A) THE OVERALL OBJECTIVE.

B) MUSIC IS NON-NEUTRAL.

C) EVEN BUSINESSES USE MUSIC FOR MONETARY PURPOSES.

D) A LITTLE LOOK AT HISTORY.

E) WHAT CAN WE LEARN FROM HISTORY.

F) TO ROCK OR NOT TO ROCK.

G) THE BIBLE’S POSITION.

H) BIBLICAL MUSIC.

I) DOES GOD CARE ABOUT OUR MUSIC?

J) MUSIC’S REAL INFLUENCE.

K) WHAT KIND OF MUSIC SHOULD WE LISTEN TO (OUTSIDE OF CHURCH)?

L) YOUR OBJECTIONS.

M) AN INTERESTING SIDE NOTE.

 

 

A) THE OVERALL OBJECTIVE

 

 

The overall objective of this dissertation is to refine from the Bible some basic principles regarding appropriate music for the Church service and private use.  The task is not easy because the Bible is not set up as a doctrinal manual with a section devoted exclusively to music (or any other subject where every verse is designed in one section to discuss a particular doctrine).  Instead, the Bible is a source Book with over 500 references scattered throughout about music, musicians, singing, and musical instruments.  The challenge is not where to find these references, but how to draw from them principles applicable to us today.

 

“Music was made to serve a holy purpose, to lift the thoughts to that which is pure, noble, and elevating, and to awaken in the soul devotion and gratitude to God.”  PP:594.

 

 

B) MUSIC IS NON-NEUTRAL

 

 

Your music should match the kind of people you want to attract.  The music you choose will either appeal to, retain, or lose your parishioners.  Depending upon the kind of music you are using in your church services, I can describe the kind of people you are reaching; even without stepping foot into your church.  I can also tell you the kind of people your church will never reach.  And you may not want to reach them anyway; but you should want to convert them with to your (God ordained; Col. 3:16) music.

 

The non-neutrality of music is clearly recognized by musicians themselves.  For example, Howard Hanson, famous composer and former head of the “Eastman School of Music,” in Rochester, New York, stated:  “Music is made up of many ingredients and, according to the proportion of these components, it can be soothing or invigorating, ennobling or vulgarizing, philosophical or orgiastic.  It has power for evil as well as good.”

 

It is argued that music itself is neutral.  The Bible itself discredits the notion of the neutrality of music through the story of David, who was called to soothe King Saul whenever troubled by an evil spirit.  “Whenever the evil spirit from God [allowed by God] was upon Saul, David took the lyre and played it with his hands; so Saul was refreshed, and was well, and the evil spirit departed from him.”  First Samuel 16:23.  Note that Saul was affected physically, emotionally, and spiritually, not by the singing of David, but purely by the instrumental music.

 

At this point it would be appropriate to keep in mind for the rest of this study, that according to Ezekiel 28:13-14, we have the understanding that Satan was in charge of the music in Heaven.  Therefore, being the most talented musician of all, he would better understand how to manipulate it; just as David did for king Saul.

 

“Music, when turned to a good account, is a blessing.  When abused, it leads the unconsecrated to pride, vanity, and folly, and becomes one of Satan’s most attractive agencies to ensnare souls.  When music is allowed to take the place of devotion and prayer, it is a terrible curse.”  RH, March 11, 1880.

 

 

C) EVEN BUSINESSES USE MUSIC FOR MONETARY PURPOSES

 

 

Businesses know that certain kinds of music can increase sales while other kinds of music can actually reduce sales.  “The Musak Corporation,” which distributes music for businesses, advertises its services stating:  “The science of stimulus progression employs the inherent power of music in a controlled pattern to achieve predetermined psychological and physiological effects on people.  Leading companies and commercial establishments now employ the Musak concept to improve environment, attitudes, and performance.”

 

By contrast, the Biblical nature of the ministry of music and the musicians used, is graphically described in First Chronicles 23:30-31, after the setting up of this ministry by King David:  “[30] And to stand every morning to thank and praise the LORD, and likewise at even; [31] And to offer all burnt sacrifices unto the LORD in the Sabbaths, in the new moons, and on the set feasts, by number, according to the order commanded unto them, continually before the LORD.”

