“The people whom I formed for myself that they might declare my praise” (Isaiah 43:21 ESV).
What happens when cultures that, on the surface of the global stage, are socially and politically disenfranchised gather to make music? The result flips the script on the core elements of theomusicology.
One area that does not gain enough attention in the contemporary Christian music community is that of music coming from a Jewish tradition, which encompasses Christianity. The overarching tendency is to reify and compartmentalize musical traditions based on theological disciplines, either Christianity or Judaism. Yet there is an abundance of music that employs both musical traditions for theological expression, praise, and what contemporary Christianity calls “worship music.” This third expressive area illustrates how religious music can serve as a socio-religious, theologically disciplined border-crossing agent.
Embracing Duality for a Singular Religious Expression
The question of Messianic Jewish tradition comes to the forefront. Without getting too deep into the complexities of the Messianic Jewish tradition, those who identify as Messianic Jews are considered part of, and recognize, Christian practices and principles. An overview of this socio-religious, faith-based cultural discipline unpacks some of the larger questions.
Messianic Judaism “is a syncretic Protestant Christian religious sect that incorporates elements of Jewish practice. It considers itself to be a form of Judaism but is generally considered to be a form of Christianity, including by all mainstream Jewish religious movements. Its roots are in Christian missionary activity aimed at Jews in the 19th and 20th centuries, particularly in North America.
“Messianic Jews believe that Jesus was the Messiah and a divine being in the form of God the Son (a member of the Trinity), thus taking characteristically Christian positions on distinctions that number among those that most strongly distinguish Christianity and Judaism. Messianic Judaism is also generally considered a Protestant Christian sect by scholars and other Christian groups.
“It emerged in the United States between the 1960s and 1970s from the earlier Hebrew Christian movement, and… [adheres] to conventional Christian doctrine, including the concept of salvation by believing in Jesus (referred to by the Hebrew name Yeshua among adherents) as the Jewish Messiah and humanity’s redeemer, and in the spiritual authority of the Bible (including the Hebrew Bible and New Testament).
“In Hebrew, Messianics tend to identify themselves with the terms maaminim (מאמינים, lit. ‘believers‘) and yehudim (יְהוּדִים, lit. ‘Jews‘) in opposition to being identified as notzrim (נוצרים, lit. ‘Christians‘). Jewish organizations inside and outside of Israel reject this framing. The Supreme Court of Israel declared Messianic Judaism a Christian sect for purposes of the Law of Return” (Wikimedia Creative Commons, March 25, 2026).
Most importantly to this conversation is how Messianic Jews express faith musically. The vast, rich musical tradition of Judaism itself lends itself to how much further this faith-based culture can be expressed musically. When grafted to Christian musical culture, a wealth of expressions appears to be possible.
Musically speaking, “Messianic Jewish hymns differ from evangelical Christian ones in their focus on Israel’s role in history and messianic hope. Other differences include reference to Jesus—usually using the name Yeshua—as the “Savior of Israel”. Messianic hymnals often incorporate Israeli songs” (Wikimedia Creative Commons, March 25, 2026).
Taking a step back, Christian “worship” music (i.e., religiously founded musical expression) confines itself to expressing biblical doctrine. Incorporating contemporary musical genres (i.e., country, pseudo-pop), contemporary Christian worship can be seen as limiting. The more expansive musical genres that follow Christian discourse (i.e., rock, alternative rock, heavy metal, punk rock) take the limitations of standard Christian worship music to audiences more aligned with secular expressive vernacular yet seek to embody their faith. Historically grounded faith-based musical expressions (i.e., blues, gospel, soul, rhythm and blues) establish a base from which these later contemporary musical genres grow. This foundational musical expression condifies the core elements of theomusicology by which other contemporary Christian musical expressions entertain.
Emboldened with Jewish musical traditions and ascertaining contemporary Christian musical expressions, the complex arc of contemporary Messianic Judaism is exposed as a musical discipline, founded on the complexities of faith-based discourse, expressing contemporary border-crossing music for multiple faith-based audiences (i.e., Jewish and Christian).
