History of Classical Music

Medievals (c.1150 - c.1400)

This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded. The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc.), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis.

Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony). Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut, and Landini.

Recommended Recording:

Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana

Naxos 8.550711

Renaissance (c.1400 - c.1600)

The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts). Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words.

There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis. The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay.

The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music. Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'.

This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age. In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.). Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo.

历史上的古典音乐

Medievals (c.1150 - c.1400) 中世纪（ c.1150 -c .1400）

This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded.这是第一期，我们已可开始得到相当肯定至于如何了大量的音乐，其中已存活实际上响起。 The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades etc.), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis.最早写世俗音乐的日期从12世纪troubadours （形式virelais ， estampies ， ballades等） ，但大多数人notated手稿来自地方的学习通常是与教会，因此，不可避免地有一个以宗教为基础。

Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony).格里高利高唱和plainsong是monodic （即笔试和一所音乐系） ，逐步发展，在11日至十三世纪到organum （即两个或三个动线，同时但独立的，所以几乎在不经意代表的开端和谐） 。 Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut , and Landini . organum不过，当时的初期，而不是扼杀刚性规则的旋律和节奏，从而导致最终的目的是要以所谓人工鱼礁新的时期， 14世纪，主要是由作曲家德vitry ， 马豪 ， landini 。

Recommended Recording: 推荐唱片：

Adorate Deum: Gregorian Chant from the Proper of the Mass Nova Schola Gregoriana adorate deum ：阳历高唱从适当的大众新schola gregoriana

Naxos 8.550711 商Naxos 8.550711

Renaissance (c.1400 - c.1600) 文艺复兴（ c.1400 -c .1600）

The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as 'harmony' and 'polyphony' (the simultaneous movement of two or three interrelated parts). 15世纪见证了大大增加了自由，最特别是在什么样的，其实是被视为'和谐'和'复调' （同步运动的两个或三个相互联系的部分） 。 Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words.作曲家（虽然他们都是勉强的感觉是这样的）仍在几乎完全致力于合唱写作，少数乐器组成，其中有存活往往造成一种印象， （在许多情况下完全准确）的正声乐作品在乔装打扮，但减去的话。

There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis.有明显的新喜悦，在质地品种和反差，因此，举例来说，某一特定文本中的一段可能得到加强声乐部分辍学的瞬间，只有回到一个多星期，又特殊的时刻重视。 The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay.四个最有影响力的作曲家15世纪被dunstable ， ockeghem ， Despres ）虽然与杜费。

The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of 'classical' music.下半年， 16世纪见证了开端的传统，其中许多音乐爱好者很容易联想与正常的感觉'经典'的音乐。 Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or 'key'.渐渐地，作曲家迁离模态系统的和谐，其中占主导地位，为300多年前（和现在听起来有点过时的一些现代耳） ，对组织，其工作分为主要和次要的鳞片，从而传授强烈的感觉：每块有明确音调中心或'关键' 。

This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age.这也是东西的一个黄金时期，合唱组成似乎永无休止的流一capella （举目无亲）群众， motets ，国歌，圣歌和madrigals流到从钢笔的主人的年龄。 In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.).此外，器乐开始自成体系，为第一次，特别是键盘音乐的形式fantasias ，变异，舞蹈动作（ galliards ， pavanes等） 。 Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi, Palestrina, Victoria, Lassus, Lobo, Cardoso and Gesualdo.作曲家特别值得注意的包括道兰，合唱团，伯德，长臂猿，弗雷斯科巴尔迪， palestrina ，维多利亚， lassus ，罗保后，卡多佐和gesualdo 。

Recommended Recording: 推荐唱片：

Byrd: Mass for Four Voices; Mass for Five Voices; Infelix ego伯德：质量为四个声音;大规模五声音; infelix自我

Naxos 8.550574 商Naxos 8.550574

Palestrina: Missa Papae Marcelli; Missa aeterna Christi munera palestrina ：弥撒曲" papae marcelli ;弥撒曲"依特钠基督教munera

Naxos 8.550573 商Naxos 8.550573

Palestrina: Missa hodie Christus natus est; Hodie Christus natus est; Stabat mater / Lassus: Missa bell' amfitrit' altera palestrina ：弥撒曲"为今天基督natus预测;遭受今天基督natus预测; stabat材料/ lassus ：弥撒曲"钟' amfitrit ' Altera公司