 

Notice that their main purpose of their ministry was to thank and praise the Lord; not to exalt themselves or their musical creation.  They announced the Lord’s presence to His assembled people (1Ch. 16:4).  An indication of the importance of the music ministry can be seen in the fact that the Levitical musicians were paid out of the same tithes given for the support of the priesthood (Num. 18:24-26; Neh. 12:44-47; 13:5 & 10-12).

 

 

D) A LITTLE LOOK AT HISTORY

 

 

In the early Third Century Church, instrumental music was generally forbidden due to its association with immorality.  The lyre was actually connected to prostitution.

 

By the Fourth Century, Bishop Ambros of Milan replaced Biblical poetry by introducing metrical hymns into the Church.  He was severely criticized because the hymns were known to be composed by “heretics.”

 

By the Seventh Century, individuals began singing solos in the Church.  The overall consensus was that parishioners came to Church to worship God and not man.

 

By the Thirteenth Century choirs graduated from a single melody to four-part harmony, evoking a denunciation for bringing chaos into the Church.

 

Coming to the Fourteenth Century, John Calvin hired two secular composers to put his theology to music.  The result was that the Queen of England was so infuriated by these “vulgar tunes,” that she referred to them as his “Geneva Jigs.”

 

By the Sixteenth Century, debate was over congregational singing of sacred songs.  Some felt that to have mere lay people singing would profane the holiness of the worship service.

 

By the Seventeenth Century, a turning point for Christian music had arrived when many were outraged by the introduction of the organ, calling it the “tool of the Devil.”  And when George Fredrick Handel wrote, “The Messiah” in 1741 A.D., it was condemned as “vulgar theater” by the religious leaders of the time and criticized for its repetition of nearly 100 hallelujahs.

 

By the Eighteenth Century, songwriter Isaac Watts was condemned for writing worldly, and even blasphemous songs such as are found in our hymnals today, i.e., “O God Our Help In Ages Past,” and “When I Survey The Wondrous Cross.”

 

And finally, by the Twentieth Century, when Christian ministries began the use of radio ministry, many were criticized because the airwaves were considered to be the domain of Satan (of course, we know that they can be used for good; I’m just giving you the overall Christian majority consensus of the 1900 hundreds).

 

 

E) WHAT CAN WE LEARN FROM HISTORY

 

 

So, what can we learn from history?  The fact that music has divided churches for a thousand years and is still splitting churches today, should teach us something.  Placing Christ first and what you believe He would listen to should help. But beware that newcomers and newly converted will not be used to Holy music.  However, the Gospel of Christ changes people.

 

 

F) TO ROCK OR NOT TO ROCK

 

 

“To Rock Or Not To Rock,” is the critical question rocking an increasing number of Christian Churches today.  A generation ago there was almost universal agreement that rock music, in whatever version, was inappropriate for personal and Church use.  Today “Christian Rock” is fast replacing traditional music and instruments across denominational churches.  In many churches, the “praise bands” have replaced the choir, PowerPoint projection of songs has replaced the hymnbooks; synthesizers have replaced organs; and drums and guitars have taken their place in the repertoire of church music instrumentation.

 

Some people see these changes as a Divine blessing, while others see it as a satanic curse.  There seems to be no neutrality on this issue.  People are getting very hot under the collar as they defend their particular position.  Often the arguments generate more heat than light, reflecting personal taste or culture (such as the new Hip-Hop coming into churches today) rather than a grasp of the Biblical principles of music.  Ultimately, the controversy over the use of rock music in worship is fundamentally a theological question that must be resolved through an understanding of Biblical teachings on this subject.

 

 

G) THE BIBLE’S POSITION

 

 

The importance of music in the Bible is indicated by the fact that God’s creative and redemptive activities are accompanied and celebrated by music.  At creation, we are told, “the morning stars sang together, and all the sons of God shouted for joy,” Job 38:7.  At the incarnation, the Heavenly choir sang:  “Glory to God in the highest, and on earth peace, good will toward men,” Luke 2:14.  At the final consummation of redemption, the great multitude of the redeemed will sing:  “[6] Alleluia:  for the Lord God omnipotent reigneth. [7] Let us be glad and rejoice [surely also with music?], and give honour to Him:  for the marriage of the Lamb is Come, and His Wife hath made Herself ready. [8] And to Her was granted that She should be arrayed in fine linen, clean and white:  for the fine linen is the righteousness of saints.”  Revelation 19:6-8.