The attractive identity of this musical trajectory comes sonically with instrumentation (oud, lute, shofar, sagat, toft, et al), a lyrical, profound history, and the investment of biblically-centered, scripture-founded lyrics/narrative. The personal testimony is visible in performance, as evangelism accompanies this area. Discipleship comes through the practice and learning of this musical tradition, which works in tandem with community and activism. The core elements of theomusicology are, then, well defined, included, illustrated, and underscored. In contrast to commercially manufactured contemporary Christian music (CCM), the musical history and contemporary representation of Messianic Jewish music, taking possession of and embracing Christian music, not commercially limited “worship” music, highlights how a faith-based musical discipline and discourse can articulate scriptural knowledge, biblically-centered texts, and musical history through contemporary performance, composition, and representation.
When Cultures Musically Collide
One example of this trajectory is an original work by Nathanie Bassey Main, broadcast on SOLUIsrael. This track navigates Christian and Jewish expressions with the added twist of incorporating Arabic subtitles.
Adonai (Pslm 113:3) Hebrew and Arabic, by Nathaniel Bassey, May 30, 2025,
“Hebrew and Arabic declaring praise to the King of Kings, and Lord of Lords. ADONAI! Yeshua – the Prince of Peace broke the wall of hostility and made us one new man! So, from the old city of Jerusalem till the ends of the earth, may Avinu (Our Father) Elohim be praised by every nation, tribe, and tongue. ‘From the rising of the sun to the place where it sets, the name of the Lord is to be praised’ (Psalm 113:3 NKV)” (YouTube, May 30, 2025, italics added).
Though only a portion of Psalm 113 is used, when the entire Psalm is reflected, the work is amplified.
The Majesty and Condescension of God
1Praise the Lord!
Praise, O servants of the Lord,
Praise the name of the Lord!
2Blessed be the name of the Lord
From this time forth and forevermore!
3From the rising of the sun to its going down
The Lord’s name is to be praised.
4The Lord is high above all nations,
His glory above the heavens.
5Who is like the Lord our God,
Who dwells on high,
6Who humbles Himself to behold
The things that are in the heavens and in the earth?
7He raises the poor out of the dust,
And lifts the needy out of the ash heap,
8That He may seat him with princes—
With the princes of His people.
9He grants the barren woman a home,
Like a joyful mother of children.
Praise the Lord! (emphasis added)
The Psalm reflects the praise and honest worship of the Lord. The excerpt used for this track is framed as the central theme of the Psalm. The name of the Lord is used following Jewish tradition, Adonai, and Yeshua. The Father, God, is equally noted following custom, Avinu (Our Father) Elohim.
The work does not strive to fracture itself from Jewish tradition. Rather, the work embraces this tradition along with Christian principles and doctrine, thus serving two religious communities simultaneously. The inclusion of Arabic and Hebrew in the subtitles speaks to the evangelistic fellowship of the work. Western instruments are used alongside traditional Jewish instruments as comfortably as Western harmony is included. The work functions as a socio-religious border-crossing agent. The minimalistic use of the selected verse from Psalm 113 is dramatically placed to illustrate how God, Adonai, and Yeshua, Avinu (Our Father) Elohim, is eternal, sees no borders between cultures, and is to be praised and worshiped by all men.
The video’s location, a church in Jerusalem, speaks further to the embodiment of Christianity alongside the other included religious cultures. A song that escapes Western contemporary Christian worship music limitations, the composition would be suited for extensive community devotions and personal devotional meditation. This composition targets the core functionality of Western Christian worship music to move one from their secular space and place to one focused on biblical knowledge, scriptural understanding, praise, and dedication to God.
Another example of how Jewish and Christian cultures can intertwine is recognized in a work by One for Israel Ministry.
This track does not skirt the Messianic Jewish profile. The liner notes point to websites with other such works and how to become more involved with Messianic Jewish music, culture, and organizations. The English subtitles give preference to the Hebrew text and elements that are the main focus of the video.
Coming from the perspective of a woman, these points to the importance of women throughout the gospel. The views of the main woman in the video are contextualized as a character underscoring both the Old Testament, seen in the temple and in the desert scenes, and the New Testament in the contemporary setting, singing with the entire ensemble.
The conscious decision to include these dual biblical perspectives situates the work as one not limited to a particular discourse or biblical perspective. This is heightened as the main voice is that of a woman, a Jewish woman, operating across both Christian and Jewish traditions.
