Rev. Zhu, a full-time sacred music pastor in East China, offered some personal suggestions and references on the spiritual nurturing of choir members and the interpretation and expression of sacred music.
Previously, in the article "Interview With Pastor: Looking Forward to Sacred Music Ministry Taking Root in Chinese Churches," Zhu discussed the current situation and development of the sacred music ministry in China with the Gospel Times, an online Chinese Christian newspaper.
Root downward - Sacred music itself can feed the choir
Rev. Zhu has received professional sacred music training both domestically and abroad and has been engaged in sacred music education at seminaries for many years. He has now returned to the frontline, taking on roles of training for church choirs and local sacred music. In the process of leading the choir, Rev. Zhu particularly emphasized the spiritual cultivation of the choir. Drawing from his experience leading and nurturing the choir at his church, he suggested utilizing the rehearsal to nurture choir members’ spirits. In the process of rehearsing, one can find the power of spiritual edification within sacred music.
"Sacred music differs from secular music in its 'sacredness,' which is music imbued with holy inner emotions. The level of accuracy in pitch, technique, rhythm, and harmony cannot determine the sacred nature of sacred music. Ultimately, we must praise God with the soul, treating hymns as words of communication and prayer to God."
Rev. Zhu believes that the crux of all this still lies with the choir leader, who must not only be a technical guide but also 'a little pastor' who can provide spiritual guidance to the choir. The choir leader needs to understand and convey the deeper spiritual messages of comfort, praise, reverence, and alertness behind the hymns, beyond just the professional music theory and techniques.
Bearing fruit upward: — Contextualized creation of sacred music should emphasize the organic integration of traditional culture and theology
In 2017, at the "Sinicization of Hymns" seminar organized by CCC&TSPM, pastors and sacred music workers from across the country highlighted the lack of local hymn creation and theological depth. As one of the attendees that year, Rev. Zhu has his views on the localization and contextualized creation of sacred music in China.
Rev. Zhu stated that from the perspective of contextualization, the sacred music ministry of the Chinese church can start with the music and the textual content. These can be further divided into modes, phrasing, and theological implications. However, he believes that ultimately, the path of contextualized sacred music should explore a return to classic traditional Chinese culture in terms of text and melody while also adhering to orthodox theology.
"Sacred music is holy on one hand and needs to possess depth on the other. Hymns without profound theological and cultural connotations are difficult to become blessings for the times," Rev. Zhu emphasized.
In recent years, many local churches have explored the sinicization of sacred music by attempting to use local folk music or traditional Chinese instruments to present traditional hymns and sacred music. Regarding this, Rev. Zhu believes that since sacred music is church music, it is necessary to align with the church atmosphere and the Christian faith. It is also essential to grasp the principle of moderate application.
Reflecting on the journey of the contextualized creation of Chinese sacred music, Rev. Zhu acknowledged that it relies on a comprehensive and systematic theological education mechanism. This involves integrating sacred music with systematic theology, liturgy, hermeneutics, and Christian history.
- Translated by Abigail Wu
华东某圣乐专职朱牧师对诗班的内在的牧养扎根，和圣乐的外在的诠释表达提供了一些个人性的建议与参考。
之前，福音时报同工就圣乐事工在中国的处境现状及发展路径进行了交流，并整理了《华东圣乐牧者谈：期待圣乐事工真正在教会落地》一文。
向下扎根——圣乐本身也能牧养诗班
朱牧师曾接受过海内外专业圣乐栽培、又在神学院校从事圣乐教育多年，如今已重新回到一线担当教堂诗班以及地方两会圣乐培训。朱牧师在诗班牧养的过程中尤为注重诗班建造与灵命栽培。他结合所在教堂的诗班带领牧养经验表示，诗班的灵性建造不一定非要单独将灵修与排练分开。在排练的过程中，在圣乐作品中找到属灵造就的力量。
“圣乐与世俗音乐最大的区别就在于‘圣’，是附带着神圣内在情感的音乐。音准、技巧、节奏、和弦的水平都无法决定圣乐神圣的本质，其归根结底是要回到用灵魂歌唱的本质。并且将诗歌当作是人与上帝正在交流、正在祈祷的话语。”
朱牧师说，这一切的落脚就还是需要回归到诗班的带领同工身上。对于诗班带领同工而言，其不仅要成为技巧层面的引领者，更要成为能够为诗班提供属灵引领的“小牧者”。他们需要在专业乐理技巧之外，能明白并传达圣诗背后所传递的安慰、颂扬、崇敬、警醒等更深层次的属灵信息。
向上结果——圣乐处境化创作应注意传统与神学的有机融合
