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Te Deum: The Church and Music, by Paul Westermeyer Ph.D.
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A concise introductory text, Te Deum provides a basic framework for understanding within history the development of the vast treasury of psalms, hymns, canticles, spiritual songs, and other sacred music within the Christian tradition. This is the first text which addresses the nature of church music from both a historical and theological context.
- Sales Rank: #243871 in Books
- Published on: 1998-06-03
- Original language: English
- Number of items: 1
- Dimensions: 9.34" h x 1.33" w x 6.24" l, 1.83 pounds
- Binding: Hardcover
- 412 pages
About the Author
Westermeyer is professor of church music at Luther Seminary, St. Paul, Minnesota, where he teaches, directs the music, and administers a master of sacred music degree program with St. Olaf College.
Most helpful customer reviews
32 of 34 people found the following review helpful.
An Excellent Resource...
By Paul Heier, Missionary, Pastor, & Author
Paul Westermeyer's Te Deum: The Church and Music demonstrates the utter importance of music throughout the church's turbulent history. He details the music of the Old Testament, New Testament, the church fathers, reformation, and briefly describes the modern period. Westermeyer masterfully interweaves his philosophy of music with a moving commentary and the pertinent details of history. He explains the worship of the Old Testament choosing to highlight the use of the Psalms in worship. He moves to the New Testament age and the early church and helps the reader to understand the important role that music played in the church.
Westermeyer's commentary on the medieval times was helpful. He adequately illustrates the progress of music in that age and helps the student to realize that the music (style, rythm, notes) were completely different. He explains the different views of using instruments, non-instrumental vocals, and silence. His balanced approach to history makes one really ponder the circumstances that the different ministers in different ages had to deal with.
Dr. Westermeyer cover the Reformation period and gives information on some of the Reformers and their particular views. His section on Luther was fascinating, thought-provoking, and well-written. He ties in the theology, philosophy, and the musical abilities of each Reformer. His work on the modern age was rather brief and incomplete; however, he does give information on the early hymn writers and the development of different kinds of hymns and other church music.
Dr. Paul Westermeyer is more than qualified to write such a book. His work is excellent. He is an able historian, theologian, and philosopher--not to mention his abilities as a musician. His stated purpose in writing the book was to present a workable text for students and laymen alike. His careful historical treatment with just the right mix of commentary makes for excellent reading. I was amazed to realize my own lack of knowledge about church music. He really drove home the point of understanding your philosophy of worship. He backs up all of his statements with evidence and provides ample footnotes for further research. His treatment of the differing views was also quite fair.
I felt as though he may have gotten a little too technical at times. He feared "oversimplifying" some of his explanations from time to time, but I rarely found this to be the case! His explanation of Luther's views (and those of the major Reformers) was exceedingly helpful. He managed to successfully navigate the troubled water of church history with ease. His comments about modern music were quite incomplete. I would really enjoy reading his opinion about different modern day streams of thought with regard to worship. His emphasis on Lutheranism was interesting, but when it comes to the modern age he should have dedicated more time to discussing mainline evangelical musicians and their philosophies of worship.
Paul Heier, author of Leading Out of Love
15 of 15 people found the following review helpful.
Taking the legacy and the future of Sacred Music seriously
By Br. Blane Frederik van Pletzen-Rands, n/BSG
At the heart of Paul Westermeyer's Te Deum: The Church and Music is his central conviction that music is revelatory and that music in worship constitutes an interpersonal encounter between God and the community that has gathered to worship him. But, as Westermeyer argues in his postscript, ". . . everything has not been sweetness and light." In this quest to encounter the divine through the liturgical use of music, and as suggested by the subtitle title of his book, The Church and Music (not The Church and Her Music), the institutional church and composers, musicians, choirs and congregants have coexisted in uneasy tension over the centuries. This tension persists, Westermeyer contends, because of ethical and hermeneutical questions such as ". . . the role of the Church in social justice versus personal morality or differences about racism, abortion, homosexuality, the role of women, and biblical interpretation."
While probing into the social and religious history of the church, and exploring the interdependence of theology, music, liturgy and spirituality, Westermeyer exposes the church's continued difficulty in defining the role of the church musician and the place of music in ministry. Is their role, Westermeyer asks, to simply provide a level of entertainment to keep the congregation suitably impressed to continue coming back and financing the church's overhead expenses? Or are church musicians, he asks, servants of elite interests - a financially powerful core of patrons who see their role as enculturating a congregation with the beauty and grace of a particular corpus of music. And what, Westermeyer asks, is the functional role of the church musician? Is she or he a worship leader, a musical custodian, a director of hymnody, a minister of the sung word, a servant to the liturgy, or an "organist"? These are the central questions that make Westermeyer's book such a useful resource. Westermeyer's conviction that congregational singing, as worship, should form the very basis for worship and interaction with God stands as a governing thesis for his broad survey of the history of music in the development of the church from its ancient origins. Westermeyer suggests such early singing would have been found in Eucharistic celebration in homes, at the sharing of the Word and at baptism, to contemporary times.