 

In the Bible religious music is God-centered, not self-centered.  In an amazing recent discovery, it was found that the majority of the Old Testament was originally intended to be chanted in the form of song.  Of course, if this were still done it would better help in the process of the memorization of it.  Our loss of Hebrew chant has hindered in our total understanding of what our music should sound like.

 

Singing in the Bible is not for personal pleasure, nor for reaching out to the Gentiles with tunes familiar to them.  It is to praise God by chanting His Word, a method known as “cant illation.”   Pleasure in singing comes from a rhythmic beat that stimulates people physically.  However, pleasure in singing in the Holy Sanctuaries of God’s House can come from the very experience of praising the Lord.  It is also an aid in the conversion of souls.  What Christian is not touched at the appeal of the evangelist for the giving of one’s self to God, whilst in the background is playing, “Would you be free from the burden of sin, there’s power in the blood. . .”  God’s Word instructs us to “Praise the Lord; for the Lord is good:  sing praises unto His Name; for it is pleasant,” Psalm 135:3.  “Praise ye the Lord:  for it is good to sing praises unto our God; for it is pleasant; and praise is comely.”  Psalm 147:1.

 

Singing unto the Lord is “good” and “pleasant,” because it enables believers to express to Him their joy and gratitude for the blessings of creation, deliverance, protection, and salvation.  Singing is seen in the Bible as an offering of thanksgiving to the Lord for His goodness and blessings.  This concept is expressed especially in Psalm 69:30-31:  “[30] I will praise the name of God with a song, and will magnify Him with thanksgiving.  [31] This also shall please the Lord better than an ox or bullock that hath horns and hoofs.”

 

We are told that the Levites “sang praises with gladness, and they bowed their heads and worshipped,” Second Chronicles 29:30.  Which “Hip-Hop” or “Rock-And-Roll” song when finished promotes this type of behavior?  In fact, one usually wants to clap for the artist instead of glorify God.  Bowing down while worshipping could hardly be considered a form of what you would do if you were listening to secular, let alone, religious Rock music.  The power of music to make one want to move physically or bow reverently is not understood by most parishioners.

 

 

H) BIBLICAL MUSIC

 

 

Let us notice how king Hezekiah conducted the worship service according to the Commandment of God in regards to musical instruments.  Notice that he followed after the example of King David.

 

The Biblical choir consisted of a minimum of twelve adult male singers who served between the ages of thirty and fifty (1Ch. 23:3-5).  Rabbinical sources report that the musical training of a Levitical singer took at least five years of intensive preparation.  Let’s take a look at this set up as found in Second Chronicles 29:25-30:

 

25. And he set the Levites in the House of the Lord with cymbals, with psalteries, and with harps, according to the commandment of David, and of Gad the king’s seer, and Nathan the prophet:  for so was the Commandment of the Lord by His prophets.

26. And the Levites stood with the instruments of David, and the priests with the trumpets.

27. And Hezekiah commanded to offer the burnt offering upon the altar.  And when the burnt offering began, the song of the Lord began also with the trumpets [if you read closely, I’ll tell you what this song of our Lord is a little latter], and with the instruments ordained by David king of Israel [“for so ws the Commandment of the Lord by His prophets,” remember?].

28. And all the congregation worshipped, and the singers sang, and the trumpeters sounded:  and all this continued until the burnt offering was finished.

29. And when they had made an end of offering, the king and all that were present with him bowed themselves, and worshipped [They Did What?].

30. Moreover Hezekiah the king and the princes commanded the Levites to sing praise unto the Lord with the words of David, and of Asaph the seer [In Other Words, Commanded Or Accepted To Be The Way Of Our Lord’s Instructions].  And they sang praises with gladness, and they bowed their heads and worshipped {They Did What?].

