09/10/2025
Glorifying God With Music: Hanford Native Christopher Enloe
By T. M. Dinkins
“Make a joyful noise to the LORD, all the earth! Serve the LORD with gladness! Come into his presence with singing!” Psalm 100 starts with a call for God’s creation to use their voices to praise him! Throughout history, God’s people have been responding to that call by singing songs and hymns and spiritual songs to the Lord. Although instruments and styles of music have changed over time, there has always been a need for the church to guard the truth of Scripture in the music that is played and the songs that are sung.
One person who has committed his life to serving the Lord through music is Christopher Enloe. He is a Hanford native who is well on his way to becoming an established composer and professor of music composition. He is currently working as a professor in the school of music at Bob Jones University in South Carolina. I was recently able to catch up with Christopher and learn more about his training, trials, triumphs, teaching and family.
Training:
The Central Valley was home for me until I married Becky and moved to Baltimore. I fell in love with choral singing under Licia Clark at PSCA (now Inspire One) in Fresno. I joined as many choirs as I could (I think I was in four or five at one point). Later in high school I studied composition with two local composers, Kevin Memley and Walter Saul. I also had a phenomenal guitar instructor, Mel Miller, who was both an astounding musician and a prolific composer in his own right; he wrote me reams of short pieces to practice in all sorts of styles. I played piano for a few small events, but for the most part, I was spending my time improvising and learning to compose.
I think the people, places, and experiences of your childhood find their way into your art one way or another. Growing up in Hanford, most of my early musical experiences were with genres outside of classical. I used to worry that this put me too far behind – it’s tricky to get into a conservatory if you weren’t steeped in the “art music tradition” from an early age. But that eclectic exposure has its benefits. I think about composition a little differently than those who grew up solely playing classical music, and that helped me cultivate a more distinctive compositional voice (though I did eventually immerse myself in classical music in college and grad school).
As you think back about the beginning of your career as a composer, what did you love about the artistry of composing music? Was there something special about choral music that drew your interest or was it musical composition in general that interested you?
Two thoughts on why I love composing: first, composing is this extraordinary mixture of emotional expression and careful design. It mixes left- and right- brain thinking in a way few other artistic endeavors can. In high school I was interested in STEM fields, especially physics and robotics; to me, writing music feels like building a kind of machine. You design it, wind it up, and send it out into the world. But a piece of music also contains deeply communicative, emotional, and aesthetic components. You can appreciate music from both an analytic and emotional perspective, though they are tightly interwoven with each other. Music unifies these two aspects in a way I find deeply compelling.
Second, beyond the craft itself, I realized in college that music is one means of expressing beauty, and all beauty ultimately points back to the character of God. To paraphrase Jonathan Edwards, beauty is the diffuse refraction of God‘s glory shining through his image bearers. This threw the whole compositional endeavor into a new theological perspective. I can genuinely say with each piece, as Bach did, “soli Deo gloria,” not just because it’s an offering of service, but also because there’s something in music itself that reflects Him.
God’s word tells us that all people are made in the image of God (Genesis 1:26-28). How does composing music for choirs reflect the image of God?
As a I mentioned in my previous answer above, excellent art made by God’s image bearers will reflect His character (whether intentionally or not). But I would also add that choirs are a unique reflection of God’s plan for humanity. Humanity was designed to be a community; we were meant to be culture-creators. We were created to live in harmony with God and each other, making cosmos out of chaos. The choir is a microcosm of the reality that will one day come, when all of God‘s people will (literally and figuratively) sing together in one voice.
I think even the secular world tastes the beauty of this. Who hasn’t been awed by Jacob Collier’s immense “audience choirs”? Or you can look at the explosion of school, church, and community choirs in America in the last 100 years. Choral music is resonating with people because they have a deep need for genuine community, and that’s an idea embedded right into the heart of Christianity and the church (it is no surprise that choral music in the Western world began in the church).
What was the name of the first piece of choir music that you wrote?
My first choral piece in high school was called When Roses Cease to Bloom. I had a lot of creative energy built up, inspired by choral composers that I’d loved dearly. I didn’t really know what I was doing at the time, but I made it a point to only use techniques and textures that I had seen other composers do before. It turns out that’s a great way to learn in the beginning. The piece was a finalist in a competition at Ithaca College in New York. My experience hearing the piece and talking with the choir left was overwhelmingly positive, and I felt quite strongly that the Lord was calling me to do this as a career.
