1I. INTRODUCTIONThe question of music is foundational to the perception of right worship. This inquiry isespecially urgent because of the circumstances and technological advancements of the modernage. The accessibility and seemingly inexhaustible demand for recorded music
in today‘s society
has undeniably proven its importance to humanity and its great usefulness in communicating
life‘s most inexpressible mysteries
. It comes as no surprise in a culture with such pervasivemusical influence, that music is greatly diversified amongst Christian denominations; and notonly diversified, but in many cases, characteristic of their most fundamental religious practice.This is strikingly illustrated by some denominations who have entirely replaced those last relicsof the sanctuary, the altar and the cross, with a
Hence, the following questions naturally arise: what is the relationship between musicand worship? What are the principles which guide a proper use of music in the act of worship?Indeed, how essential
the involvement of music in worship? These are difficult questions forany Christian to answer without personal bias, and they require significant reflection, far beyondthe scope of this current work.Instead, this paper seeks to provide a hermeneutical key to these questions by examiningthe musical dimension of the Jerusalem Temple as outlined in the Old Testament, in rabbinicsources, and contemporary scholarship. By examining the historical practice of music in theTemple liturgy, its association with the Davidic Covenant, its relationship with the surroundingcultures, and finally its involvement in the Synagogue, the reader may be surprised to discoveran historical and theological precedent for the emergence of Gregorian chant as the suprememodel of religious music, embodying the fulfillment of musical development throughout thewhole of Scripture.