Naxos 8.550836 商Naxos 8.550836

Victoria: Missa O magnum mysterium; Missa O quam gloriosesum / A. Lobo: Versa est in luctum维多利亚：弥撒曲" o马格兰神秘;弥撒曲" o怎么gloriosesum /甲罗保：反之亦然预测在luctum

Naxos 8.550575 商Naxos 8.550575

Lobo: Missa pro defunctis / Cardoso: Missa pro defunctis罗保：弥撒曲"亲defunctis /卡多佐：弥撒曲"亲defunctis

Naxos 8.550682 商Naxos 8.550682

Lamentations悲叹

Music by Tallis, White, Palestrina, Lassus and de Brito音乐由合唱团，白， palestrina ， lassus和德布里托

Naxos 8.550572 商Naxos 8.550572

Lassus: Missa super entre vous; Infelix ego; Missa imitationem moduli susanne un tour lassus ：弥撒曲"超级登入vous ; infelix自我;弥撒曲" imitationem模苏珊联合国之旅

Naxos 8.550842 商Naxos 8.550842

Tallis: Mass for Four Voices; Motets塔利斯：质量为四个声音; motets

Naxos 8.550576 商Naxos 8.550576

Gesualdo: Sacred Music for Five Voices (Complete) gesualdo ：神圣的音乐为五声音（完整）

Naxos 8.550742 商Naxos 8.550742

Baroque (c.1600 - c.1750) 巴洛克（ c.1600 -c .1750）

During the Baroque period, the foundations were laid for the following 300 or so years of musical expression: the idea of the modern orchestra was born, along with opera (including the overture, prelude, aria, recitative and chorus), the concerto, sonata, and modern cantata.在巴洛克时代，奠定了基础，为下列300年或稍后的音乐表现：构思现代乐团诞生了，随着戏曲（包括序曲，前奏曲，咏叹调， recitative和合唱团） ，协奏曲，奏鸣曲和现代的大合唱。 The rather soft-grained viol string family of the Renaissance was gradually replaced by the bolder violin, viola and cello, the harpsichord was invented, and important advances were made in all instrumental groups.该比较软晶侵犯。弦乐家族的文艺复兴逐渐取代了大胆的小提琴，中提琴和大提琴，古键琴的发明，并取得了重大进展，在所有的乐器组。

Until about 1700, the old modes still exerted themselves from time to time by colouring certain melodic lines or chord progressions, but from the beginning of the 18th century the modern harmonic system based upon the major and minor scales was effectively pan-European.直到大约1700年旧模式仍在竭力不时由填色某些旋律线或弦级数，但是，从十八世纪初，现代谐系统后，主要和次要的尺度是有效的泛欧洲。 Choral music no longer dominated, and as composers turned more and more to writing idiomatic instrumental works for ensembles of increasing colour and variety, so 'classical' music (as opposed to 'popular') gradually began to work its way into the very fabric of society, being played outdoors at dinner parties or special functions (e.g. Handel's Water Music), or as a spectacle in the form of opera.合唱音乐已不再占主导地位，并作为作曲家把越来越多的写作成语器乐作品为合奏增加颜色和品种，使'古典音乐（有别于'受欢迎' ）逐渐开始工作地渗透到结构社会中，正在发挥在室外宴会场合或特殊功能（如： （ Handel的水上音乐） ，或作为一个奇观，在形式的歌剧。 On a purely domestic level, every wealthy lady would have a spinet to play, and at meal-times the large and rich houses would employ musicians to play what was popularly called Tafelmusik in Germany, of which Telemann was perhaps the most famous composer.对纯粹的国内层面，每一个有钱的夫人将有spinet发挥，并在饭后倍大国和富国房子将聘请音乐家，以发挥什么深受所谓tafelmusik在德国，其中telemann也许是最有名的作曲家。

Of the many 17th century composers who paved the way for this popular explosion of 'classical' music, the following were outstanding: Monteverdi , Corelli , Alessandro Scarlatti, Schutz, Buxtehude, Purcell and Lully.在众多的17世纪作曲家的人铺平了道路，为这个热门爆炸的'古典音乐，有以下几个悬而未决： 蒙特威尔第 ， corelli ，亚历山德罗斯卡拉蒂，舒茨， buxtehude ，裴熙亮和lully 。 Yet, the most popular composers of the period, indeed those who seem to define by their very names the sound of Baroque music at its most colourful and sophisticated are Johann Sebastian Bach, Handel, Telemann, Rameau, Fran?ois Couperin , Domenico Scarlatti, and Vivaldi, all of them at their creative peak during the first half of the 18th century.不过，最受欢迎的作曲家此期间，有些人似乎界定，以他们名字的声音巴洛克音乐在其最多姿多彩和精密的是约翰塞巴斯蒂安巴赫， （ Handel ， telemann ，拉摩， 弗朗索瓦couperin ， （ Domenico斯卡拉蒂，韦华，他们都在自己的创作高峰期在上半年的18世纪。

