit

y e

ven

wit

hin

thei

r g

iven

co

nte

xt.

T

he

term

Go

d i

s in

clu

ded

bec

ause

of

its

lack

of

con

nec

tio

n w

ith

an

y p

erso

n o

f th

e T

rin

ity

;

ho

wev

er,

mo

re f

req

uen

t te

rms

incl

ud

e “y

ou

,” “

he,

” an

d “

his

” S

ub

stit

uti

on

ary

lan

gu

age

refe

rs t

o n

ou

ns,

su

ch a

s

“Kin

g,”

“L

ord

,” a

nd

“ B

eau

tifu

l O

ne”

th

at c

om

ple

tely

rep

lace

ref

eren

ces

to G

od

wit

h a

no

ther

te

rm f

or

Go

d.

92 F

ou

r o

f th

e so

ng

s th

at l

ack

ref

eren

ces

to a

per

son

of

the

Tri

nit

y a

t T

ues

day

Ch

apel

wer

e su

ng

in

th

e p

erso

n o

f

Go

d;

ther

efo

re,

this

may

co

ntr

ibu

te t

o a

hig

her

nu

mb

er o

f so

ng

s w

ith

ou

t an

y r

efer

ence

to

a p

erso

n o

f th

e T

rin

ity

.

Kl

um

pp

| 3

2

excl

usi

vel

y u

sed

am

big

uo

us

and

su

bst

itu

tio

nar

y l

ang

uag

e, r

epre

sen

tin

g 3

2.9

1%

of

wo

rsh

ip s

on

gs

use

d a

t th

is s

erv

ice.

Th

e so

ng

s th

at e

xcl

usi

vel

y i

ncl

ud

ed a

mb

igu

ou

s re

fere

nce

s to

Go

d w

ere

pri

mar

ily

fo

cuse

d

on

th

e re

lati

on

al a

spec

t o

f w

ors

hip

an

d e

xp

erie

nci

ng

Go

d.

Th

e so

ng

Fa

ith

ful

beg

ins

by

excl

aim

ing

, “I

wan

t to

sin

g y

ou

a l

ov

e so

ng

, fo

r y

ou

are

th

e th

ief

of

my

hea

rt”

and

gra

cio

usl

y

ack

no

wle

dg

es G

od

by

co

nti

nu

ing

to

use

th

e se

con

d p

erso

n p

ron

ou

n “

yo

u,”

“F

aith

ful,

yo

u a

re

fait

hfu

l.

I h

ave

fou

nd

no

thin

g b

ut

go

od

in

yo

ur

hea

rt.”

O

ther

so

ng

s, s

uch

as

Yo

u N

ever

Let

Go

and

Th

e M

oti

on

s, e

xem

pli

fy h

ow

th

is a

mb

igu

ou

s te

rmin

olo

gy

can

co

ntr

ibu

te t

o a

sen

se i

nti

mac

y

wit

h G

od

th

rou

gh

th

e u

se o

f th

e w

ord

“y

ou

.”

Yo

u N

ever

Let

Go

sim

ply

sta

tes

“Ev

er f

aith

ful,

ever

tru

e, y

ou

I k

no

w.

Yo

u n

ever

let

go.”

T

his

so

ng

is

sim

ilar

to

Fa

ith

ful

in t

hat

its

on

ly

refe

ren

ces

to d

ivin

ity

are

th

rou

gh

th

ese

seco

nd

per

son

pro

no

un

s.

Th

is p

ract

ice

crea

tes

a se

nse

of

inti

mac

y w

ith

Go

d b

ecau

se b

y s

ing

ing

“y

ou

” it

pro

vid

es a

sen

se a

sin

g t

o G

od

rat

her

th

an a

bo

ut

Go

d.

Th

e M

oti

on

s al

so c

reat

es a

sen

se o

f in

tim

acy

th

rou

gh

th

e u

se o

f am

big

uo

us

term

ino

log

y;

ho

wev

er,

this

ter

min

olo

gy

do

es n

ot

serv

e as

an

aid

to

ad

ora

tio

n,

bu

t in

stea

d t

o e

ase

stat

emen

ts o

f

con

trit

ion

an

d d

edic

atio

n.

“I

do

n’t

wan

na

[sic

] g

o o

ne

mo

re d

ay w

ith

ou

t Y

ou

r al

l co

nsu

min

g

[sic

] p

assi

on

in

sid

e o

f m

e” p

rov

ides

an

ex

amp

le o

f h

ow

th

e w

ord

“y

ou

r” c

reat

es s

ense

of

dir

ect

dia

log

ue

as t

he

wo

rsh

iper

den

ou

nce

s p

ast

com

pla

cen

cy a

nd

see

ks

to e

mb

race

an

all

-co

nsu

min

g

pas

sio

n.

To

ch

ang

e th

e p

hra

se t

o “

wit

ho

ut

Go

d’s

all

-co

nsu

min

g p

assi

on

” w

ou

ld a

lter

th

e se

nse

of

inti

mac

y e

xp

erie

nce

d i

n t

his

so

ng

. T

her

efo

re,

the

pri

mar

y t

end

ency

wit

hin

th

e u

se o

f

amb

igu

ou

s te

rmin

olo

gy

is

an i

nte

nti

on

al a

ttem

pt

to c

reat

e in

tim

acy

bet

wee

n G

od

an

d t

he

wo

rsh

iper

.

Th

e u

se o

f su

bst

itu

tio

nar

y t

erm

ino

log

y,

ho

wev

er,

oft

en d

escr

ibed

an

asp

ect

of

Go

d’s

char

acte

r th

at w

as n

ot

lim

ited

to

on

e p

arti

cula

r p

erso

n o

f th

e T

rin

ity

. B

less

ed b

e Y

ou

r N

am

e

75

Kl

um

pp

| 3

3

incl

ud

es a

rep

eati

ng

ch

oru

s, w

hic

h i

ncl

ud

es t

he

ph

rase

“B

less

ed b

e th

e n

ame

of

the

Lo

rd.”

In

this

sit

uat

ion

, th

e te

rm “

Lo

rd”

do

es n

ot

con

no

te a

ny

par

ticu

lar

per

son

of

the

Tri

nit

y;

ho

wev

er,

it

do

es i

mp

ly a

sen

se o

f p

ow

er.9

3

Th

is t

erm

cle

arly

co

mm

un

icat

es m

ore

th

an a

mb

igu

ou

s

term

ino

log

y,

yet

it

do

es n

ot

dir

ectl

y c

on

nec

t w

ith

a p

arti

cula

r p

erso

n o

f th

e T

rin

ity

. W

hen

Sta

rs

adm

on

ish

es a

lis

ten

er “

yo

u s

ho

uld

hea

r th

e an

gel

s si

ng a

ll g

ath

ered

ro

un

d t

hei

r k

ing,”

th

ere

is a

clea

r re

fere

nce

to

Go

d a

s a

kin

g,

wh

ich

car

ries

co

nn

ota

tio

ns

of

sov

erei

gn

ty a

nd

po

wer

; h

ow

ever

,

ther

e is

sti

ll n

o c

on

nec

tio

n d

irec

t co

nn

ecti

on

to

th

e p

erso

ns

of

the

Tri

nit

y.

Th

e fi

rst

per

son

an

d

the

seco

nd

per

son

of

the

Tri

nit

y a

re f

req

uen

tly

ref

erre

d t

o a

s a

kin

g,

so t

her

efo

re,

bas

ed o

n t

he

con

tex

t, a

dis

tin

ctio

n c

ann

ot

be

mad

e.