What was it like being trained musically at The Master’s University?
My years at Master’s were formative musically and spiritually. Coming to TMU was great for me primarily because I had exceptionally supportive faculty who pushed me to excel. My private instructor, Grant Fonda, had a relatively small studio of composition students, and he became both a musical and personal mentor. He and other faculty were models to me in pursuing excellence in your musical craft as a follower of Christ (I often tell students that learning how your professors think is as important, if not more important than what they teach).
I needed many gaps in my knowledge filled and misconceptions challenged, and that certainly happened (and is still happening – you never stop learning. I often think, “maybe one day I’ll finally learn how to compose!”). It was a safe environment for me to try things, and it laid the groundwork for everything to come.
How significant was it for Dr. Plew to direct your composition?
When the Rose Is Faded is probably my most performed concert work almost entirely because Dr. Plew championed it. He was very kind to program it. He treated me like a “real” composer, putting his full artistry into bringing the piece to life. It was one of the greatest musical encouragements of my undergraduate years. Master’s kept performing the piece even a few years even after I graduated, and I still occasionally hear from students or listeners that appreciated it. It also led to them performing a few other pieces of mine, so it didn’t end there!
How does your relationship with your wife help you in your life and work?
In every way. If Becky weren’t in my life, I would be a lot less happy, sanctified, and creative! I think the best work I can do pours out of the abundant life that comes from following Christ and pursuing a God-honoring marriage (with a little seven-month-old now!). I don’t buy the stereotype of the “ivory tower” composer who lives a contrarian and isolated life. Some composers have needed to live like that, but nobody (should) want to.
Practically, Becky is an extraordinarily sensitive musician and a better performer than I will ever be. Having her ears (or flute playing) on my projects usually makes them better.
How did your time at the Peabody Conservatory of Music at John Hopkins University help refine and focus your interest in composition?
Peabody was a wonderful experience for me. My professors there are internationally renowned composers, and they gave me the creative freedom to develop my unique voice while also pushing me to stretch my wings more. I also benefited greatly from teaching and working in the theory department as a graduate assistant, where I immersed myself deeply into the analysis and music cognition, which is now a part of my doctoral research.
Why is your involvement in the local church so important to you?
In Baltimore I learned how essential the local church is to my own spiritual growth. That emphasis is all over the New Testament, but I didn’t really understand it until I saw a small local church abounding in love and offering consistent spiritual accountability. I had a joyous time of serving at our local church (Baltimore Bible Church) and another church (Valley Presbyterian Church). It was a full schedule of planning, leading congregational music, and organizing concerts. Musically, this gave me an awareness of the practical concerns that go into programming a piece of music, especially for volunteer choirs.
In that context, we also got to practice and refine a biblical theology of congregational singing, which is, I think, something that the modern church (particularly in America) has been missing, to the detriment of both music and the congregational gathering. Becky and I have a heart to do some teaching on this topic in her home country of Romania in the future.
Trials
What motivated you to put in the time and study needed to excel in music composition?
I think there are many motivations. Most importantly, I feel this weight of joyful responsibility before the Lord driving me forward. God has graciously allowed me to have a life filled with music, and He has called me to do everything as unto Him. I want Him to be pleased with how I steward my gifts.
Additionally, I just love music as a craft – so much so that I need to be cautious about making it into an idol. I could spend all day writing or improvising or playing a concert, take a quick break, and find myself sitting at the piano five minutes later trying out a new idea. I was the kind of oddball student that read theory books for fun. So it’s hard to imagine doing much else!
That being said, loving something doesn’t mean the work is always easy or enjoyable (it’s often not in the short term). It takes diligent work and study for many years, and composing itself is an exercise in delayed gratification. I learned to embrace the fact that there is always more room for me to improve. I have also grown to enjoy the process of studying and getting better, bit by bit. I’m always doing little composition exercises and challenging myself because I know it will pay off in the long run.
Is there a certain time in your life when God helped you overcome a trial in your personal life or in your professional career?
