“Sing Unto the Lord a New Song”

Musical Innovation at the Boundaries of Schism

Datos Bibliográficos

ID20249771
AutoresEfrat Urbach (0000-0002-7313-2720, Bar-Ilan University, autor de correspondencia)
Año2025
Volumen17
Número1
Páginas29
Fecha de publicación2025-12-26
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaReligions (JOURNAL)
Identificadores de la revistaISSN: 2077-1444 • E-ISSN: 2077-1444
EditorialMDPI AG (PUBLISHER • IT)
DOI10.3390/rel17010029
OpenAlexW7117476994
IdiomaEN
Referencias citadas18

This study examines the theological and liturgical significance of the biblical injunction to “sing a new song,” tracing its deployment across eras of Christian history as both a symbol of renewal and a tool of doctrinal contestation. Focusing on key moments of schism—the early Church’s response to Gnostic and Arian hymnody and Ambrose’s adoption of Eastern antiphonal singing, the article explores how musical form, meter, and performance practice became markers of orthodoxy and heresy long before Reformation-era musical reforms. Drawing on patristic commentary, heresiographical sources, and hymnological analysis, the study highlights how the popular style in various guises was alternately condemned and reclaimed. This suggests that Christian music has consistently evolved through interaction with popular and heterodox forms and that the “new song” in its exegetical form has functioned as a recurring strategy of theological self-definition. Ultimately, the paper argues that disputes over musical style mirror broader tensions between innovation and authority and that the history of hymnody offers a unique lens into the formation of Christian identity

Heresy · Musical · Orthodoxy · Schism · History of Emotions Research · Musicology and Musical Analysis · Reformation and Early Modern Christianity