“The role of women in the Bible is a multifaceted topic that encompasses various responsibilities, rights, and expectations as outlined in the Scriptures. Women in the Bible are depicted in diverse roles, ranging from leaders and prophets to mothers and homemakers, each contributing uniquely to the unfolding of God’s plan.
Women in the Old Testament
“Throughout the Old Testament, women play significant roles in the narrative of God’s people. Figures such as Sarah, Rebekah, Rachel, and Leah are pivotal in the Abrahamic lineage. Deborah stands out as a judge and prophetess, leading Israel to victory (Judges 4-5). Esther’s courage saves her people from destruction, demonstrating the impact of female leadership and bravery.
“The Proverbs 31 woman is often highlighted as an ideal of womanhood, embodying virtues such as wisdom, industriousness, and fear of the Lord. Proverbs 31:30 states, “Charm is deceptive, and beauty is fleeting, but a woman who fears the LORD is to be praised.”
Women in the New Testament
“In the New Testament, women continue to play vital roles in the early Christian community. Mary, the mother of Jesus, is honored for her obedience and faith. Elizabeth, Anna, and Mary Magdalene are notable figures who witness and proclaim the works of God.
“Jesus’ interactions with women often broke cultural norms, affirming their worth and dignity. He spoke with the Samaritan woman at the well (John 4), healed the woman with the issue of blood (Mark 5:25-34), and appeared first to women after His resurrection (Matthew 28:1-10).
“The Apostle Paul acknowledges the contributions of women in the early church. Phoebe is commended as a deaconess (Romans 16:1-2), and Priscilla, alongside her husband Aquila, is recognized for her teaching and ministry (Acts 18:26)” (Bible Hub, n.d.).
This lengthy reference serves to illustrate the scriptural inclusion of the feminine profile, the main focus on Jewish signifiers, and the inclusion of Christian discourse. The expression of praise and worship in this example operates along the same lines as the first example, Adonai (Psalm 113:3). However, in the first example, the vocal perspective comes from a man, while in this example, the voice is that of a woman. Not to be taken for granted, the specificity of this perspective moves the work from a basic Christian or Messianic Jewish worship song to one that underscores the importance of women throughout all of scripture.
“Praise the Lord! Praise God in his sanctuary; praise him in his mighty heavens! Praise him for his mighty deeds; praise him according to his excellent greatness! Praise him with trumpet sound; praise him with lute and harp! Praise him with tambourine and dance; praise him with strings and pipe! Praise him with sounding cymbals; praise him with loud clashing cymbals!” (Psalm 150: 1-6 ESV).
When Hip Hop Enters
The earlier examples function as core praise, discourse, and biblically-centered expressions. Expanding this process through Hip Hop, the Jewish artist Hi Rez exemplifies how this is possible.
Taking active control of core Jewish signifiers, the work serves as a border-crossing agent not into Christianity, but into Hip Hop, and on a larger scale. The investment in daily and religious Jewish culture throughout the video is amplified through Hip Hop discourse. Historic contemporary Jewish culture will be introduced to those who may be unfamiliar with these elements. Hip Hop becomes the agent of this witness. Those who do hold knowledge of Jewish history and religious discipline, Hip Hop magnifies the contemporary perspective of the work, a phenomenological border-crossing agent. What Hi Rez provides is a dynamic work, centered on core Jewish theology, narrated through a contemporary musical expression, Hip Hop. The profound trajectory of this work is not to be overlooked. Rather, this 3:10 track is one to be reviewed repeatedly to unearth the layers of Jewish cultural agency amplified through Hip Hop pedagogy.
Looking Forward From Knowing The Past
The works included in this short review speak to the necessity for a deeper understanding of the border-crossing agency of socio-religious, faith-based music. Challenging the static definition of contemporary Christian worship music, these examples provide a multi-dimensional identity, biblically-centered, and able to incorporate accurate religious signifiers. Assumed limitations of worship music are dismantled, while the importance of praise and scriptural discipline is securely placed. Musical devotion is a powerful tool for personal ascension into biblical learning and scriptural knowledge. These musical examples give an alternative avenue for one to enter this important personal devotional time. Accumulating musical elements from both Christian and Jewish traditions communicates the invested connection of these two religious disciplines. The added element of contemporary musical genres allows individual aesthetics to be satisfied without minimizing the importance of devotion, praise, and attentive biblical learning.
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