Go

d i

s al

so r

efer

red

to

as

a fr

ien

d,

the

auth

or

of

salv

atio

n,

thee

, th

y,

tho

u,

the

On

e, t

he

Ro

ck,

Bea

uti

ful

On

e, H

op

e, t

he

Just

, an

d r

ule

r.

Eac

h o

f th

ese

term

s

imp

ute

s p

arti

cula

r q

ual

itie

s u

po

n G

od

an

d t

her

efo

re,

is n

ot

com

ple

tely

am

big

uo

us,

bu

t n

on

e o

f

the

qu

alit

ies

men

tio

ned

are

ex

clu

siv

e a

par

ticu

lar

per

son

of

the

Tri

nit

y.

Co

ncl

usi

on

s

Th

e in

form

atio

n p

rese

nt

sug

ges

ts t

hat

th

e T

rin

itar

ian

th

eolo

gy

an

d w

ors

hip

th

at i

s

affi

rmed

th

rou

gh

ou

t N

ort

hw

este

rn C

oll

ege’

s co

nn

ecti

on

to

Ch

rist

ian

ort

ho

dox

y i

s n

ot

a

pro

min

ent

feat

ure

of

mu

sic

at e

ith

er T

ues

day

Ch

apel

or

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

. T

he

dis

pro

po

rtio

nat

e d

istr

ibu

tio

n o

f re

fere

nce

s to

th

e fi

rst,

sec

on

d,

and

th

ird

per

son

s o

f th

e T

rin

ity

is

wit

nes

sed

th

rou

gh

th

e p

rom

inen

ce o

f th

e se

con

d p

erso

n o

f th

e T

rin

ity

wh

en c

om

par

ed t

o t

he

oth

er t

wo

per

son

s an

d l

esse

ned

rec

og

nit

ion

of

the

thir

d p

erso

n o

f th

e T

rin

ity

. T

ho

ug

h i

t is

cert

ain

ly u

nre

aso

nab

le t

o e

xp

ect

to s

ee e

qu

al d

istr

ibu

tio

n o

f re

fere

nce

s to

eac

h p

erso

n o

f th

e

Tri

nit

y,

mu

sic

at N

ort

hw

este

rn C

oll

ege

clea

rly

fav

ors

par

ticu

larl

y t

he

seco

nd

per

son

of

the

Tri

nit

y.

An

oth

er s

ign

ific

ant

ack

no

wle

dg

emen

t is

th

at i

t is

no

t fa

ir t

o a

sser

t th

at t

his

par

ticu

lar

93 A

lth

ou

gh

th

e te

rm ku,rioj

oft

en r

efer

s to

th

e se

con

d p

erso

n o

f th

e T

rin

ity

in

th

e N

ew T

esta

men

t, b

ecau

se

thes

e so

ng

s w

ere

wri

tten

in

En

gli

sh b

eyo

nd

th

e n

uan

ces

of

the

ori

gin

al

Gre

ek i

dio

m,

it i

s n

ot

po

ssib

le t

o i

mp

ute

thes

e an

cien

t im

pli

cati

on

s o

nto

th

is t

ext.

Kl

um

pp

| 3

4

theo

log

ical

po

int

wo

uld

be

the

on

ly o

ne

refe

ren

ced

in

wo

rsh

ip.

It i

s cl

ear

that

mu

sica

l w

ors

hip

at

thes

e tw

o p

red

om

inan

tly

stu

den

t-le

d s

erv

ices

th

e T

rin

ity

is

oft

en n

ot

reco

gn

ized

fre

qu

entl

y.

Th

ou

gh

th

e n

um

ber

of

refe

ren

ces

to o

ther

th

eolo

gic

al i

ssu

es s

uch

as

sov

erei

gn

ty,

esch

ato

log

y,

and

pre

des

tin

atio

n a

re n

ot

kn

ow

n,

it i

s cl

ear

that

th

e d

oct

rin

e o

f th

e T

rin

ity

rec

eiv

es v

ery

lit

tle

atte

nti

on

in

th

ese

serv

ices

.

Th

ree

qu

esti

on

s d

eriv

e fr

om

vie

win

g t

his

dat

a as

in

con

gru

ent

wit

h N

ort

hw

este

rn’s

affi

rmat

ion

of

Ref

orm

ed d

oct

rin

e an

d C

hri

stia

n o

rth

od

ox

y:

1)

Wh

y i

s a

dis

con

nec

t b

etw

een

No

rth

wes

tern

’s h

erit

age

and

wo

rsh

ip p

ract

ices

pre

sen

t? 2

) F

rom

wh

ere

do

es t

his

aff

init

y f

or

amb

igu

ou

s la

ng

uag

e d

eriv

e? a

nd

3)

Wh

at c

an b

e d

on

e to

in

tro

du

ce m

ore

Tri

nit

aria

n w

ors

hip

in

to

No

rth

wes

tern

’s c

amp

us?

T

he

con

clu

din

g p

ort

ion

of

this

an

aly

sis

wil

l se

ek t

o p

rov

ide

wo

rkin

g

par

adig

ms

for

un

der

stan

din

g t

he

answ

ers

to t

hes

e q

ues

tio

ns.

T

ho

ug

h t

hes

e re

flec

tio

ns

and

po

stu

lati

on

s d

o n

ot

inte

nd

to

be

an e

xh

aust

ive

app

rais

al o

f th

e d

ate,

th

ey p

rov

ide

po

ssib

le

aven

ues

fo

r in

terp

reti

ng

th

is i

nfo

rmat

ion

an

d a

pla

tfo

rm f

or

bo

th d

ialo

gu

e an

d a

ttem

pts

to

cre

ate

a m

ore

Tri

nit

aria

n w

ors

hip

en

vir

on

men

t.

In a

sim

ilar

stu

dy

co

nd

uct

ed b

y L

este

r R

uth

, th

e au

tho

r su

gg

ests

a n

um

ber

of

po

ssib

le

answ

ers

to w

hy

co

nte

mp

ora

ry m

usi

c la

cks

Tri

nit

aria

n t

heo

log

y.

Th

e tw

o p

rim

ary

po

ints

iden

tifi

ed a

re t

hat

1)

con

tem

po

rary

wo

rsh

ip i

s m

ore

ab

ou

t “u

s” f

ind

ing

tru

th,

sug

ges

tin

g a

fo

rm

of

ther

apeu

tic

mo

rali

sm,

and

2)

that

dee

p t

heo

log

ical

to

pic

s ar

e to

o c

old

to

be

cult

ura

lly

rele

van

t.9

4

Th

ou

gh

th

ese

reas

on

s m

ay n

ot

be

a p

art

of

the

dec

isio

n m

akin

g p

roce

ss f

or

tho

se

cho

osi

ng

th

e m

usi

c fo

r th

ese

serv

ices

, th

e se

eker

-fri

end

ly m

ov

emen

t m

ay h

ave

infi

ltra

ted

th

e

mu

sic

avai

lab

le t

o w

ors

hip

lea

der

s.

94 L

este

r R

uth

. "H

ow

Gre

at i

s O

ur

Go

d:

Th

e T

rin

ity

in

Co

nte

mp

ora

ry C

hri

stia

n W

ors

hip

Mu

sic.

" In

Th

e M

essa

ge

in t

he

Mu

sic,

ed

ited

by

Ro

ber

t W

oo

ds

and

Bri

an W

alra

th,

29

-42

. N

ash

vil

le:

Ab

ing

den

Pre

ss,

20

07

. 2

9.

