This is an interesting book. It traces the early Christian attitudes toward music in response to the modern dispute on the role of music in worship. The main premise of the book is that “music was not something that early Christians thought about in isolation” (3). Instead, music reflects their entire ideological horizon, from their cosmological views to their perceptions of everyday life. This comprehensive reflection makes music concomitant to the origin and the history of early Christianity. Consequently, this immediate connection between music and history necessitates the book's two-fold approach: the historical approach, depicting the major political and cultural trends from the second to the fifth centuries c.e., and the critical approach, uncovering the musical evidence of this period.

Stapert chooses this two-fold approach because it allows him to demonstrate that the roots of liturgical music grow in the ground of society and should not be treated in the isolation with which modern generations promote their new understanding of the role of music in worship and digress from the fundamental principles established in the making of Christianity. The book contains 12 chapters. After a chapter on the references to music in the New Testament and an overview chapter of the fate of the church in the pagan milieu of the Late Roman Empire, chapters 4–8 open with an exposition of the sociopolitical and religious climate of the times of Clement of Alexandria, Tertullian, St. Ambrose, and St. John Chrysostom and end with a discussion of their attitude toward music, discovered most of the time only in their literary writings, with the exception of the Ambrosian Chants. Chapters 9 and 10 crystallize the findings of the previous historico-biographical sketches. Chapter 11 uses a more focused approach, as it examines in depth St. Augustine's thought on music without the historical excursion of the central chapters. The final chapter urges the contemporary church to hearken to its past and understand that its musical repertoire is, to quote St. Augustine, “a new song” for “an old world.”

Stapert professes that he has written the book “as an attempt to help the church to get in touch with early Christian thought about music” (4). The above goal suggests that the author has written the book with devotional and not academic audiences in mind. And in this light, the book fulfills its purpose. Upon finishing it, the reader is captivated by Stapert's erudition and the spiritual enthusiasm with which he has made a very complicated subject accessible to “a wide audience” (xiii). And here comes a problem with the book—the author confesses that he has not mastered the subject and is “very much an amateur in the field of early Christian studies” (10). He has ventured to write about it, however, because no one who is better qualified seems to be coming out with a book on this subject. In C. S. Lewis's steps, Stapert admits that he writes this book “as one amateur to another” who simply compares notes and “does not presume to instruct” (10). This is correct—the book reads as one's research notes on the subject, without definitive answers. If the book is written for “a wide audience,” I am not sure that an audience which is not well versed in the subject would not be overwhelmed by the wealth of information, which is necessarily rather cursory at times. For example, the author introduces the times of Augustus as “a remarkably peaceful period” (29), which is not exactly true for the first years of his reign. The discussion of the relationship between early Christianity and ancient philosophy is also too general. The author mentions in passing the names of Pythagoras, Plato, the Stoics, and Plotinus without bringing up the most convincing evidence of the important role that music played in ancient cosmological views, about the metaphysical dance of soul around the ultimate Good and the One in Neoplatonism or the Neopythagoreans' painstaking effort to explain the universe in numerical and rhythmical proportions. In the same light, Plato's famous metaphor, in the Phaedrus, of the soul as a charioteer striving to control the good and the bad horse of our desires is left unnamed (88). Perhaps omissions like these are inevitable in a work with such a broad scope, and a more selective evaluation of the historical and cultural background would have made the connections between the historical and musical sections of the chapters more confluent.

The most remarkable feature of the book is the fluidity with which the author mixes and matches an immense number of primary and secondary sources. The book serves as an excellent repository of information about the history of early Christianity and liturgical music.