Classical (c.1750 - c.1830) 古典（ c.1750 -c .1830）

The Baroque era witnessed the creation of a number of musical genres which would maintain a hold on composition for years to come, yet it was the Classical period which saw the introduction of a form which has dominated instrumental composition to the present day: sonata form.巴洛克时代的见证设立了许多音乐流派，其中将维持持有组合今后几年，但它是古典时期，其中看到了开征某种形式，其中有乐器为主组成的，以本日：奏鸣曲形式。 With it came the development of the modern concerto, symphony, sonata, trio and quartet to a new peak of structural and expressive refinement.与它来发展现代协奏曲，交响曲，奏鸣曲，三重奏及四重奏，以一个新的高峰结构性和表现力细化。 If Baroque music is notable for its textural intricacy, then the Classical period is characterised by a near-obsession with structural clarity.如果巴洛克音乐是显着，其构造复杂性，那么，古典时期的特点是一个近痴迷结构清晰。

The seeds of the Classical age were sown by a number of composers whose names are now largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach's sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called 'London' Bach).种子的古典时代播下了由多个作曲家的名字，现在基本上被遗忘，如朔贝特和honnauer （均德国人，主要活跃于巴黎） ，以及更尊重历史地名，包括格鲁克， boccherini和至少3名约翰塞巴斯蒂安巴赫的儿子：卡尔菲利普灵光，威廉弗里德曼和约翰基督教（即所谓『伦敦』巴赫） 。 They were representative of a period which is variously described as rococo or galante, the former implying a gradual move away from the artifice of the High Baroque, the latter an entirely novel style based on symmetry and sensibility, which came to dominate the music of the latter half of the 18th century through two composers of extraordinary significance: Joseph Haydn and Wolfgang Amadeus Mozart .他们分别代表的一个时期，这是各种形容为洛可可或加兰特，前者暗示逐渐迁离从手腕的高级巴洛克式，而后者是一个完全新颖的风格基础上的对称性和感性，来主宰音乐的下半年， 18世纪两个作曲家有着非同寻常的意义： 约瑟夫海顿和沃尔夫冈Amadeus的莫扎特 。

Early Romantic (c.1830 - c.1860) 早期浪漫（ c.1830 -c .1860）

As the Classical period reached its zenith, it was becoming increasing clear (especially with the late works of Beethoven and Schubert) that the amount and intensity of expression composers were seeking to achieve was beginning to go beyond that which a Classically sized/designed orchestra/piano could possibly encompass.作为古典时期达到了顶点，它正在变得越来越清晰（尤其是与已故的作品， 贝多芬和舒伯特）的数量和强度的表达作曲家正在谋求实现正开始超越了那些经典大中/设计乐团/钢琴可能不同。 The next period in musical history therefore found composers attempting to balance the expressive and the formal in music with a variety of approaches which would have left composers of any previous age utterly bewildered.今后一个时期，在音乐史，因此发现作曲家企图以平衡表现力和正规的音乐与不同的途径，将已离开的作曲家以往任何时代完全莫名其妙。 As the musical map opened up, with nationalist schools beginning to emerge, it was the search for originality and individuality of expression which began here that was to become such an over-riding obsession in the present century.作为音乐地图打开了，与民族主义者所学校开始出现，这是搜索的原创性与个性的表达，开始在这里表示，要成为这样一种压倒一切的痴迷，在本世纪。

The Romantic era was the golden age of the virtuoso, where the most fiendishly difficult music would be performed with nonchalant ease, and the most innocuous theme in a composition would be developed at great length for the enjoyment of the adoring audience.浪漫时代是黄金时代的能人，哪里最困难fiendishly音乐，将演出满不在乎的缓和，最无害的主题，在一个组合，将发展在很大篇幅为享受的崇拜观众。 The emotional range of music during this period was considerably widened, as was its harmonic vocabulary and the range and number of instruments which might be called upon to play it.情绪各类音乐，在此期间被大大拓宽，正如其谐波词汇及范围和文书的数目可能被要求发挥它。 Music often had a 'programme' or story-line attached to it, sometimes of a tragic or despairing nature, occasionally representing such natural phenomena as rivers or galloping horses.音乐往往有一种'计划'或故事，在网上重视它，有时一个悲剧性或绝望的性质，偶尔代表这种自然现象的河流或舞动的马匹。 The next hundred years would find composers either embracing whole-heartedly the ideals of Romanticism, or in some way reacting against them.未来一百年会发现作曲家要么拥抱衷心理想的浪漫主义，或以某种方式作出反应，对他们的。