 

After the Music was over “they bowed their heads and worshipped.”  No hand clapping or cheering for the musicians; the praise and worship for such an experience went to God, not the musicians.  In Second Chronicles, Chapter 5, we learn:

 

11.  And it came to pass, when the priests were come out of the Holy Place: (for all the priests that were present were sanctified, and did not then wait by course:

12.  Also the Levites which were the singers, all of them of Asaph [A “seer,” or better, “Prophet,” remember?], of Heman, of Jeduthun, with their sons and their brethren, being arrayed in white linen [dressed simply, not elaborately], having cymbals and psalteries and harps, stood at the east end of the Altar [The Brazen Alter In The Court Of The Sanctuary], and with them an hundred and twenty priests sounding with trumpets:)

13.  It came even to pass, as the trumpeters and singers were as one, to make one sound [How Many Sounds?] to be heard in praising and thanking the Lord; and when they lifted up their voice with the trumpets and cymbals and instruments of musick, and praised the Lord, saying [Here Is The Song], For He is good; for His mercy endureth for ever [End Of Song; simple and elegant]:  that then the House [The Holy Place and The Most Holy Place] was filled with a cloud [The Lord’s Presence Was Seen In The Sanctuary Proper], even the House of the Lord;

14.  So that the priests could not stand to minister by reason of the cloud:  for the glory of the Lord had filled the House of God.

 

 

I) DOES GOD CARE ABOUT OUR MUSIC

 

 

The fact is, that God does care about how we sing and play during the worship service.  He is not pleased with unintelligible “loud noise,” but with orderly, melodious, and intelligible singing; just like He does not sanction unintelligible language, but true heartfelt prayers (see my Bible Study:  “TONGUES, THE GIFT OF).  Those Bible texts that speak about making “a joyful noise” or “a loud noise” unto the Lord, do not then teach us to praise God with excessive amplification of the human voice or musical instruments during the worship service.  Such a notion is derived from a mistranslation of the Hebrew word “ruwa” as “loud noise.”  The amplification of the human voice can hardly be compared to the amplification of your typical Rock band.  Even 150 human voices singing very loudly can only reach a decibel level of 70 to 80; maybe 90.  But a four-member rock band with its amplifiers can reach 130 to 140 disables. That is more than a jumbo jet at take-off (105 disables).  Personally, I attended a church service I was invited to, not knowing that a rock band was playing when the congregation was asked to sing along with them.  You couldn’t here yourself, let alone anyone else.  I didn’t even attempt to sing.  Why bother?  Don’t get me wrong.  It may have its place.  But certainly not in Church as praise to a Holy God.

 

Our God certainly cares about praise.  And one form of praise is found in Psalm 150:4-5:  “[4] Praise him with the timbrel and dance: praise him with stringed instruments and organs. [5] Praise him upon the loud cymbals: praise him upon the high sounding cymbals.”

 

The music ministry at the Temple was successful because its musicians were prepared spiritually.  They were set aside and ordained for their ministry like the rest of the priests.  Speaking to the leaders of the Levitical musicians, David said:  “[12] Sanctify yourselves, you and your brethren . . . [14] So the priests and the Levites sanctified themselves.”  First Chronicles 15:12 & 14.  This was accomplished before they dared to sing in the worship service.

 

Also, the Levite musicians were full-time workers.  First Chronicles 9:33 states:  “Now these are the singers, the heads of father’s houses of Levites, dwelling in the chambers of the temple free from other service, for they were on duty day and night.”  Apparently, the Levitical ministry of music entailed considerable preparation, because we read that, “David left Asaph and his brethren there before the Ark of the Covenant of the Lord to minister continually before the Ark [they were before, not in the Holy Place, nor certainly the Most Holy Place] as each day required.” First Chronicles 16:37.  The Biblical lesson is thus clear that ministers of music must be willing to work diligently in preparing the music needed for the worship service.  In other words, they were there to worship, in preparation to going into (later) the synagogue to sing.

 

In a very interesting aspect of true worshipful musicale usage, the Book of Chronicles presents the musical ministry of the Levites as part of the presentation of the daily offering at the Temple.  This ritual consisted of two parts:

 

First, the blood ritual was performed, which was designed to atone for the sins of the people through the transference of the blood of the sacrifice to the Holy Place (2Ch. 29:21-24).  This service created the ritual purity necessary for God’s acceptance of His people and the manifestation of His blessing upon the congregation.  During this ritual no songs were sung.

Second, once the rite of atonement was completed, the burnt offering was presented upon the Brazen Altar.  This ritual signaled God’s acceptance of His people and the manifestation of His presence.  And as the sacrifices were being burnt upon the Brazen Altar, the trumpets, which announced the Lord’s presence, called for the prostration of the congregation in His presence, and the song of the Lord was sung by the musicians (2Ch. 29:25-30).  Thus, the choral service came after the rite of atonement had been completed.  If holy reverence was practiced before the singing in church services today, what a difference in the choice of song would be made?

