This unique volume brings together wide-ranging research that could only be written by someone singularly expert in the full range of Christian worship and music from ancient to modern. These essays by Wendy Porter span eras and areas of study from the New Testament to the present and encompass an expansive view of worship, music, and liturgy. Some focus on what is known (or not) about early Christian worship, including the early creeds and hymns in the New Testament and whether music originated in Jewish or Greco-Roman contexts. Some introduce firsthand work on ancient liturgical manuscripts, such as a sixth-century manuscript by hymnwriter and preacher Romanos Melodus or a tenth-century ekphonetic liturgical manuscript. Extending her research on sixteenth-century English composers as musical interpreters, Porter includes several papers on how musicians have functioned as theological interpreters in worship and music. One chapter engages theological comparisons between well-known compositions by Bach, Beethoven, and Stravinsky, another creatively explores what contemporary worship leaders can learn from sixteenth-century songwriter and worship leader William Byrd, while others invite thoughtful reflection on what we can all learn if we stop to consider how Christians have functioned and fared in their worship through the centuries.
Wendy J. Porter is professor of music and worship at McMaster Divinity College, Hamilton, Ontario, Canada, where she teaches on worship, phenomenology, liturgy, and the life of the ministering person and leads MDC chapels. Porter has written numerous worship songs and recorded three highly acclaimed albums. She has authored New Testament Greek Papyri and Parchments (with Stanley E. Porter, 2008) and Early English Composers and the Credo (2022) and co-edited The Arts and the Bible (Pickwick 2024) and Secularism and the Pursuit of Transcendence (Pickwick forthcoming).
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This unique volume brings together wide-ranging research that could only be written by someone singularly expert in the full range of Christian worship and music from ancient to modern. These essays by Wendy Porter span eras and areas of study from the New Testament to the present and encompass an expansive view of worship, music, and liturgy. Some focus on what is known (or not) about early Christian worship, including the early creeds and hymns in the New Testament and whether music originated in Jewish or Greco-Roman contexts. Some introduce firsthand work on ancient liturgical manuscripts, such as a sixth-century manuscript by hymnwriter and preacher Romanos Melodus or a tenth-century ekphonetic liturgical manuscript. Extending her research on sixteenth-century English composers as musical interpreters, Porter includes several papers on how musicians have functioned as theological interpreters in worship and music. One chapter engages theological comparisons between well-known compositions by Bach, Beethoven, and Stravinsky, another creatively explores what contemporary worship leaders can learn from sixteenth-century songwriter and worship leader William Byrd, while others invite thoughtful reflection on what we can all learn if we stop to consider how Christians have functioned and fared in their worship through the centuries.
Wendy J. Porter is professor of music and worship at McMaster Divinity College, Hamilton, Ontario, Canada, where she teaches on worship, phenomenology, liturgy, and the life of the ministering person and leads MDC chapels. Porter has written numerous worship songs and recorded three highly acclaimed albums. She has authored New Testament Greek Papyri and Parchments (with Stanley E. Porter, 2008) and Early English Composers and the Credo (2022) and co-edited The Arts and the Bible (Pickwick 2024) and Secularism and the Pursuit of Transcendence (Pickwick forthcoming).