Of the early Romantic composers, two Nationalists deserve special mention, the Russian Glinka (of Russlan and Ludmilla fame) and the Bohemian Smetana (composer of the popular symphonic poem Vltava or 'The Moldau').对早期浪漫主义作曲家，两个民族主义者特别值得一提，俄罗斯葛令卡（ russlan和ludmilla名利）和波希米亚美塔纳 （作曲家一项十分受欢迎的交响诗尔塔瓦或' moldau ' ） 。 However, the six leading composers of the age were undoubtedly Berlioz , Chopin , Mendelssohn , Schumann , Liszt and Verdi .然而， 6名领导作曲家的年龄无疑是柏辽兹 ， 肖邦 ， 门德尔松 ， 舒曼 ， 李斯特和威尔第 。

Late Romantic (c.1860 - c.1920) 晚浪漫（ c.1860 -c .1920）

With the honourable exceptions of Brahms and Bruckner , composers of this period shared a general tendency towards allowing their natural inspiration free rein, often pacing their compositions more in terms of their emotional content and dramatic continuity rather than organic structural growth.与这位例外勃拉姆斯和布鲁克纳 ，作曲家这一时期分担的一般倾向，让他们自然的灵感放手，往往起搏其成分更在其情感内容和具有戏剧性的延续性，而不是有机的结构性增长。 This was an era highlighted by the extraordinarily rapid appearance of the national schools, and the operatic supremacy of Verdi and Wagner .这是一个时代所强调的异常迅猛，出现了民族学校，及戏曲至高无上的威尔第和瓦格纳 。 The eventual end of Romanticism came with the fragmentation of this basic style, composers joining 'schools' of composition, each with a style that was in vogue for a short period of time.最终完的浪漫主义来支离破碎这一基本风格，作曲家加入'学校'的成分，每一种风格，那是时尚，进行了短暂的一段时间。

In order to do justice to a period so rich in famous names and compositions, this section is arranged alphabetically by country rather than composer.为了做到公正，一期有这么丰富的名牌和成分，这一节是依英文字母排列，由国家，而不是作曲家。

Bohemia波西米亚

英文圣诞歌歌词合集

1.虫儿飞

2.C'est dur dur d'être bébé（做小孩真难）

3.Le.Papillon

4.jordy的《Dur Dur d etre bebe》？

5.吉祥三宝(天真童声版).mp3

6.三只熊(很可爱的童声).wma

7.女生-童声版 - 开不了口.mp3

8.we will rock you童声版.mp3

9.性不改(童声版)

10.我是一只小小鸟

11.《Concerto pour deux voix 》

12.あたしはここよ

13.pigbaby

缪斯女神的英文怎么写

英文圣诞歌歌词合集介绍如下：

1、“We Wish You a Merry Christmas” - 这首歌曲是一首传统的圣诞颂歌，歌词中表达了对圣诞节的祝福和欢乐。歌词片段：“We wish you a merry Christmas, we wish you a happy New Year, with love and peace and joy, may peace and tranquility accompany you all year round。”

2、“Jingle Bells” - 这首歌曲是一首脍炙人口的圣诞歌曲，歌词中描述了雪橇上的铃声和欢乐的旅程。歌词片段：“Jingle bells, jingle bells, jingle all the way, oh what fun it is to ride in a one-horse open sleigh。”

3、“Silent Night” - 这首歌曲是一首经典的圣诞颂歌，歌词中描述了耶稣基督的诞生。歌词片段：“Silent night, holy night, all is calm, all is bright, round yon Virgin, Mother and Child, holy Infant so tender and mild。”

4、“Joy to the World” - 这首歌曲是一首欢快的圣诞颂歌，歌词中表达了对耶稣基督诞生的喜悦。歌词片段：“Joy to the world, the Lord has come, let earth receive her King, let every heart prepare Him room, and heaven and nature sing。”

