Excerpt from Instrumental Music in the Public Worship of the Church It will, no doubt, be said that the attempt to prove the unjustifiable employment of instrumental music in the public worship of the Church is schismatical, since the practice is now well-nigh universal; that it is trivial, inasmuch as it concerns a mere circumstantial in the services of religion; and that it is useless, as the ten deney which is resisted is 1nv1nclble, and is destined to triumph throughout Protestant Christendom. To all this one answer alone is offered, and it is sufficient, namely: that the attempt is grounded in truth. It in volves a contest for a mighty and all-comprehending principle, by opposmg one of the special forms in which it is now commonly transcended and violated. It is that principle, emphasized in the following re marks as scriptural and regulative, that lends impor tance to the discussion, and redeems it from the re proach of being narrow and trifling. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This book employs a methodology that I have found helpful in dealing with other topics. This procedure is to assemble the New Testament texts on the topic and interpret them, then check this interpretation against usage in early Christian literature outside the New Testament, and finally to examine the doctrinal considerations to determine if the interpretation rests on solid biblical theology. Rather than gathering quotations from secondary literature, my approach is to read the source documents in the original and present the texts in their context. At the time of first edition of the book, mine was the fullest collection of historical statements on early church music readily available. Other studies since that time are largely supportive of the historical facts presented in my work, even if the authors do not consider the evidence normative for today. My conclusion is that the practice of unaccompanied congregational singing rests on good biblical, historical and doctrinal grounds.

Does the Bible justify instrumental music for Christian worship?In 2006, advocates for the use of instrumental music in worship presented a three-part series titled "The Both/And Church," suggesting that people should read old texts in fresh, new ways. These advocates proposed that their understanding of biblical texts justifies instruments in church worship. Since that time, some churches have followed their lead.Ironically, this misreading of the relevant biblical texts is not new. The arguments made by these proponents are the arguments that have been made since the late 1800s among advocates of instrumental music in worship.Thomas Alexander answers these "new" arguments in a caring, biblical way in Music in Worship. He carefully evaluates each of the reasons given by "both/and church" proponents and shows that the facts about what God wants in worship have not changed - human attitudes have.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

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The purpose and scope of this bibliography is to survey the literature concerning church music, primarily in publications from 1980 to the present, while including materials that have been published and serve as primary resources earlier than that. The emphasis is on Protestant church music, largely those published in the English language. The selected lists include over 700 titles, and contain citations with annotations of reference works and bibliographies. The annotations offer an indication of the scope, content, and special features of each work. This study will fill the research and reference needs of music students, scholars, and church musicians, as well as providing research and college libraries with a reference for building their church music collections.

An exploration of the ways a particular religious tradition and a distinct social context have interacted over a 300-year period, including the unique story of the oldest and largest African American Calvinist community in America The South Carolina low country has long been regarded—not only in popular imagination and paperback novels but also by respected scholars—as a region dominated by what earlier historians called “a cavalier spirit” and by what later historians have simply described as “a wholehearted devotion to amusement and the neglect of religion and intellectual pursuits.” Such images of the low country have been powerful interpreters of the region because they have had some foundation in social and cultural realities. It is a thesis of this study, however, that there has been a strong Calvinist community in the Carolina low country since its establishment as a British colony and that this community (including in its membership both whites and after the 1740s significant numbers of African Americans) contradicts many of the images of the "received version" of the region. Rather than a devotion to amusement and a neglect of religion and intellectual interests, this community has been marked throughout most of its history by its disciplined religious life, its intellectual pursuits, and its work ethic.