76

Kl

um

pp

| 3

5

Ru

th’s

stu

dy

co

nsi

der

s th

e n

um

ber

of

son

gs

amo

ng

th

e to

p 7

7 s

on

gs

use

d o

n C

CL

I t

hat

con

tain

ref

eren

ces

to t

he

Tri

nit

y.

In

th

is s

tud

y,

Ru

th o

nly

fin

ds

on

e so

ng

, H

ow

Gre

at

is O

ur

Go

d,

that

co

nta

ins

a re

fere

nce

to

th

e T

rin

ity

.95

Th

is d

emo

nst

rate

s th

e sc

arci

ty o

f d

isti

nct

ive

Tri

nit

aria

n l

ang

uag

e in

co

nte

mp

ora

ry w

ors

hip

. I

n f

act,

Ho

w G

rea

t is

Ou

r G

od

is

on

e o

f tw

o

son

gs

that

ap

pea

red

in

th

e st

ud

y o

f N

ort

hw

este

rn’s

wo

rsh

ip t

hat

co

nta

in T

rin

itar

ian

ref

eren

ces

and

are

cla

ssif

ied

as

con

tem

po

rary

wo

rsh

ip.9

6

Th

is l

ead

s to

th

e co

ncl

usi

on

th

at a

t le

ast

a p

ort

ion

of

the

reas

on

th

at t

her

e is

a p

auci

ty o

f T

rin

itar

ian

ref

eren

ces

wit

hin

No

rth

wes

tern

’s m

usi

cal

wo

rsh

ip i

s b

ecau

se t

her

e si

mp

ly a

re i

nsu

ffic

ien

t m

usi

cal

reso

urc

es a

vai

lab

le f

or

the

wo

rsh

ip

lead

ers

to c

ho

ose

fro

m w

hil

e m

ain

tain

ing

th

e g

enre

of

mu

sic

exp

ecte

d a

t ea

ch s

erv

ice.

Wh

en i

nq

uir

ed a

bo

ut

thei

r p

roce

sses

fo

r se

lect

ing

musi

c to

be

use

d a

t w

ors

hip

, b

oth

th

e

lead

er o

f T

ues

day

Ch

apel

an

d o

f S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip s

tate

d t

hat

th

eir

mu

sic

is

gen

eral

ly b

ased

aro

un

d t

he

them

e o

f a

spea

ker

.97 T

his

in

dic

ates

bo

th l

ead

ers

pri

mar

ily

see

k t

o

bas

e th

eir

mu

sica

l se

lect

ion

s o

n a

cen

tral

th

eme.

In

th

e re

spo

nse

s re

ceiv

ed f

rom

th

e le

ader

s,

nei

ther

men

tio

ned

th

eolo

gic

al c

on

ten

t as

a m

oti

vat

ing f

acto

r.9

8

Wh

ile

the

pu

rpo

se o

f th

is

dis

cuss

ion

is

no

t to

ju

dg

e th

e se

lect

ion

pro

cess

of

the

lead

ers

of

thes

e se

rvic

es,

kn

ow

ing

th

e

mo

tiv

atin

g f

acto

r b

ehin

d t

hes

e p

roce

sses

in

dic

ates

th

at t

he

incl

usi

on

of

the

Tri

nit

y i

s n

ot

a cr

itic

al

com

po

nen

t o

f th

e so

ng

sel

ecti

on

pro

cess

. T

her

efo

re,

wh

en t

his

alt

ern

ate

focu

s is

co

up

led

wit

h

the

lack

of

Tri

nit

aria

n w

ors

hip

mu

sic,

ser

vic

es e

asil

y a

nd

pro

bab

ly u

nin

ten

tio

nal

ly d

evel

op

theo

log

ical

wea

kn

esse

s.

It i

s p

oss

ible

to

po

stu

late

th

at t

he

lack

of

Tri

nit

aria

n l

ang

uag

e in

95 I

bid

., 3

1.

96 T

he

oth

er c

on

tem

po

rary

wo

rsh

ip s

on

g i

s T

he

Sta

nd

, w

hil

e th

e [E

LIM

INA

TE

TH

E]

Th

ey’l

l K

no

w W

e a

re

Ch

rist

ian

s an

d A

ll C

rea

ture

s o

f O

ur

Go

d a

nd

Kin

g a

re c

ateg

ori

zed

as

hy

mn

s.

97 S

arah

Sh

ivel

y a

nd

Pet

er B

osc

aljo

n i

nte

rvie

w b

y A

nd

rew

Klu

mp

p.

(No

vem

ber

28

, 2

00

9).

98 S

imp

ly b

ecau

se t

heo

log

ical

im

pli

cati

on

s w

ere

no

t li

sted

as

a p

art

of

the

pro

cess

of

sele

ctin

g m

usi

c to

be

use

d a

t

wo

rsh

ip d

oes

no

t n

eces

sari

ly m

ean

th

at t

heo

log

y d

oes

no

t p

lay

a r

ole

in

det

erm

inin

g s

ets

of

son

gs

for

wo

rsh

ip b

y

eith

er l

ead

er.

Kl

um

pp

| 3

6

wo

rsh

ip m

usi

c at

Tu

esd

ay C

hap

el a

nd

Su

nd

ay N

igh

t P

rais

e an

d W

ors

hip

is

resu

ltan

t o

f th

emat

ic

wo

rsh

ip i

n a

gen

re t

hat

dem

on

stra

tes

an e

xtr

eme

pau

city

of

Tri

nit

aria

n l

ang

uag

e an

d t

heo

log

y.

Th

is s

tud

y r

esu

lted

in

a s

urp

risi

ng

am

ou

nt

of

amb

igu

ou

s te

rmin

olo

gy

use

d t

o r

efer

ence

Go

d a

nd

th

eref

ore

, le

ads

to t

he

seco

nd

sig

nif

ican

t q

uer

y d

raw

n f

rom

th

e re

sult

s: F

rom

wh

ere

do

es t

his

aff

init

y f

or

amb

igu

ou

s la

ng

uag

e d

eriv

e?

In b

oth

ser

vic

es,

the

use

of

term

s su

ch a

s

“yo

u”

and

“h

e” w

ith

ou

t co

nte

xtu

al c

lues

to

id

enti

fy t

he

per

son

of

the

Tri

nit

y t

o w

ho

m t

hey

are

refe

ren

cin

g a

cco

un

ts f

or

ov

er 4

0%

of

the

term

s u

sed

fo

r G

od

. W

hen

als

o c

on

sid

erin

g t

he

wo

rd

“Go

d”

wh

en p

rese

nt

wit

ho

ut

any

co

nn

ecti

on

to

par

ticu

lar

a p

erso

n o

f th

e T

rin

ity

, th

is p

erce

nta

ge

is o

ver

50

% o

f th

e te

rmin

olo

gy

use

d t

o r

efer

to

Go

d i

n e

ach

ser

vic

e.

Po

ssib

le e

xp

lan

atio

ns

for

this

tre

nd

ref

er t

o t

heo

log

ical

ten

den

cies

wit

hin

co

nte

mp

ora

ry w

ors

hip

mu

sic

and

per

son

al

con

nec

tio

ns

to t

he

wo

rsh

ip e

xp

erie

nce

.

Th

e u

se o

f am

big

uo

us

term

s to

ref

er t

o G

od

ex

emp

lifi

es t

he

con

ver

se s

ide

of

the

avo

idan

ce o

f co

nte

mp

ora

ry w

ors

hip

mu

sic

to i

ncl

ud

e d

eep

th

eolo

gic

al t

op

ics.