 

Notice that the Israelites did not go to the Temple to hear the Levitical bands performing in sacred concert.  Instead, they went to the Temple to witness and experience God’s atonement for their sins.  The music that accompanied the atoning sacrifice invited them to accept and celebrate God’s gracious provision of salvation.  It was designed to exalt God, not man.  In the Temple musical service, the music used served to enhance the sacrificial service [Jesus] by enlisting the participation of the congregation at certain specific moments.

 

In Conclusion:  Music ministry is to be conducted by people who are trained, dedicated, and spiritually minded.  Music is to be God-centered, not self-centered.  The notion of praising the Lord for entertainment or amusement is foreign to the Bible.  May the Lord give us the discernment and desire to fill our homes and Churches with music that meets His approval, rather than the applause of the world.

 

 

J) MUSIC’S REAL INFLUENCE

 

 

Of all the musical elements, rhythm stands out in that it evokes the strongest physical response.  To prove this point, put on your imagination with me and consider the following example.  Picture a company of Marines parading by in rank, performing their morning cadence. Your Left, Your Left, Your Left, Right, Left. . . We’ll make you a man, and that you can be sure of, Your Left, Your Left, Your Left, Right, Left.  Can’t you just feel your feet want to stay in cadence so as not to break rank?  Now let’s bring this type of rhythm into the “Christian” realm.  Sing with me please:  “Onward Christian soldiers, marching as to war, with the cross of Jesus, going on before. . .”  Can’t you just see yourself marching along with the rest of your brothers and sisters?

 

OK, I hope you can see my point about rhythm, because Satan certainly does, and he knows how to use it to his advantage if you let him. “They (young men and young women who profess to believe the truth) have a keen ear for music, and Satan knows what organs to excite to animate, engross, and charm the mind so that Christ is not desired. The spiritual longings of the soul for Divine knowledge, for a growth in grace, are wanting. . . He is a skillful charmer, luring them on to perdition.”  1T:496-497.  Therefore, let us sing so as to never receive from the Lord what Amos had to deliver to the Israelites:  “Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.”  Amos 5:23.

 

Thus, we should come to the conclusion that the purpose of singing should be for spiritual edification, and not for physical stimulation.  Paul says:  “When you come together, each one has a hymn, a lesson, a revelation, a tongue, or an interpretation.  Let all things be done for edification [Of God, Not Man].”  First Corinthians 14:26.

 

The most defining text on music in God’s Word (given above), is Colossians 3:16:  “Let the Word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.”  Notice some very important principles brought out in this text.

 

1) The words of Christ will be employed in the music (which of course, He must first be dwelling in you).  “There are few means more effective for fixing His Words in the memory than repeating them in song.”  Ed:167; Ev:496; FLB:273; LDE:86; MYP:291; ML:90; VSS:407; YI, March 29, 1904.

 

2) We will employ the God-given “wisdom” for the select words of our music.  The Hebrew word “wisdom,” spoken of here, is “sophia,” meaning (“Strong’s Concordance”):  “Wisdom, broad and full of intelligence; used of the knowledge of very diverse matters; the wisdom which belongs to men; the varied knowledge of things human and Divine, acquired by acuteness and experience, and summed up in maxims and proverbs; the science and learning; the act of interpreting dreams and always giving the sagest advice; the intelligence evinced in discovering the meaning of some mysterious number or vision; skill in the management of affairs; devout and proper prudence in intercourse with men not disciples of Christ, skill and discretion in imparting Christian truth; the knowledge and practice of the requisites for Godly and upright living.”

 

3) When employing music, the purpose is to teach and “admonish.”  “Admonish” is the Hebrew word “noutheteo,” meaning:  “to admonish, warn, exhort.”  Thus, “to admonish, warn or, exhort,” would be to call sinners to repentance, advise strongly, urge earnestly, caution, entreat.  “The melody of song, poured forth from many hearts in clear, distinct utterance, is one of God’s instrumentalities in the work of saving souls.”  5T:493; EVA:496.