圣诞歌曲特点介绍

1、节日氛围：圣诞歌曲的歌词和旋律都充满了节日氛围，表达了人们对圣诞节的喜爱和期待。这些歌曲通常描述了圣诞树、礼物、雪橇、铃声等与圣诞节相关的元素，让人们感受到节日的喜悦和喜庆。

2、祝福和感恩：圣诞歌曲的歌词中常常表达了对亲人和朋友的祝福，以及对耶稣基督诞生的感恩之情。这些歌曲传达了人们对家人、朋友和教会的感激之情，同时也传递了对他人的善意和祝福。

3、团圆和共享：圣诞歌曲常常强调了家庭团聚的重要性，以及与亲人共享美好时光的意义。这些歌曲让人们感受到家庭和社区的温暖和凝聚力，让人们更加珍惜与亲人相聚的时刻。

4、欢乐和快乐：圣诞歌曲的旋律通常欢快、活泼，充满了快乐和欢乐的气氛。这些歌曲能够带给人们愉悦的心情，让人们忘记烦恼和忧愁，享受节日的快乐。

关于英文歌曲《Amazing Grace (my chains are gone)》

缪斯(希腊语 Μουσαι,Mousai),音译自英语Muses。缪斯是古希腊神话中科学、艺术女神的总称，为主神宙斯与记忆女神谟涅摩叙涅所生。缪斯女神的数目不定，有三女神之说，亦有九女神之说。 缪斯是希腊神话中的九位古老的女神，它们代表通过传统的音乐和舞蹈、即时的和流传的歌所表达出来的传说。它们是海林肯山的泉水的水仙。最初，在人们对海妖的印像不是太坏的时候，缪斯也曾被归于海妖，因为缪斯作为女神，专司文艺，再加上天生丽质，所以气质非凡。后来人们将奥林匹斯神系中的太阳神阿波罗设立为她们的首领。　诗人赫西奥德在其《神谱》中说，她们是众神之王宙斯和记忆女神摩涅莫辛涅的女儿。诗人阿尔克曼则认为她们比宙斯古老，她们是乌拉诺斯和盖娅的女儿。　她们与罗马神话中的灵感水仙克米尼。 普遍认为一开始只有三个缪斯：阿奥伊德（Aoide，歌，声音）、米雷特（Melete，实践，情况）和摩涅莫辛涅（记忆），这三个缪斯体现了远古时代人们进行崇拜仪式时所需要的诗歌形式和技巧。　后来缪斯才发展为九位，最经典的九位缪斯被认为是以下组合：　* 欧特碧（音乐）　* 卡莉欧碧（史诗）　* 克莉奥（历史）　* 埃拉托（抒情诗）　* 墨尔波墨（悲剧）　* 波莉海妮娅（圣歌）　* 特尔西科瑞（舞蹈）　* 塔利娅（喜剧）　* 乌拉妮娅（天文）</B>

《Amazing Grace》《Amazing Grace (my chains are gone)》

都是基督教的歌曲 基督徒颂赞上帝

一、《Amazing Grace》中文翻译为《奇异恩典》，也有人称《天赐恩宠》

美国最脍炙人口的一首乡村福音歌曲,也是全世界基督徒都会唱的歌，被奉为基督教圣歌

二、**：奇异的恩典

◎片 名 Amazing Grace

◎年 代 2006

◎国 家 美国/英国

◎语 言 英语

主题曲：《Amazing Grace (my chains are gone)》

演唱 ：Chris Tomlin （作词好像也是他 不敢确定）

1972年生于TX州,Grand Saline自小听着乡村音乐长大，并从他父亲那里学会了演奏吉他。9岁开始，他就把Jesus当作了他一生的救主，14岁写了他的第一首颂歌。在90年代初Tomlin进入TAM大学学习medicine，在课余，他却很积极地参加了一个叫做Breakaway的校园内的Bible study group。随着这个组织的不断壮大，Tomlin也终于成为了其中的领袖人物并在集会上演奏他自己的歌曲。2001年，Tomlin发行了他的首张专辑 The Noise We Make 。2002年，Tomlin搬家到TX的Austin，成为了一名牧师，在那里他要经常主持1500人场次的集会。鉴于Tomlin不断扩展的听众群，他2006年发行的专辑取得了Billboard Chirstian榜第一和Billboard 200榜第15名的好成绩，并为他带来了两项格莱美奖提名。即便是在音乐上取得了这样的成绩，Tomlin在面对媒体时也总是强调上天赋予他的任务比他的音乐更重要，他一直都在努力着用音乐来救赎人们的灵魂。

感谢上帝 ！