2017年，在基督教全国两会组织召开的“圣诗中国化”座谈会上，来自全国各地的教牧同工以及圣乐工作者重点提到了本土化圣诗在创作编排以及神学底蕴方面的缺乏不足。作为当年与会同工之一，朱牧师对于我国圣乐本土化及处境化创作的发展有自己的见解。
牧师表示，从处境化的道路而言，中国教会的圣乐事工可以从音乐本身以及文字内容两个大方面来着手。而其中又可以细分为调式调性、遣词造句、神学意涵等诸多方面。但他认为，归根结底，处境化圣乐需要探索的道路应该是一条在文本曲调上回归中华传统文化经典，同时又符合神学正统。
“圣乐一方面是圣洁的，同时他又是需要拥有深度的。没有深刻神学与文化意涵的圣诗是难以成为时代的祝福。”朱牧师对笔者强调。
近年来，很多地方教会都在圣乐中国化的探索中尝试将地方民乐或中国传统器乐与传统的圣诗圣乐进行结合。而对于此，朱牧师认为，圣乐既然作为教堂内的音乐，就有必要与教堂本身风格以及基督信仰的整体风格相吻合，但同时还是需要把握适度应用原则。
回顾展望起中国圣乐处境化创作的历程，朱牧师坦言需要依托的是一套完善且体系的神学教育机制。即让圣乐与系统神学、崇拜学、释经学、基督教历史等诸多领域融会贯通。
华东圣乐牧者谈：圣乐应当如何扎根结果？
Rev. Zhu, a full-time sacred music pastor in East China, offered some personal suggestions and references on the spiritual nurturing of choir members and the interpretation and expression of sacred music.
Previously, in the article "Interview With Pastor: Looking Forward to Sacred Music Ministry Taking Root in Chinese Churches," Zhu discussed the current situation and development of the sacred music ministry in China with the Gospel Times, an online Chinese Christian newspaper.
Root downward - Sacred music itself can feed the choir
Rev. Zhu has received professional sacred music training both domestically and abroad and has been engaged in sacred music education at seminaries for many years. He has now returned to the frontline, taking on roles of training for church choirs and local sacred music. In the process of leading the choir, Rev. Zhu particularly emphasized the spiritual cultivation of the choir. Drawing from his experience leading and nurturing the choir at his church, he suggested utilizing the rehearsal to nurture choir members’ spirits. In the process of rehearsing, one can find the power of spiritual edification within sacred music.
"Sacred music differs from secular music in its 'sacredness,' which is music imbued with holy inner emotions. The level of accuracy in pitch, technique, rhythm, and harmony cannot determine the sacred nature of sacred music. Ultimately, we must praise God with the soul, treating hymns as words of communication and prayer to God."
Rev. Zhu believes that the crux of all this still lies with the choir leader, who must not only be a technical guide but also 'a little pastor' who can provide spiritual guidance to the choir. The choir leader needs to understand and convey the deeper spiritual messages of comfort, praise, reverence, and alertness behind the hymns, beyond just the professional music theory and techniques.
Bearing fruit upward: — Contextualized creation of sacred music should emphasize the organic integration of traditional culture and theology
In 2017, at the "Sinicization of Hymns" seminar organized by CCC&TSPM, pastors and sacred music workers from across the country highlighted the lack of local hymn creation and theological depth. As one of the attendees that year, Rev. Zhu has his views on the localization and contextualized creation of sacred music in China.
Rev. Zhu stated that from the perspective of contextualization, the sacred music ministry of the Chinese church can start with the music and the textual content. These can be further divided into modes, phrasing, and theological implications. However, he believes that ultimately, the path of contextualized sacred music should explore a return to classic traditional Chinese culture in terms of text and melody while also adhering to orthodox theology.
"Sacred music is holy on one hand and needs to possess depth on the other. Hymns without profound theological and cultural connotations are difficult to become blessings for the times," Rev. Zhu emphasized.
In recent years, many local churches have explored the sinicization of sacred music by attempting to use local folk music or traditional Chinese instruments to present traditional hymns and sacred music. Regarding this, Rev. Zhu believes that since sacred music is church music, it is necessary to align with the church atmosphere and the Christian faith. It is also essential to grasp the principle of moderate application.
Reflecting on the journey of the contextualized creation of Chinese sacred music, Rev. Zhu acknowledged that it relies on a comprehensive and systematic theological education mechanism. This involves integrating sacred music with systematic theology, liturgy, hermeneutics, and Christian history.
- Translated by Abigail Wu
East China Pastor: How Should Sacred Music Ministry Take Root and Bear Fruit?