Westermeyer traces the devaluation of congregational singing to the complexities and foreignness of the language of the Roman liturgy at the time of Charlemagne in the ninth century. Westermeyer observes the disenfranchisement of congregational singers as the role of singing moved from congregational participation in the pews to trained choirs and professional musicians in the choir. The congregation, he argues, ". . . lost it's musical office in worship [and] . . . high art prevail[ed] at the expense of folk art, and turn[ed] beauty into idolatry." Such congregations, Westermeyer observes, were reduced to passive spectators, deprived of their liturgical voices; by the sixteenth century church music had become the purview of choirs: congregations listened and watched as choirs sang for them. It would not be until the Reformation that congregants would slowly begin to reclaim their vocal place in the liturgy as religious leaders like Luther recovered congregational singing as "God's creation" in the liturgy.
It is this "primacy of identity", Westermeyer argues, that continues to be found in the ongoing tensions in modern congregations. This, Westermeyer offers, is why:
. . . some pastors virtually demand certain types of music, and why musicians are so adamant about the music they chose, and why the people want certain hymns. The stakes are high precisely because the musical doing of a people is so potent and so expressive of its being.
The church, Westermeyer contends, has struggled with theological and musical presuppositions that have often lead to opposing conclusions and divisive practices. Backing off from a "dispassionate view", Westermeyer offers, is an important skill for anyone seeking to understand the arousal of emotion associated with musical decisions in any worship community.
Nearly every worshipping tradition argues for music in corporate worship that expresses congregational prayer and enacts the proclamation of the gospel. Our own tradition writes of music as a God-given gift which has the ". . . power to speak to the worshiper at a deep level" Pablo Sosa, an Argentine church musician and Methodist minister, sees music as facilitating the drama of liturgy and bringing the sacred story to life. John Bell, a Scottish Presbyterian in the Iona Community, maintains that "something extremely rare happens whenever a congregation sings to its Maker. . . . If we can but sense it, every time a congregation sings, it is offering an absolutely one-time-only gift to its Maker. It is important that every song sung is offered to God with that sense of uniqueness."
Marlene Kropf and Kenneth Nafziger, Mennonites, suggest that "Beyond creating understanding and belief, singing is a gateway to prayer for Mennonites . . . . For Mennonites the prompt for prayer is singing, and [they] pray best when [they] sing" Dean Thompson, from the Reformed Presbyterian tradition in the USA, suggests that musical " . . . art in the liturgical context is not an end in itself. It is instead a servant of our chief end, which is the praise and glory of God. . . . Art in the service of liturgy is a winsome vessel for our celebration and understanding of God's self-disclosure as the One who comes to us in Jesus Christ."
Despite this apparent agreement within and between religious institutions regarding the place of music in worship, Westermeyer laments the trend in our time to define church music much like the market-driven world around it: "In place of the Te Deum and the long strand of the church's song which it represents, the temptation has been to substitute superficial praise choruses or poorly crafted attempts to tell God how we feel." It is to our biblical roots, Westermeyer argues, together with our common bond to the musical traditions and conventions of the early church through the Middle Ages, the Reformation and what followed right up to the present that should continue to inform the musical choices we make today. Sensitivity to our musical heritage, Westermeyer offers, not slavish loyalty to contemporary sectarian self-interest or the "counterfeit song of our novelty," may prepare a new generation of church musicians to regain the nerve, as Westermeyer puts it, to take both the legacy and the future of its music seriously.
Br. Blane Frederik van Pletzen-Rands, n/BSG
The General Theological Seminary of the Episcopal Church
3 of 3 people found the following review helpful.
The primary source for church music
By Priscilla Stilwell
The one area where Westermeyer potentially falls short is in his review of contemporary worship styles. He touches on the subject in the last couple chapters, but his perspective seems less objective than the rest of this fantastic book.
Throughout Te Deum, Westermeyer skillfully weaves numerous sources together in order to give a clear and almost chronological review of church music from the earliest examples (including influences from outside the Christian realm) until the 20th century. His understanding of and passion for the subject matter is clear in his writing, and reading this book cover-to-cover provides an overview of Christian music history unlike anything I've found prior. It is impressive that a man who's passion is for creating and researching music in the Church, is able to set his own opinions and ideas aside in order to give an extremely well-balanced look at the subject matter. Only on a couple of occasions did I feel that Westermeyer was putting his own convictions into the mix, and that was very brief and in taste. It would be disappointing to imagine that someone could write a book like this without any bit of emotional attachments one way or another.
Some might find this reading a bit dry, because there's a lot of information here. But I'm impressed with Westermeyer's ability to make it a bit more interesting. He is able to take a lot of information and present it in a scholarly manner that is at the same time, readable. Admittedly, I really like this kind of subject matter, so the "typical" worship leader might find this to be a bit tedious, but it certainly deserves a place on your shelf. As a reference, the book is a great tool, and the index is quite extensive.
On a final note, I think that Westermeyer is a great guy. I've met with him on a couple of occasions at Luther Seminary in St. Paul MN where he directs the Master of Sacred Music program. He is passionate and knowledgeable about his area, but quick to seek new opinions and knowledge.
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