Music of the Pentecostal and charismatic church from the 20th century has been heartfelt, sincere and enthusiastic.1In this period, the singing was mainly a capella or accompanied by guitar or pump organ. This church movement often included singing in tongues in their worship. They depended upon the leading of the Holy Spirit to guide and influence their worship. âFollowing what they believed to be the NT model, early Pentecostal believers placed little emphasis on ritual and ceremony in worship.â2 The music of the service was less liturgical and formal. The churches in this movement âbelieve worship to be primarily a matter of the heart and personally oriented.â3 Church music of the Pentecostal and Charismatic movements had emphasis on congregational participation through singing and performing a variety of types and styles of music.
The Pentecostal and Charismatic movement had many influences. Firstly, and most importantly, the bible influenced how they used music in worship. God established music as part of the life of the people, provided it for worship and training programs of the temple and established it as a specialized ministry within the church.4 The most important Old Testament influence is the importance placed on singing Psalms and other scriptures. The gospel hymn, traditional hymn, chorus, gospel song, and Scripture song are all influenced by New Testament practices. This comes from Paulâs writings to the Colossians and Ephesians, in which he suggests at least three songs types or texts, psalms, hymns, and spiritual songs. This appreciation of different styles applied to performance like using guitars, rhythm instruments, and keyboards together along with other orchestral instruments; the movement is very inclusive in its styles of music. The three musical styles can be defined as the following: âThe psalm represents inspired text given by God to humanity to express various themes and emotions. The hymn embodies the believersâ expression of praise, thanksgiving, and prayer to God. The gospel song offers to the believer and nonbeliever alike a vehicle for testimony and prophecy.â5 All these styles were important and relevant to the church because, âmusic and singing that call for the performerâs involvement emotionally and physically, while making provision for the prompting, directing, and moving of the Holy Spirit, are thought to be both necessary and good.â6
Another major influence on music in the Pentecostal and Charismatic church was music history. The importance of the effective use of hymns for worship came out of the Reformation, especially because of Martin Luther. In the early 1900s, hymns such as âAmazing Graceâ, âBlessed Assuranceâ, âAt the Crossâ, and âWhat a Friend We Have in Jesusâ were sung. During this time, what we call âgospel singingâ was unknown. Luther also influenced the importance of musical training. This was made evident through weeklong singing schools to develop musical reading skills and to teach new songs. Isaac Watt hymns also influenced the evangelical movement. Some of his songs include: âWhen I Survey the Wondrous Crossâ, âAt the Crossâ, âO God Our Help in Ages Pastâ and âJoy to the Worldâ. These hymns continue to be used in the Pentecostal and Charismatic church today. Wesleyan hymns are also still sung today. Some examples include: Hark the Herald Angels Sing, Love Divine All Loves Excelling, O For a Thousand Tongues to Sing. Wesley hymns are more personal and intimate than Watts hymns.
The psalms and hymns brought to America by the colonists had direct influence of the Pentecostal and Charismatic movement. Some other influences include: singing schools, revival movements, camp meetings, black music and negro spirituals, Sunday school songs, and the shape-note system of musical notation. The shape-note system helped to develop the gospel or âconvention song.â7
The gospel hymn is defined as âa sacred folk song, free in form, emotional in character, devout in attitude, evangelistic in purpose and spirit.â8 These songs gained popularity and many publishers then started to publish these songs in collections, for example, Tennessee Music and
Printing; Pathway Press. Popular gospel hymns of the first four decades of the 20th century include, âIâm on the Battlefieldâ by Otis L. McCoy, âHave Faith in Godâ by Vep Ellis, âWhen God Dips His Love in My Heartâ by Cleavant Derricks, âLift Me up above the Shadows and âHe Abidesâ by Herbert Buffum. These songs were preceded by songs of the late 19th century: âI Am Praying for Youâ by Ira D Sankey, âBlessed Assurance and Near the Crossâ by Fanny Crosby, âHe Leadeth meâ by Williams Bradbury, âLove Lifted Meâ by James Rowe, âThe Comforter Has Comeâ by WJ Kirkpatrick, and âSend the Lightâ by Charles Gabriel.9
A new style developed in the 1930s call the gospel song. Some of these songs include: âOh Happy Dayâ, âA New Name Written Down in Gloryâ, âWhen I take my vacation in heavenâ, âWhen I make my last moveâ, âIâll fly awayâ, âWeâll soon be done with troubles and trialsâ, âIâve got that old time religion in my heartâ, âVictory in Jesusâ. These songs dealt with redemption, the second coming of Christ, the joys of an eternity spent in heaven, and the joys and hardships of the Christian life. âTexts were often more experientially oriented than praise and worship oriented.â10 For a while, gospel music became the main form done in Pentecostal and Charismatic churches, almost forgetting all other forms and styles. This lasted until the 1950s when a more middle of the road approach became the trend. From this, came the Church Hymnal published in 1951.