 

4) We will sing with “grace.”  That is (from “Strong’s Concordance”):  “That which affords joy, pleasure, delight, sweetness, charm, loveliness; grace of speech; good will, loving-kindness, favor; of the merciful kindness by which God, exerting His Holy influence upon souls, turns them to Christ, keeps, strengthens, increases them in Christian faith, knowledge, affection, and kindles them to the exercise of the Christian virtues; the spiritual condition of one governed by the power of Divine grace; the token or proof of grace, as a benefit;  a gift of grace; bounty; thanks, (for benefits, services, favors), recompense, reward.”

 

A great example of this would be found in Ephesians 4:29:  “Let no corrupt communication proceed out of your mouth, but that which is good to the use of edifying, that it may minister grace unto the hearers.”  And just a thought, Psalm 100:2:  “Serve the LORD with gladness:  come before His presence with singing.”  Let not the Hip-Hop artist say, but my words do that, for “The Beat” associated with it destroys any Divine ordained rhythm.  Discussed below.

 

5) We are to sing from our “hearts,” which if Christlike, we will be singing to exalt “the Lord.”

 

6) And when we sing, we are to be singing as if we were singing “to the Lord.”  “No one who has an indwelling Saviour will dishonor Him before others by producing strains from a musical instrument which call the mind from God and Heaven to light and trifling things.”  1T:510.

 

 

K) WHAT KIND OF MUSIC SHOULD WE LISTEN TO (OUTSIDE OF CHURCH)

 

 

Understanding the correct music to listen to is vital if only because in these end times the whole world will be divided into two camps -- those who worship the Creator and those who worship (thus accepting the mark of) the beast (see Rev. 14:9-11).  Remember our marine cadence?  Notice how the emphasis of the rhythm is on beats 1 and 3.  With Rock-N-Roll, forms of Blues, Country-Western, and the machine-gun style of Rap (which is a form of Rock-N-Roll spoken in monosyllables), the emphasis is on beats two (2) and four (4).  Or, as with constant syncopation, the emphasis is on the upbeat, halves, or second portion of the beat.

 

To Example this:  one-AND, two-AND, three-AND, four-AND.  Most Classical and Christian hymns, as an example, emphasize beats one (1) and three (3).  So what is the problem with exalting beats two (2) and four (4)?  It goes against one’s regular heartbeat.  Listen to the ticking rhythm of a battery clock and you will find it in sync with your beating heart.  Pump-rest, Pump-rest, as in ONE-two, THREE-four.  This is like quite relaxing on a calm winter’s day. However, combine the urge to move with a mesmerizing beat and words (one where the same phrase and rhythm are repeated over and over) and you may begin to understand why you seem to daydream when listening to music, which emphasizes beats two (2) and four (4).  This usually makes one feel like dancing.  And if you want to get even madder at me, see my Bible Study on:  “DANCING, BIBLICAL ACCEPTABLE.”

 

In making these observations, please remember that music is not only a vehicle for words, but for memorization of the Scriptures; a positive influence of music.  It can also carry a message of its own through rhythm.  It has power to expand the message of the words it accompanies, or to corrupt it.  Music can ennoble the impact of the words, or diminish them and have a corrupting influence.  Ask yourself this question when considering the type of music you will listen to.  “Do I intend to follow my Lord fully and completely and walk even as He walked (see Mat. 22:37) when this song is over?”

 

Before you say “give me a break,” consider the other alternative, “the mark of the beast.”  And because there is no middle ground, your next question should be:  “Does this music exalt and glorify my Savior, draw me closer to Him, and appeal to sinners such that they ask that ever-important question -- “What must I do to be saved?”  Therefore, does the type of music we should listen to -- and should listen to -- help us to, “seek ye first the Kingdom of God,” Matthew 6:33?  And, does it help us to focus our attention on God, thus fostering a commitment to duty and obedience?  In a side note, all music is not necessarily bad, but is not appropriate in a Church setting preparing to receive the Holy Spirit of God’s presence.

 

That Satan is using music as one of the arenas to draw people away from God and righteous living should not be disputed.  Numerous studies (not cited in this short; I Know, long article) have proven both the positive and negative effects available to us through the medium of music.  Jesus taught that we should not pray with repetition (Mat. 6:7), so the principle would hold true that our music should not be in a repetitive tone also (same words over and over; no inspiration or substance).