W

hil

e R

uth

cit

es

this

av

ersi

on

to

wei

gh

ty t

heo

log

ical

to

pic

s as

a r

easo

n f

or

the

lack

of

Tri

nit

aria

n l

ang

uag

e, i

n h

er

bo

ok

Rea

chin

g o

ut

wit

ho

ut

Du

mb

ing

Do

wn,

Mar

va

Daw

n c

ites

av

oid

ance

of

dee

p t

heo

log

ical

issu

es a

s a

reas

on

fo

r th

e in

clu

sio

n o

f am

big

uo

us

term

ino

log

y.9

9

Am

big

uo

us

term

ino

log

y d

oes

no

t le

nd

its

elf

wel

l to

th

e d

iscu

ssio

n o

f th

eolo

gic

al c

on

cep

ts,

esp

ecia

lly

th

e T

rin

ity

. D

awn

sta

tes

this

“d

um

bin

g d

ow

n”

of

wo

rsh

ip i

s b

ased

pri

mar

ily

on

ap

pea

lin

g t

o p

arti

cip

ants

in

th

e se

rvic

e.1

00

Rat

her

th

an b

ols

teri

ng

th

e b

elie

fs o

f th

e fa

ith

ful,

the

focu

s o

f w

ors

hip

has

bee

n s

hif

ted

to

bro

aden

ing

th

e ap

pea

l o

f w

ors

hip

an

d m

akin

g e

xp

erie

nce

s w

ith

div

init

y m

ore

acc

essi

ble

.

Th

e ac

cess

ibil

ity

of

the

wo

rsh

ip e

xp

erie

nce

pre

sen

ts t

he

seco

nd

are

a o

f in

flu

ence

on

th

e

abu

nd

ance

of

amb

igu

ou

s la

ng

uag

e in

wo

rsh

ip.

Th

e co

nte

mp

ora

ry w

ors

hip

mo

vem

ent

seek

s to

99 D

awn

, M

arv

a J.

Rea

chin

g O

ut

wit

ho

ut

Du

mb

ing

Do

wn

. G

ran

d R

apid

s: W

illi

am B

. E

erd

man

s P

ub

lish

ing

Co

mp

any

, 1

99

5.

12

2.

10

0 I

bid

., 7

.

77

Kl

um

pp

| 3

7

fin

d w

ays

for

par

tici

pan

ts t

o h

ave

a g

enu

ine

exp

erie

nce

wit

h G

od

an

d e

xp

ress

to

Go

d t

he

thin

gs

that

th

ey f

eel.

10

1

Th

e g

oal

of

this

par

ticu

lar

gen

re i

s m

ore

fo

cuse

d o

n c

reat

ing

a c

han

nel

of

com

mu

nic

atio

n b

etw

een h

um

anit

y a

nd

div

init

y t

han

ped

ago

gic

al p

urp

ose

mu

sic

has

hel

d i

n t

he

pas

t.

Am

big

uo

us

term

ino

log

y,

esp

ecia

lly

th

e te

rm “

yo

u,”

cre

ates

a m

ore

co

nv

ersa

tio

nal

an

d

wh

at s

om

e co

nsi

der

mo

re-g

enu

ine

exp

erie

nce

wit

h G

od

th

an t

heo

log

ical

jar

go

n.

Th

is l

ang

uag

e

also

cre

ates

as

sen

se o

f in

tim

acy

bet

wee

n G

od

an

d t

he

con

gre

gan

ts.

Th

e am

big

uit

y p

rese

nt

in

this

lan

gu

age

also

cat

ers

to t

he

con

nec

ted

nes

s b

etw

een

Go

d a

nd

hu

man

ity

. T

he

son

g F

ait

hfu

l,

wh

ich

is

men

tio

ned

ear

lier

, d

ecla

res

“Fai

thfu

l y

ou

are

fai

thfu

l” a

nd

“I’

m f

alli

ng

in

lo

ve

wit

h t

he

way

yo

u a

re.”

T

hes

e p

hra

ses

wo

uld

be

mu

ch l

ess

inti

mat

e an

d p

rov

ide

less

co

nn

ecti

on

wit

h G

od

if T

rin

itar

ian

lan

gu

age

or

even

a n

eutr

al t

erm

su

ch a

s “G

od

” w

ere

sub

stit

ute

d f

or

“yo

u.”

Th

eref

ore

, th

e re

aso

n f

or

the

ov

erw

hel

min

g p

rese

nce

of

amb

igu

ou

s te

rmin

olo

gy

in

refe

ren

ce t

o G

od

is

two

fold

: av

oid

ance

of

theo

log

ical

dis

cou

rse

and

a d

esir

e fo

r in

tim

acy

. T

hes

e

trai

ts a

re g

ener

al c

har

acte

rist

ics

of

the

mu

sic

that

is

use

d f

or

bo

th T

ues

day

Ch

apel

an

d S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip b

ut

spea

k l

arg

ely

to

th

e b

od

y o

f w

ors

hip

mu

sic.

T

he

pre

sen

ce o

f

amb

igu

ou

s la

ng

uag

e at

th

ese

serv

ices

th

en c

an b

e at

lea

st i

n p

art

attr

ibu

ted

to

th

is m

ov

emen

t o

f

wo

rsh

ip m

usi

c.

Th

e at

tem

pt

to a

vo

id a

lien

atin

g n

on-t

heo

log

ical

ly l

iter

ate

wo

rsh

ipp

ers

and

ush

er

the

con

gre

gat

ion

in

to a

sta

te o

f sp

irit

ual

ex

per

ien

ce w

ith

Go

d i

s si

gn

ific

antl

y e

ased

th

rou

gh

th

e

use

of

amb

igu

ou

s la

ng

uag

e, w

hic

h p

rov

ides

an

ex

pla

nat

ion

fo

r th

is d

isp

rop

ort

ion

ate

rep

rese

nta

tio

n o

f n

on

-co

nte

xtu

aliz

ed u

ses

of

“yo

u”

and

“h

e.”

Wh

ile

thes

e pra

ctic

es a

llo

w

wo

rsh

iper

s to

hav

e a

mo

re e

mo

tio

nal

rel

atio

nsh

ip w

ith

a l

ess

con

cret

e G

od

, th

ey s

acri

fice

actu

ally

kn

ow

ing

Go

d.

Th

ere

is c

erta

inly

so

me

val

ue

fou

nd

in

ack

no

wle

dg

ing

th

e p

erso

nal

10

1 H

orn

ess,

Jo

e. "

Co

nte

mp

ora

ry M

usi

c-D

riv

en W

ors

hip

." I

n E

xplo

rin

g t

he

Wo

rsh

ip S

pec

tru

m,

by

Pau

l Z

ahl,

Har

old

Bes

t, J

oe

Ho

rnes

s, D

on

Wil

liam

s, R

ob

ert

Web

ber

an

d S

ally

Mo

rgen

thal

er,

edit

ed b

y P

aul

E.

En

gle

, 9

7-1

36

.

Gra

nd

Rap

ids:

Zo

nd

erv

an,

20

04

. 1

05

.