Choral music and chorus singing also had a large influence on the church.11 Music education also became more prominent. Another impact on the music of the church was church growth. In each decade of the 20th century, the music reflected the contemporary style such as jazz. This contemporary style developed because the youth started feeling like the church was not providing music suitable for them so Ralph Carmichael decided to bridge the gap by introducing drum sets, electric guitars, electric keyboards and sophisticated electronic sound systems. This led to the birth of Contemporary Christian Music. The charismatic renewal of the 20th century brought a heavy emphasis on praise and worship in the American religious life. Contributions of this charismatic renewal included: the importance of singing psalms and Scripture songs; heavy use of music for praise and worship; use of musical instruments; return to emphasis on spirited congregational singing, featuring praise leaders rather than choirs; use of dance; use of drama, mime and hand-signing; emphasis on the prophetic role of the musician.12
Analyses of Songs
1. Amazing Grace
Amazing Grace was written by John Newton, in the 18th century. The message of this strophic hymn is about the redeeming grace of the Lord. The arrangement starts monophonic, then a choir enters providing choral supports with âoohâs. The mood created here is majestic. It creates a sense of awe and wonder. At the third stanza, the choir begins singing the text in unison then moves into four-part harmonies. Typical major and minor chords are sung. This arrangement has no accompaniment. The singers utilize vibrato in their voices. Amazing Grace can be sung as an altar call song, or as an opening hymn of adoration to God.
2. Blessed Assurance
This gospel hymn was written by Fanny Crosby. The message of the hymn is one of personal testimony. This is evident with the phrase, âthis is my story, this is my song.â The singers in this arrangement have a nasal tone. The style of singing sounds Country and Western. A small ensemble is performing this arrangement, using harmonies in 3rds. An organ and piano are accompanying the singers. The form of this gospel hymn is verse and refrain. The melody has a lot of skips and leaps; however, its repetitiveness makes it easy and suitable for congregational singing. This song can be used as a praise song, it can also be sung in a time of reflection.
3. At the Cross
At the Cross, also known as, âAlas and Did my Savior Bleedâ, was written by Isaac Watts. In some hymnals, this hymn is presented in a strophic form, while other hymnals have stanzas and a refrain. A gospel hymn is a suitable classification of this song because of its testimony like lyrics. In this version, the choir and congregation can be heard singing, as they are led by a worship leader. The worship leader is leading the congregation by adlibbing. The choir is singing in unison. This hymn is suitable for a communion service. This hymn is suitable for a Pentecostal or Charismatic church that emphasizes the influence of the Holy Spirit. The song gives room for repetition and flexibility which can be heard in this arrangement.
4. What a Friend We Have in Jesus
This hymn was written by Alan Jackson. The singers are accompanied by electric strings and the keyboard. The range between the 4-part harmonies is wide. The simple harmonies are comprised of standard major and minor chords. The form of this hymn is binary. This song has a horizontal direction as it encourages believers to take their issues to the Lord in prayer.
5. When I Survey the Wondrous Cross
This arrangement starts with a solo voice, and no accompaniment. The form is strophic. This hymn is performed being accompanied by organs, strings and a piano using block chords. On the second stanza the choir enters with octave singing. Only male voices are heard throughout this arrangement. There is an instrumental interlude joined with âoosâ and âaahsâ by the choir. On the final stanza, the key modulates. This hymn is suitable for the easter season and communion services.
6. O, God Our Help in Ages Past
An organ gives a lengthy introduction before the congregation begins to sing. This arrangement has no leader, but the congregation is heard. The melody of the hymn is simple and repetitive. The melodic range is not very wide. This hymn fits the description of a hymn defined in the article. The song is directed to God.
7. Joy to the World
Joy to the World is a hymn often sung during the Christmas season. The message of the hymn is to celebrate the birth of Jesus Christ. This arrangement uses brass instruments and an organ. The introduction only has these instruments which are played in a polyphonic texture. The voices enter in unison, while the organ accompanies them. The tune features a few melismas, for example, the words âeveryâ and âheartâ. The tune has a wide melodic range with many interval leaps, especially on emphasis words, for example, the word âwondersâ. The horns in the arrangement are mainly used for embellishments. This arrangement is performed at a fast tempo. The third stanza is performed in four-part harmonies without any accompaniment. The final stanza, ends in a grand way. The tempo is slower, and the instruments re-enter with the choir. This is a typical congregational song during the Christmas season. This arrangement can be performed at a Christmas concert by a skilled choir.
8. Oh Happy Day
Oh Happy Day is a gospel song written in the 20th century. It classifies as a gospel song because the message of the song is giving a testimony. This arrangement has a soloist and a choir. The verse of the song takes a call and response format. The singers are accompanied by a drum set, bass guitar, and piano. This gospel song would fall under the category of black gospel. Without seeing the singers, this is evident based on the style of singing. The soloist uses vibrato in her voice. The soloist also adlibs and improvises above the choir. The choir has an open mouth tone that is quite free in its delivery. The choir is singing in 3-part harmonies, very typical in the black church, as opposed to four part harmonies. As the song gets to a climax, the harmonies are inverted and the line âOh Happy Dayâ is repeated as a vamp. This song is suitable for choir items, especially beginner level choirs. It can also be sung with a worship leader and congregation for times of celebration, or baptism.
9. Iâll Fly Away
This arrangement of Iâll Fly Away is performed by a trio. It is done in a Country and Western style. The singers are accompanied by a guitar, banjo and piano. The singers alternate between solo sections, duets and the full trio. The singers use a nasal tone in their singing. The second verse is done by the piano giving a solo. The form of this song is binary â verse and chorus. This song has a horizontal direction as the believers encourage each other of their anticipation of going to heaven.
References
1 Page 912
2Ibid.
3Ibid.
4 Page 913
5 Pages 913-914
6 Page 914
7 Page 915
8Ibid.
9 Page 916
10 Page 916
11 Page 917
12 Ibid.
Source: Dictionary of the Pentecostal and Charismatic Movements, Zondervan, 2002.Â