In Music in Ancient Judaism and Early Christianity, John Arthur Smith presents the first full-length study of music among the ancient Israelites, the ancient Jews and the early Christians in the Mediterranean lands during the period from 1000 BCE to 400 CE. He considers the physical, religious and social setting of the music, and how the music was performed. The extent to which early Christian music may have retained elements of the musical tradition of Judaism is also considered. After reviewing the subject's historical setting, and describing the main sources, the author discusses music at the Jerusalem Temple and in a variety of spheres of Jewish life away from it. His subsequent discussion of early Christian music covers music in private devotion, monasticism, the Eucharist, and gnostic literature. He concludes with an examination of the question of the relationship between Jewish and early Christian music, and a consideration of the musical environments that are likely to have influenced the formation of the earliest Christian chant. The scant remains of notated music from the period are discussed and placed in their respective contexts. The numerous sources that are the foundation of the book are evaluated objectively and critically in the light of modern scholarship. Due attention is given to where their limitations lie, and to what they cannot tell us as well as to what they can. The book serves as a reliable introduction as well as being an invaluable guide through one of the most complex periods of music history.

Music in Religious Cults of the Ancient Near East presents the first extended discussion of the relationship between music and cultic worship in ancient western Asia. The book covers ancient Israel and Judah, the Levant, Anatolia, Mesopotamia, Elam, and ancient Egypt, focusing on the period from approximately 3000 BCE to around 586 BCE. This wide-ranging book brings together insights from ancient archaeological, iconographic, written, and musical sources, as well as from modern scholarship. Through careful analysis, comparison, and evaluation of those sources, the author builds a picture of a world where religious culture was predominant and where music was intrinsic to common cultic activity.

In the nineteenth and first half of the twentieth century, Christian scholars portrayed Judaism as the dark religious backdrop to the liberating events of Jesus' life and the rise of the early church. Since the 1950s, however, a dramatic shift has occurred in the study of Judaism, driven by new manuscript and archaeological discoveries and new methods and tools for analyzing sources. George Nickelsburg here provides a broad and synthesizing picture of the results of the past fifty years of scholarship on early Judaism and Christianity. He organizes his discussion around a number of traditional topics: scripture and tradition, Torah and the righteous life, God's activity on humanity's behalf, agents of God's activity, eschatology, historical circumstances, and social settings. Each of the chapters discusses the findings of contemporary research on early Judaism, and then sketches the implications of this research for a possible reinter-pretation of Christianity. Still, in the author's view, there remains a major Jewish-Christian agenda yet to be developed and implemented.

In the study of Christian liturgical music, the first three centuries of the Christian era are foundational. Seldom, however, does this period receive serious attention from scholars. One of the reasons for this oversight is the fluid auditory environment of this period, and the inadequacy of the Western concept of "music" to describe this environment. Foundations of Christian Music addresses this lacuna by exploring the auditory environment of first-century CE Judaism and emerging Christianity until the time of Constantine (d. 337). Through a consideration of the text, styles, forms, performance, and settings of Jewish and early Christian worship, Foundations offers an unusually rich perspective on the lyrical nature of emerging Christian worship.

Music was integral to the daily life of ancient Israel. It accompanied activities as diverse as manual labor and royal processionals. At key junctures and in core institutions, musical tones were used to deliver messages, convey emotions, strengthen communal bonds and establish human-divine contact. This book explores the intricate and multifaceted nature of biblical music through a detailed look into four major episodes and genres: the Song of the Sea (Exod. 15), King Saul and David's harp (1 Sam. 16), the use of music in prophecy, and the Book of Psalms. This investigation demonstrates how music helped shape and define the self-identity of ancient Israel.

Open Access for this publication was made possible by a generous donation from Segelbergska stiftelsen för liturgivetenskaplig forskning (The Segelbergska Foundation for Research in Liturgical Studies). In a seminal study, Cur cantatur?, Anders Ekenberg examined Carolingian sources for explanations of why the liturgy was sung, rather than spoken. This multidisciplinary volume takes up Ekenberg’s question anew, investigating the interplay of New Testament writings, sacred spaces, biblical interpretation, and reception history of liturgical practices and traditions. Analyses of Greek, Latin, Coptic, Arabic, and Gǝʿǝz sources, as well as of archaeological and epigraphic evidence, illuminate an array of topics, including recent trends in liturgical studies; manuscript variants and liturgical praxis; Ignatius of Antioch’s choral metaphor; baptism in ancient Christian apocrypha; and the significance of late ancient altar veils.