Kl

um

pp

| 3

8

rela

tio

nsh

ip b

etw

een

Go

d a

nd

hu

man

ity

; h

ow

ever

, if

ped

ago

gic

al e

dif

icat

ion

of

bel

iefs

ab

ou

t

Go

d i

s n

ot

pre

sen

t in

wo

rsh

ip,

con

gre

gan

ts a

re s

imp

ly w

ors

hip

ing

th

e am

big

uo

us

fig

ure

of

an

un

kn

ow

n G

od

. T

his

tre

nd

co

uld

eas

ily

lea

d t

o g

ener

atio

ns

of

Ch

rist

ian

s w

ho

are

un

able

to

dia

log

ue

con

cern

ing

th

e n

atu

re a

nd

wo

rk o

f th

e tr

iun

e G

od

. A

lth

ou

gh

co

nn

ecte

dn

ess

wit

h G

od

is

fou

nd

in

am

big

uo

us

lan

gu

age,

th

e ro

bu

st f

ull

nes

s o

f G

od

’s c

har

acte

r is

vei

led

an

d t

her

eby

,

wo

rsh

iper

s ar

e li

mit

ed i

n t

hei

r k

no

wle

dg

e an

d u

nd

erst

and

ing

of

Go

d.

Aft

er c

on

sid

erin

g t

he

dat

a an

d e

xp

lan

atio

ns

for

po

ssib

le q

ues

tio

ns

that

ari

se r

egar

din

g

this

stu

dy

, N

ort

hw

este

rn C

oll

ege

is l

eft

wit

h a

sig

nif

ican

t q

ues

tio

n:

Wh

at c

an b

e d

on

e to

intr

od

uce

mo

re T

rin

itar

ian

wo

rsh

ip i

nto

ser

vic

es a

t N

ort

hw

este

rn?

It

is n

ot

suff

icie

nt

to s

imp

ly

reco

gn

ize

a d

efic

ien

cy.

Th

ere

mu

st b

e p

ract

ical

met

ho

ds

pre

sen

ted

fo

r ad

dre

ssin

g t

he

pla

ce o

f

the

Tri

nit

y i

n w

ors

hip

th

at a

llo

w t

his

stu

dy

to

mo

ve

bey

on

d h

isto

rica

l p

rece

den

ts a

nd

tel

lin

g d

ata.

Th

is t

ran

siti

on

fro

m a

dis

cern

ing

aca

dem

ic a

sses

smen

t to

pra

gm

atic

so

luti

on

s to

th

e sc

arci

ty o

f

Tri

nit

aria

n l

ang

uag

e is

bri

dg

ed t

hro

ug

h t

he

pre

sen

tati

on

of

thre

e g

ener

al g

uid

elin

es f

or

crea

tin

g

real

so

luti

on

s to

th

is t

heo

log

ical

vo

id.

Th

e fi

rst

abso

lute

ly e

ssen

tial

co

mp

on

ent

of

intr

od

uci

ng

mo

re T

rin

itar

ian

lan

gu

age

into

bo

th T

ues

day

Ch

apel

an

d S

un

day

Nig

ht

Pra

ise

and

Wo

rsh

ip i

s si

mp

ly b

eco

min

g m

ore

aw

are

of

the

lack

of

Tri

nit

aria

n l

ang

uag

e an

d t

heo

log

y i

n w

ors

hip

. T

he

them

atic

mu

sica

l se

lect

ion

use

d

by

th

is t

he

lead

ers

for

the

20

09-2

01

0 s

cho

ol

yea

r p

rov

ides

th

em w

ith

a d

efin

ite

focu

s fo

r th

e

wo

rsh

ip s

erv

ice;

ho

wev

er,

sim

ply

rea

lizi

ng

th

at t

he

Tri

nit

y i

s u

nd

erre

pre

sen

ted

in

wo

rsh

ip s

hif

ts

thei

r p

ersp

ecti

ve

wh

en c

ho

osi

ng

mu

sic.

T

his

is

to s

ay t

hat

th

ou

gh

a t

hem

e m

ay b

e m

ain

tain

ed,

awar

enes

s o

f th

e n

eces

sity

of

Tri

nit

aria

n l

ang

uag

e an

d t

heo

logy

sh

ou

ld a

lter

th

e w

ay t

hat

cer

tain

son

gs

are

vie

wed

an

d u

ltim

atel

y,

wh

ich

so

ng

s ar

e ch

ose

n.

Ack

no

wle

dg

emen

t o

f th

e im

po

rtan

ce

of

a T

rin

itar

ian

co

mp

on

ent

shar

pen

s th

e fo

cus

of

a w

ors

hip

lea

der

. W

hil

e h

e o

r sh

e m

ay

78

Kl

um

pp

| 3

9

mai

nta

in a

fo

cus

on

th

emat

ic m

usi

cal

sele

ctio

n,

inte

nti

on

alit

y a

nd

aw

aren

ess

imm

edia

tely

sh

ift

the

per

spec

tiv

e o

f th

e le

ader

in

fav

or

of

incl

ud

ing

Tri

nit

aria

n t

hem

es i

n w

ors

hip

.

Aft

er s

imp

ly b

eco

min

g a

war

e o

f th

is p

auci

ty a

nd

all

ow

ing

a n

ew p

ersp

ecti

ve

to a

lter

th

e

son

gs

that

are

ch

ose

n,

as C

hri

stia

n m

usi

cian

s, w

ors

hip

lea

der

s an

d t

eam

s sh

ou

ld a

ttem

pt

to f

ill

the

Tri

nit

aria

n v

oid

in

No

rth

wes

tern

’s m

usi

cal

wo

rsh

ip.1

02

Th

is c

an b

e d

on

e b

y i

nte

gra

tin

g n

ew

and

old

so

ng

s af

firm

ing

th

e T

riu

ne

Go

d o

r o

rgan

ical

ly p

rod

uci

ng

wo

rsh

ip m

usi

c w

ith

Tri

nit

aria

n

them

es a

nd

str

uct

ure

s.

Man

y h

ym

ns

that

hav

e b

een

dis

reg

ard

ed b

y c

on

tem

po

rary

mu

sic

con

tain

stro

ng

th

eolo

gic

al l

esso

ns,

an

d w

hil

e st

ill

a cl

ear

min

ori

ty,

the

nu

mb

er o

f T

rin

itar

ian

wo

rsh

ip

son

gs

is c

on

tin

ual

ly r

isin

g.1

03

Th

is s

ho

uld

en

cou

rag

e w

ors

hip

tea

ms

to r

etu

rn t

o t

he

oft

en-

ped

ago

gic

al h

ym

no

dy

of

pre

vio

us

gen

erat

ion

s, u

tili

ze n

ew T

rin

itar

ian

wo

rsh

ip s

on

gs,

or

bo

th.

Ad

dit

ion

ally

, C

hri

stia

n m

usi

cian

s sh

ou

ld n

ot

rem

ain

pas

siv

e in

th

is p

roce

ss,

bu

t in

stea

d w

hen

po

ssib

le,

crea

te m

usi

c th

at u

ses

Tri

nit

aria

n l

ang

uag

e an

d t

heo

log

y.

Th

ou

gh

sim

ple

, se

ekin

g o

ut

and

cre

atin

g T

rin

itar

ian

wo

rsh

ip s

on

gs

are

pra

ctic

al w

ays

that

wo

rsh

ip l

ead

ers

at N

ort

hw

este

rn

can

ch

ang

e th

is t

ren

d.

Fin

ally

, it

is

nec

essa

ry t

o l

oo

k b

eyo

nd

th

e li

mit

atio

ns

of

this

stu

dy

. T

his

dat

a ex

pla

ins

that

mu

sica

l w

ors

hip

at

two

wee

kly

ser

vic

es a

t N

ort

hw

este

rn l

ack

s a

stro

ng

Tri

nit

aria

n

com

po

nen

t.

Th

is a

pp

rais

al,

ho

wev

er,

is n

ot

an a

sses

smen

t o

f ev

ery

asp

ect

of

wo

rsh

ip.