 

 

L) YOUR OBJECTIONS

 

 

It is argued that through their musical service the Levites “ministered” to the people, as mentioned in five separate instances in the Old Testament, where the Levites are said to “minister to the people” through their music (see 1Ch. 16:4 & 37; 2Ch. 8:14; 23:6; 31:2; excellent argument, but for the wrong reason).  However, this argument falls on deaf ears when it is realized that this is speaking -- in every instance -- of the Levitical choir, which was set up for the worship services of the Temple, because they were instructed by David:  “to minister before [The Holy Place] the Ark of the Lord [near The Most Holy Place], and to record, and to thank and praise the Lord God of Israel,” First Chronicles 16:4, remembering that First Chronicles 23:30-31 states how that was supposed to be done:  “[30] And to stand every morning to thank and praise the LORD, and likewise at even; [31] And to offer all burnt sacrifices unto the LORD in the Sabbaths, in the new moons, and on the set feasts, by number, according to the order Commanded [By God] unto them, continually before the LORD:.”

 

That Contemporary Pop Religious music is the prophetic fulfillment of the Biblical “new song,” because Pop songs have “new” lyrics and tunes is a ridiculous argument.  A study of the phrase “new song” reveals that the phrase “new song” refers not to a new composition, but to a new experience that makes it possible to praise God with new meaning.  For example, David says:  “[9] I will sing a new song unto Thee, O God:  upon a psaltery and an instrument of ten strings will I sing praises unto Thee. [10] It is He that giveth salvation unto kings:  Who delivereth David His servant from the hurtful sword.”  Psalm 144:9-10.  Here the “new song” is not associated with simpler lyrics or more rhythmic music, but with a unique experience of Divine deliverance that inspires David to sing with a “new sense” of gratitude a hymn of praise.

Some appeal to the use of cymbals to argue that Temple music had a rhythmic beat like Rock music today.  Consequently, the Bible does not forbid percussion instruments and Rock music in the Church today.  Such an argument ignores an important fact that is well pointed out by A. Z. Idelsohn, in his book, “Jewish Music in Its Historical Development.”  A. Z, Idelsohn notes that in the worship of the Temple, only one pair of cymbals were used, and that by the leader himself.  Here is his statement:

 

“The percussive instruments were reduced to one cymbal, which was not employed in the music proper, but merely to mark pauses and intermissions. . . the cymbals were not used by the precantor to conduct the singing by beating out the rhythm of the song, but rather to announce the beginning of the song or a stanza in the song.  Since they were used to introduce the song, they were wielded by the head of choir on ordinary occasions (1 Chron. 16:5) or by the three heads of the guilds on extraordinary occasions (1 Chron. 15:19).  Since the trumpets and the cymbals were played together to announce the beginning of the song, the players of both are called the ‘sounders’ in 1 Chron. 16:42.”

 

In a similar vein, in his book, “Rhythm and Tempo,” Curt Sachs explains:  “The music in the Temple included cymbals, and the modern reader might conclude that the presence of percussion instruments indicate rigid beats.  But there is little doubt that the cymbals, as elsewhere, marked the end of a line and not the beats inside a verse. . . A word for rhythm does not seem to exist in the Hebrew language.”

 

Therefore, the term “Selah,” which occurs in some Psalms to mark the end of a stanza, most likely indicates the place where the cymbals were struck.

 

 

M) AN INTERESTING SIDE NOTE

 

One of the most telling pieces of evidence of the “Christ-centered” singing by the early Church is found in the private correspondence between the Roman Governor Pliny and the Emperor Trajan.  In a letter dated in 112 A.D., Plinyreported to the emperor that he tortured some young Christian deaconesses in order to find out what possible crimes were committed by Christians in their religious gatherings.

 

To his surprise Pliny found that:  “The sum total of their guilt or error amounted to no more than this.  They had met regularly before dawn on a fixed day to chant verses alternately among themselves in honor of Christ as if to a god, and also to bind themselves by oath, not for criminal purpose, but to abstain from theft, robbery and adultery, to commit no breach of trust and not to deny a deposit when called upon to restore it.”

 

What an inspiring pagan testimony about the early Christian worship?  Christians became known for singing to “Christ as if to a god,” and for binding themselves to follow His example in their life-style of purity and honesty.  It is evident that the main theme of their songs was Christ.