Many times, certainly – “Great is Thy faithfulness,” as the hymn says. One testament of God’s faithfulness would be in His comforting us through a health scare with our daughter. We had a few doctors warn us during pregnancy that she might have a genetic skeletal disorder. The whole ordeal caused us to lean on the Lord. We realized that every ounce of health is a gift of God, and we would love our little girl however she came to us. God surrounded us with a loving family and a church home to comfort us. And (so far) our little one is perfectly healthy! But I would say our trials have been comparatively small compared with friends around us, and we recognize that this is purely God’s sovereign grace.
Triumphs
What is it like to see your compositions performed by international musicians in churches, concerts, and festivals in Europe and the United States?
It’s always enjoyable to see my music “out there” living a life beyond the premiere. The amount of collaboration varies depending on the specifics of the project. Often pieces are done without me even knowing it! If it is a premiere performance, then usually I will have more opportunity to collaborate, edit, etc., sharing audio files or sketches to make sure what I’m writing will work the way I imagine it.
Your website at www.enloemusic.com lists many of your accomplishments: Can you tell us which one of them is especially significant to you?
Sure! All these were exciting opportunities, but the BMI award stands out to me. It’s an old competition, and past winners include stars in the field like John Adams and Philip Glass. I believe there were six winners out of a few hundred applicants, and the winning piece (Frika) is now in the New York City Public Library. It was particularly meaningful because I met a few of my biggest compositional heroes at the awards ceremony in New York City.
What is it like working with production companies such as Paramount+, Fox Sports, and Amazon?
Those projects were all unique! Most of them were exciting and fast-paced. Working in media is quite different from the concert world, as you are just as much a filmmaker as you are a composer/orchestrator/editor, and I really enjoyed stretching my muscles in that skill set. I worked on those as an assistant to Grant Fonda, who gave me fantastic on-the-job training. Now I feel equipped with the technology and skillset to take on solo projects, which I’ve started to do!
Teaching
What is it like teaching students about music theory and technology at Bob Jones University?
I love it! I pursued graduate work in part so I would be qualified to teach if a composition career didn’t pan out. Once I started classroom teaching (first at Peabody), I didn’t expect that I would enjoy it so much. I have wonderful students who want to honor God by honing their craft, and I love seeing them far exceed even their own expectations. I hope to be a mentor to them the same way others mentored me.
Why is teaching about music technology so important for modern students?
Funny enough, I spent most of my student days avoiding technology. But we live in a day when technology has become an essential part of a musical career. If you want to be competitive in the job market, you need to know how to navigate technology on top of mastering your craft. Even classical performers should know something about how to mic themselves, how to make a good recording, and how to create a presentable website. If you’re doing anything else besides being a classical concert musician, technology will be a necessary part of your life. It’s part of my job to help my students foster a healthy relationship with technology so they can navigate the job market.
Family
What is it like being a husband and father while teaching and composing?
A mentor of mine texted me after Aura was born and said (paraphrasing), “It may feel like you’ll never write music again, but it will get better.” And that proved true!
Really, it’s the daily sacrifices of my wife that make it possible for me to write. It’s not always easy – when I’m working on a piece, it can start infecting all of life. I can get quite absent minded! I try to keep a consistent work schedule, which helps.
Do you have any plans to have your music performed in the central valley or in California in the coming years?
Any time I can do something in California, I try to make it happen! No specific plans at the moment, though I have a great relationship with The Master’s University, who recently commissioned my setting of Psalm 148. Because of my connections to LA from my work in film and my time at TMU, there’s always potential, and I love coming back to visit when I can.
Future:
As you look to the future, what goals do you have for your professional career, for your involvement in the local church, and in your own family?
I want to be faithful with what God has given me. I’m always reminding myself that I need to be ready to give up composing if that’s what following Christ requires. If composing just became the thing I do “on the side,” I’d be content with that. It’s far more important that I am a loving husband and father, growing in Christ-likeness and connected to the local church. Music is optional, but those things are not (and sadly, composers of all stripes often end up sacrificing their family for career, and that’s not something I could ever do in good conscience before God).
I ultimately hope that my music can be one small reminder that there is more to this world than just physical “stuff” – that God’s beauty is reaching out, primarily through His Word and His church, but also through the beauty found in “the things that are made.” That’s the motivation.