Cal

vin

iden

tifi

es t

he

thre

e k

ey c

om

po

nen

ts o

f w

ors

hip

as

pre

ach

ing

Go

d’s

wo

rd,

pra

yer

, an

d

adm

inst

rati

on

of

the

sacr

amen

ts.1

04

Th

eref

ore

, th

ere

are

man

y m

ore

co

mp

on

ents

of

wo

rsh

ip t

hat

can

co

ntr

ibu

te t

o b

ols

teri

ng

stu

den

ts s

pir

itu

al g

row

th a

nd

un

der

stan

din

g o

f th

e T

rin

ity

. T

ho

ug

h

ther

e is

a c

lear

lac

k o

f re

fere

nce

s to

th

e T

rin

ity

in

mu

sic,

a p

oss

ible

man

ner

of

com

pen

sati

ng

fo

r

10

2 T

he

abil

ity

to

co

ntr

ibu

te t

o i

nte

gra

tin

g T

rin

itar

ian

th

emes

in

to w

ors

hip

is

no

t st

rict

ly l

imit

ed t

o w

ors

hip

lea

der

s

and

tea

ms.

1

03 R

uth

, 4

8.

10

4 G

arsi

de,

56

8.

He

iden

tifi

es m

usi

c as

on

ly a

po

rtio

n o

f p

ray

er.

Kl

um

pp

| 4

0

this

vo

id i

s b

y f

ocu

sin

g o

n o

ther

co

mp

on

ents

of

wo

rsh

ip.

Th

e im

ple

men

tati

on

of

Tri

nit

aria

n

pra

yer

s, m

essa

ges

, an

d r

ead

ing

s p

rov

ide

op

po

rtu

nit

ies

to i

nfu

se T

rin

itar

ian

lan

gu

age

and

theo

log

y i

nto

wo

rsh

ip.

Th

ese

com

po

nen

ts c

reat

e a

mo

re h

oli

stic

wo

rsh

ip e

nv

iro

nm

ent

that

allo

ws

cert

ain

co

mp

on

ents

of

wo

rsh

ip t

o c

om

pen

sate

fo

r an

y d

efic

ien

cies

ap

par

ent

in o

ther

com

po

nen

ts.

Th

e ca

ll p

rese

nte

d t

o C

hri

stia

ns

by

C.S

. L

ewis

is

to e

xp

erie

nce

a “

thre

e-p

erso

nal

lif

e.”

It

is a

cal

l to

dra

w G

od

’ p

eop

le i

nto

th

e m

yst

ery

of

the

Tri

nit

y.

Th

rou

gh

ou

t th

e ri

ch h

erit

age

of

Ch

rist

ian

wo

rsh

ip,

affi

rmat

ion

of

the

Tri

nit

y h

as c

on

tin

ual

ly b

een

sig

nif

ican

t; h

ow

ever

, th

is h

as

no

t b

een

th

e ca

se i

n r

ecen

t d

ecad

es o

r o

ver

th

e th

ree

mo

nth

s o

f th

is s

tud

y a

t N

ort

hw

este

rn.

Rat

her

th

an a

ccep

t th

is d

evel

op

men

t as

an

in

evit

able

tre

nd

to

war

d a

mb

igu

ity

, a

resu

rgan

ce o

f th

e

Tri

nit

y i

s b

oth

po

ssib

le a

nd

nec

essa

ry.

Th

rou

gh

aw

aren

ess,

an

act

ive

app

roac

h t

o i

ncl

ud

ing

an

d

pro

du

cin

g T

rin

itar

ian

mu

sic,

an

d a

ho

lisi

tic

app

roac

h t

o w

ors

hip

th

at i

ncl

ud

es e

lem

ents

bey

on

d

mu

sic,

pra

ises

to

th

e T

rin

ity

can

rin

g o

nce

mo

re t

hro

ug

ho

ut

No

rth

wes

tern

Co

lleg

e’s

chap

el.

To

nig

ht

if y

ou

lik

e.

79

Kl

um

pp

| 4

1

Bib

lio

gra

ph

y!

Bes

t, H

aro

ld M

. M

usi

c T

hro

ug

h t

he

Eye

s o

f F

ait

h. S

an F

ran

cisc

o:

Har

per

San

Fra

nci

sco

, 1

99

3.

Bo

scal

jon

, P

eter

, in

terv

iew

by

An

dre

w K

lum

pp

. (N

ov

emb

er 2

8,

20

09

).

Bro

uw

er,

Ari

e R

. R

efo

rmed

Ch

urc

h R

oo

ts. N

ew Y

ork

: R

efo

rmed

Ch

urc

h P

ress

, 1

97

7.

Cal

vin

, Jo

hn

. I

nst

itu

tes

of

Ch

rist

ian

Rel

igio

n I

II.x

x.3

2 8

95

., t

ran

slat

ed b

y F

ord

Lew

is B

attl

es.

Ed

ited

by

Jo

hn

T.

McN

eill

. L

ou

isv

ille

: W

estm

inst

er J

oh

n K

no

x P

ress

, 2

00

6.

Ch

an,

Sim

on

. S

pir

itu

al

Th

eolo

gy.

Do

wn

ers

Gro

ve:

In

terV

arsi

ty P

ress

Aca

dem

ic,

19

98

.

Ch

arle

s G

arsi

de,

Jr.

"C

alv

in's

Pre

face

to

th

e P

salt

er:

A R

e-A

pp

rais

al."

Th

e M

usi

cal

Qu

ate

rly,

O

cto

ber

19

51

: 5

68

.

Cu

llm

ann

, O

scar

. E

arl

y C

hri

stia

n W

ors

hip

. G

reat

Bri

tian

: R

ob

ert

Cu

nn

ing

ham

an

d S

on

s L

td.,

1

96

6.

Du

ck,

Ru

th C

. "T

rin

itar

ian

Lan

gu

age

in H

ym

ns.

" In

Pra

isin

g G

od

: T

he

Tri

nit

y in

Ch

rist

ian

W

ors

hip

, b

y R

uth

C.

Du

ck a

nd

Pat

rici

a W

ilso

n-K

astn

er,

81

-97

. L

ou

isv

ille

: W

estm

inst

er

J

oh

n K

no

x P

ress

, 1

99

9.

Ecu

men

ica

l C

reed

s a

nd

Ref

orm

ed C

on

fess

ion

s. G

ran

d R

apid

s: F

aith

Ali

ve

Ch

rist

ian

Res

ou

rces

,

1

98

8.

Flo

din

g,

Mat

tth

ew D

. "G

row

th T

ow

ard

Fai

th M

atu

rity

Th

rou

gh

a C

oll

egia

te C

hap

el P

rog

ram

."

P

roje

ct P

aper

, 1

99

6.

Hah

n,

Rer

din

and

. T

he

Wo

rsh

ip o

f th

e E

arl

y C

hu

rch

. P

hil

adel

ph

ia:

Fo

rtre

ss P

ress

, 1

97

3.

Hay

s, R

ich

ard

B.

Fir

st C

ori

nth

ian

s: I

nte

rpre

tati

on

, a

Bib

lica

l C

om

men

tary

fo

r T

each

ing

an

d

P

rea

chin

g.

Lo

uis

vil

le:

Joh

n K

no

x P

ress

, 1

99

7.

Ho

rnes

s, J

oe.

"C

on

tem

po

rary

Mu

sic-

Dri

ven

Wo

rsh

ip."

