Although the New Testament says little about music making, it is clear that the worship life of the early church was characterized by the use of psalms and other forms of song.
Superficially the New Testament appears almost to disregard music. Outside of the book of Revelation, in which music is a part of a rich eschatological drama, not more than a dozen passages in the entire canon shed light on music-making. Of these, five mention music only metaphorically (Matt. 6:2; 11:17; Luke 7:32; 1 Cor. 13:1; 14:7–8). The remaining cast important light, especially when seen in a broader context—that of the rich heritage of temple and synagogue worship known and practiced by the early Christians.
There are four passages in the Gospels, two of which are parallel. Matthew 26:30 and Mark 14:26 mention the use of a hymn by Christ and his disciples at the conclusion of the Last Supper. Although there is debate as to the exact nature of the Last Supper with regard to its full content and relation to Jewish traditions and practices, as well as the attendant possibilities of adaptation and change by Jesus himself, it is probably true that the words and music that were used were traditional. This is the only specific mention in the New Testament of Jesus himself singing, although it is highly likely that when he read in the synagogue (Luke 4:16–20) he chanted the lesson in an accustomed manner.
The other two passages in the Gospels mention instrumental music and dance: the mourning for the death of a girl (Matt. 9:23) and the merriment upon the return of the Prodigal Son of Jesus’ parable (Luke 15:25). Finally, when Paul and Silas were jailed for their activities, they spent some of the time singing (Acts 16:25). It can be readily seen that in all these examples nothing is said about how the music was performed or how extensive was the musical activity. Nevertheless, the basic concept present in the Old Testament still remains: music accompanied the varied activities of the Jewish community.
Instructions for music-making are found in the Epistles, embedded in the general instructions and principles that were set forth for the various churches. All but one are given by Paul. They are conceptual rather than literally musical. In 1 Corinthians 14:15 Paul seems to be calling for a balance between ecstasy and discipline in music-making (as well as praying) by asking that singing be done with the mind (or understanding) as well as in the spirit. He asks also that singing (as well as teaching, revelations, and speaking in tongues) be done for edification (1 Cor. 14:26). Two other passages (Eph 5:19; Col. 3:16) are somewhat similar. The Ephesians are encouraged to address one another in psalms, hymns, and spiritual songs as a sign of being filled with the Spirit. The Colossians are encouraged to do the same as a sign of being indwelt by the word of Christ (Col. 3:16). The apostle James insists that cheerfulness should lead to singing (James 5:13).
Though Paul brings three terms together with particular force (psalms, hymns, spiritual songs) it is almost impossible to determine any musical or textual difference among them. The safest conclusion would be that Psalms are those of the Old Testament, although not without the possibility of Christian additions. Hymns, or songs of praise, would perhaps be those newly composed texts directed to Christ. Songs (the most inclusive of the types, comprising all kinds of songs, secular or sacred, accompanied or unaccompanied) are distinguished by the adjective spiritual, which seems to set these apart from all other songs as inspired by the Spirit and perhaps composed spontaneously.