In

Exp

lori

ng

th

e W

ors

hip

Sp

ectr

um

, b

y

P

aul

Zah

l, H

aro

ld B

est,

Jo

e H

orn

ess,

Do

n W

illi

ams,

Ro

ber

t W

ebb

er a

nd

Sal

ly

M

org

enth

aler

, ed

ited

by

Pau

l E

. E

ng

le,

97-1

36

. G

ran

d R

apid

s: Z

on

der

van

, 2

00

4.

Hu

ber

s, D

ale.

"A

His

tory

of

the

No

rth

wes

tern

Cla

ssic

al A

cad

emy

." M

aste

rs T

hes

is ,

19

57

.

Jon

g,

Ger

ald

F.

De.

Fro

m S

tren

gth

to

Str

eng

th. G

ran

d R

apid

s: W

illi

am B

. E

erd

man

s P

ub

lish

ing

C

o.,

19

82

.

Kee

n,

Ral

ph

. T

he

Ch

rist

ian

Tra

dit

ion

. U

pp

er S

add

le R

iver

: P

ren

tice

Hal

l In

c.,

20

04

.

Kl

um

pp

| 4

2

Lew

is,

C.S

. M

ere

Ch

rist

ian

ity.

New

Yo

rk:

Mac

Mil

lan

Pu

bli

shin

g C

om

pan

y,

19

52

.

Mac

Do

nal

d,

Ale

xan

der

B. C

hri

stia

n W

ors

hip

in

th

e P

rim

itiv

e C

hu

rch

. E

din

bu

rgh

: T

&T

Cla

rk,

19

34

.

Mar

tin

, R

alp

h P

. W

ors

hip

in

th

e E

arl

y C

hu

rch

. G

ran

d R

apid

s: W

illi

am B

. E

erd

man

s P

ub

lish

ing

C

om

pan

y,

19

74

.

Mel

ton

, J.

Go

rdan

. E

ncy

clo

ped

ia o

f A

mer

ica

n R

elig

ion

s. W

ilm

ing

ton

: M

cGra

th P

ub

lish

ing

C

om

pan

y,

19

78

.

Mo

ule

, C

.F.D

. W

ors

hip

in

th

e N

ew T

esta

men

t. R

ich

mo

nd

: Jo

hn

Kn

ox

Pre

ss,

19

67

.

No

rth

wes

tern

Co

lleg

e. 2

00

9.

htt

p:/

/ww

w.n

wci

ow

a.ed

u/c

hap

el/d

efau

lt.a

spx

(ac

cess

ed O

cto

ber

29

,

2

00

9).

No

rth

wes

tern

Co

lleg

e. 2

00

9.

htt

p:/

/ww

w.n

wci

ow

a.ed

u/n

ews/

con

ten

tID

.27

72

/art

icle

.asp

x.

(

acce

ssed

Oct

ob

er 2

8,

20

09

).

Per

ry,

Ro

bin

. W

ors

hip

pin

g T

rin

ity.

Way

nes

bo

ro:

Pat

ern

ost

er,

20

05

.

Psa

lms

an

d H

ymn

s. P

hil

adel

ph

ia:

Wil

liam

G.

Men

tz,

18

47

. 2

91-2

96

.

Ran

del

, D

on

Mic

hae

l. T

he

Ha

rva

rd D

icti

on

ary

of

Mu

sic.

Cam

bri

dg

e: T

he

Bel

kn

ap P

ress

of

H

arv

ard

Un

iver

sity

Pre

ss,

20

03

.

Ref

orm

ed C

hu

rch

in

Am

eric

a. 2

00

9.

htt

p:/

/ww

w.r

ca.o

rg/P

age.

asp

x?p

id=

29

9 (

acce

ssed

N

ov

emb

er 1

6,

20

09

).

Ru

th,

Les

ter.

"H

ow

Gre

at i

s O

ur

Go

d:

Th

e T

rin

ity

in

Co

nte

mp

ora

ry C

hri

stia

n W

ors

hip

Mu

sic.

"

I

n T

he

Mes

sag

e in

th

e M

usi

c, e

dit

ed b

y R

ob

ert

Wo

od

s an

d B

rian

Wal

rath

, 2

9-4

2.

N

ash

vil

le:

Ab

ing

den

Pre

ss,

20

07

.

Sco

rza,

Sy

lvio

J.

"Th

e F

ifth

Qu

arte

r."

Su

pp

lem

ent

to G

eral

d F

. D

eJo

ng

's "

Fro

m S

tren

gth

to

S

tren

gth

", 2

00

7.

Sh

ivel

y,

Sar

ah,

inte

rvie

w b

y A

nd

rew

Klu

mp

p.

(No

vem

ber

28

, 2

00

9).

Sai

nt

Au

gu

stin

e, C

on

fess

ion

s 1

0.4

9,

tran

slat

ed b

y H

enry

Ch

adw

ick

. O

xfo

rd:

Ox

ford

Un

iver

sity

P

ress

19

98

.

__

__

__

__

__

_.

On

th

e T

rin

ity,

tra

nsl

ated

by

Ste

ph

en M

cKen

na,

ed

ited

by

Gar

eth

B.

M

atth

ews.

N

ew Y

ork

: C

amb

rid

ge

Un

iver

sity

Pre

ss 2

00

2.

80

Kl

um

pp

| 4

3

Sw

een

ey,

Do

ug

las

A..

Th

e A

mer

ica

n e

van

gel

ica

l st

ory

: a

his

tory

of

the

mo

vem

ent.

G

ran

d R

apid

s: B

aker

Aca

dem

ic,

20

05

.

Sw

iere

ng

a, R

ob

ert

P.,

an

d E

lto

n J

. B

ruin

s. F

am

ily

Qu

arr

els

in t

he

Du

tch

Ref

orm

ed C

hu

rch

es i

n

t

he

Nin

etee

nth

Cen

tury

. G

ran

d R

apid

s: W

m.

B.

Eer

dm

ans

Pu

bli

shin

g C

o.,

19

99

.

To

rran

ce,

Jam

es B

. W

ors

hip

, C

om

mu

nit

y a

nd

th

e T

riu

ne

Go

d o

f G

race

. D

ow

ner

s G

rov

e:

I

nte

rVar

sity

Pre

ss,

19

96

.

Van

Oo

rt,

Har

lan

in

terv

iew

by

An

dre

w K

lum

pp

. (D

ecem

ber

4,

20

09

).

Wes

term

eyer

, P

aul.

Te

Deu

m:

Th

e C

hu

rch

an

d M

usi

c. M

inn

eap

oli

s: F

ort

ress

Pre

ss,

19

98

.

__

__

__

__

__

_.

Th

e C

hu

rch

Mu

sici

an

. M

inn

eap

oli

s: A

ug

sbu

rg P

ress

, 1

99

7.

Win

ter,

Mir

iam

Th

eres

e. W

hy

Sin

g.

Was

hin

gto

n D

.C.:

Th

e P

asto

ral

Pre

ss,

19

84

.

Wit

vli

et,

Joh

n D

. "T

he

Op

enin

g o

f W

ors

hip

~T

rin

ity

." I

n A

Mo

re P

rofo

un

d A

llel

uia

, ed

ited

by

L

ean

ne

Van

Dy

k,

1-2

9.

Gra

nd

Rap

ids:

Wil

liam

B.

Eer

dm

ans

Pu

bli

shin

g C

om

pan

y,

2

00

5=

Wo

od

s, R

ob

ert,

Bri

an W

alra

th,

and

Dia

ne

Bad

zin

ski.

"W

e H

ave

Co

me

into

His

Ho

use

C

on

tem

po

rary

Wo

rsh

ip M

usi

c th

at M

od

els

the

Pu

rpo

se o

f th

e C

hu

rch

." I

n T

he

Mes

sag

e

i

n t

he

Mu

sic,

ed

ited

by

Ro

ber

t W

oo

ds

and

Bri

an W

alra

th,

92-1

05

. N

ash

vil

le:

A

bin

gd

en P

ress

, 2

00

7.

Wri

gh

t, C

raig

an

d B

ryan

Sim

ms.

Mu

sic

in W

este

rn C

ult

ure

. B

elm

on

t: T

ho

mas

on

Sch

irm

er,

2

00

6.

Kl

um

pp

| 4

4

Ap

pen

dix

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le 1

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ay C

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Kl

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| 5

2

Ap

pen

dix

B

A V

isio

n f

or

Lea

rnin

g

No

rth

wes

tern

Co

lleg

e is

a c

om

mu

nit

y r

oo

ted

in

Scr

iptu

re a

nd

th

e co

nfe

ssio

ns

of

Ref

orm

ed

theo

log

y a

nd

th

us

shap

ed b

y a

ro

bu

st i

nte

gra

tiv

e an

d t

ran

sfo

rmat

ive

vis

ion

of

the

Tri

un

e G

od

wh

o c

reat

es,

red

eem

s an

d s

ust

ain

s. T

his

th

eolo

gic

al b

ack

gro

un

d s

up

po

rts

a fr

amew

ork

wit

hin

wh

ich

stu

den

ts,

staf

f an

d f

acu

lty

of

var

iou

s C

hri

stia

n t

rad

itio

ns

tak

e u

p t

he

task

of

lov

ing

,

un

der

stan

din

g a

nd

ser

vin

g t

he

wo

rld

wh

ose

Sav

ior

and

Lo

rd i

s Je

sus

Ch

rist

. W

e se

e th

e p

urs

uit

of

lib

eral

art

s ed

uca

tio

n a

s w

ors

hip

ex

per

ien

ced

in

co

mm

un

ity

an

d o

ffer

ed t

o t

he

glo

ry o

f G

od

.

Em

bra

cin

g t

his

cal

lin

g w

ith

a f

reed

om

th

at a

rise

s fr

om

co

nfi

den

ce i

n G

od

’s s

avin

g g

race

an

d

sov

erei

gn

ty,

we

are

com

mit

ted

to

cu

ltiv

atin

g v

irtu

es o

f h

eart

an

d m

ind

th

at w

ill

enab

le u

s to

liv

e

ou

t o

ur

shar

ed v

oca

tio

n a

s p

arti

cip

ants

in

Go

d’s

red

emp

tiv

e w

ork

. W

e re

spo

nd

to

Go

d’s

cal

l to

pro

clai

m t

he

mes

sag

e o

f th

e g

osp

el,

be

stew

ard

s o

f cr

eati

on

, se

rve

Ch

rist

in

all

per

son

s, a

nd

bri

ng

all

th

ing

s u

nd

er h

is l

ord

ship

.

In k

eep

ing

wit

h t

his

co

mm

itm

ent,

we

inte

nd

No

rth

wes

tern

gra

du

ate

s to

be

per

son

s w

ho

Tru

st,

lov

e a

nd

wo

rsh

ip G

od

•

Un

der

stan

din

g t

hat

Go

d i

s th

e ce

nte

r o

f li

fe,

lear

nin

g a

bo

ut

Go

d t

hro

ug

h c

aref

ul

and

rig

oro

us

stu

dy

, an

d a

spir

ing

to

tru

st,

lov

e an

d w

ors

hip

Go

d a

s th

e so

ver

eig

n L

ord

of

the

un

iver

se.

•

Rec

og

niz

ing

th

at t

o l

ov

e G

od

is

also

to

liv

e jo

yfu

lly

as

par

tici

pan

ts i

n a

var

iety

of

com

mu

nit

ies,

val

uin

g t

he

div

ersi

ty o

f th

e h

um

an f

amil

y,

and

see

kin

g o

pp

ort

un

itie

s fo

r

lear

nin

g,

gro

wth

an

d t

ran

sfo

rmat

ion

th

rou

gh

in

terc

ult

ura

l re

lati

on

ship

s.

En

ga

ge

idea

s

•

Dem

on

stra

tin

g c

om

pet

ence

in

nav

igat

ing

an

d c

on

trib

uti

ng

to

th

e w

orl

d o

f id

eas

and

info

rmat

ion

, h

avin

g l

earn

ed t

o l

iste

n,

read

, q

ues

tio

n,

eval

uat

e, s

pea

k,

wri

te,

crea

te a

nd

per

form

wit

h a

dis

cip

lin

ed i

mag

inat

ion

.

•

Gai

nin

g a

co

mp

reh

ensi

ve

un

der

stan

din

g o

f th

e th

eore

tica

l fo

un

dat

ion

s, m

etho

ds

and

pro

du

cts

of

the

hu

man

itie

s, t

he

soci

al a

nd

nat

ura

l sc

ien

ces,

an

d t

he

fin

e ar

ts.

•

Pu

rsu

ing

tru

th f

aith

full

y i

n a

ll a

spec

ts o

f li

fe;

dev

elo

pin

g,

arti

cula

tin

g a

nd

su

pp

ort

ing

thei

r o

wn

bel

iefs

; an

d s

eek

ing

mea

nin

gfu

l d

ialo

gu

e w

ith

th

ose

ho

ldin

g d

iffe

ren

t

con

vic

tio

ns.

•

Des

irin

g t

o c

on

tin

ue

a li

fe o

f le

arn

ing

an

d c

on

tem

pla

tio

n.

Co

nn

ect

kn

ow

led

ge

an

d e

xp

erie

nce

•

Co

mp

leti

ng

aca

dem

ic m

ajo

rs t

hat

en

able

acq

uis

itio

n o

f th

e n

arro

wer

bu

t d

eep

er

kn

ow

led

ge

and

sk

ills

th

at s

erv

e as

th

e b

asis

fo

r m

aste

ry o

f a

par

ticu

lar

dis

cip

lin

e an

d a

s

pre

par

atio

n f

or

mea

nin

gfu

l li

fe a

nd

wo

rk.

•

Ex

hib

itin

g a

bro

ad u

nd

erst

and

ing

of

the

curr

ent

and

his

tori

cal

inte

rpla

y o

f d

iffe

ren

t

real

ms

of

kn

ow

led

ge

and

ex

per

ien

ce.

85

Kl

um

pp

| 5

3

•

See

kin

g o

pp

ort

un

itie

s fo

r g

row

th a

nd

ref

lect

ion

th

at i

nte

gra

te f

aith

, le

arn

ing

an

d l

ivin

g i

n

com

mu

nit

y.

•

See

ing

bea

uty

an

d f

ind

ing

jo

y i

n a

ll p

urs

uit

s.

Res

po

nd

to

Go

d’s

ca

ll

•

Dis

cern

ing

an

d d

evel

op

ing

th

eir

un

iqu

e g

ifts

in

ser

vic

e to

Ch

rist

, th

e ch

urc

h a

nd

th

e

wo

rld

Ch

rist

lo

ves

an

d r

edee

ms.

•

Reg

ard

ing

all

per

son

s as

mad

e in

th

e im

age

of

Go

d a

nd

th

us

des

erv

ing

of

un

der

stan

din

g,

lov

e an

d j

ust

ice.

•

Liv

ing

a b

alan

ced

an

d w

ho

le l

ife

in o

bed

ien

ce t

o G

od

.

86