Thought for the day

"When we embrace the truth it increases our God consciousness."  (Marty Parks, Music Texas, 2009)

Who can you trust philosophically?--part 4

 It is a fact that the great majority of music philosophies today are: humanists (some religious),  atheists and (theistic) evolutionists. These musical minds believe wholeheartedly that in the beginning was “ameba” or worse yet in the beginning was “nothing”.  They do not even slightly accept the concept of "in the beginning God created music."  Among this group of philosophers, evolutionists and humanists believe that man came from nowhere and is ultimately going nowhere unless he authenticates himself in order to actuates his true humanness . 
 It is easy for them to believe that man exists in a purposeless universe and  is “caught in the wheel of time” and must authenticate or actuate his or her true humanness.  These musicians most often believe that music came from nowhere (since it is not a part of God's six day creation since God did not create) and is ultimately going nowhere.  To  humanist, atheist and evolutionist (sometimes religious) music philosopher, the main things that  matter about music is “me” and "my" and "mine".
This type of thinker concludes that music is amoral since man is god and god is man therefore god is in man because man created god. Therefore, any music that this musician composes, arranges or performs is god’s music. Furthermore all man’s music is created in god’s image since god is created in man’s image as the result of the "fact" that man thought god into existence in his or her life(this, of course, eliminates some of the atheists and theistic evolutionists).  Any music that pleases man will also please God and conversely no music that displeases man is pleasing to god. The end result is that man is god of his music.

 So, if you can wade through all the aforementioned philosophical mumbo-jumbo, you will be able to understand why a religious humanist, who is autonomous and has accepted any or all of this falsehood,  believes that all musical roads lead to heaven – why there is no profundity in music – why all music is appropriate for public worship and ultimately why music is all a matter of taste. [ wow, I just noticed that  the previous statement is a one sentence paragraph.  My English professor would not like that paragraph].

The disturbing fact is that synthesis thinking Christian musicians who believe some or all of the previously mentioned philosophical falsehood squeeze God out of their music education praxis and their philosophical basis of church music.  They squeeze God out of philosophical basis because they believe that God is only God of matters of grace and not nature.  When nature,  which in this case includes humanism and atheism, has thus eaten up grace, the result is devastating to Christian music philosophy.

Thought for the day-Fallacies of philo-part7

Can you imagine a composer sitting at his computer or writing desk thinking, "lets see, how can I write some music today that will say absolutely nothing?"

Quote for the day--who can you trust part 3

"The shelves in God's pantry are within your reach." ( Pastor Ben Durr, Sr.)  I believe that God's pantry contains many concepts of correct musicing that are within the Christian musician's reach in the 21st. century.  It is our responsibility as Christian music ministers and music educators to find ways to impregnate  all our musicing with "God education".

Who can you trust philosophically?--part 3

 

One thing for sure, public education will not directly teach the next generation of church musicians wrong things about God because they are not allowed to include God or biblical principles of musicing in their music knowledge.  Federal law in the USA  has mandated that public education can no longer retain God in  educational knowledge.  However, the fact that public schools and universities will not directly teach false concepts of God does not indicate that no false “God-education” will take place in the music classrooms of these educational institutions. 

 By eliminating God as the Creator and Lord of all music education, public education relays strong false messages about the nature and value of music to our young people.  Public education can no longer recognize God in the development of a philosophical basis for music education.  As a matter of fact, teaching God as the basis of all philosophical musical thought is forbidden.  The only safe path in public education is to omit the authority of God in any philosophical discussion of music.
  In public education, no sacred music concerts are legal and the sacred classics may only be taught or performed as music literature.  It is also most often mandated that there be no Christmas or Easter concerts.  The only time that it is totally legal to mention God in the music classroom is when the music instructor stubs his or her toe on the desk leg. 

Contemporary music educators are now so squeezed into the world’s mold that they do not seem to realize that the whole belief-system that music is amoral is the result of humanistic autonomous music philosophy.  It is no wonder that you can trust a humanist to conclude that all music endeavor begins and ends with man.  The philosophical bias of a humanist will always be that all meaning in life (if they even admit that there there is meaning in life) will be the result of self-actualization and the act of authentication of a  person’s free will.

Thought for the day

Maybe we wouldn't have so much conflict over music in our homes and churches if we would take the responsibility to educate our own musically.

Who can you trust philosophically?-part 2

Yesterday we discussed who we can trust in the process of developing a Christian music philosophy. One thing for sure we can not trust public education to produce Christ-centered musicians who have a Christocentric music philosophy.  In the 20th centuryChristians never should have trusted the world to formulate music education philosophy for our children and young people.  It has always been the responsibility of Christians to train their own . (see I Chronicles chapter 25)

 Although many Christian parents have failed to believe it, the world has never been a friend of grace when it has concerned music education.  Could you imagine the ancient Hebrews allowing the Philistines to teach their levite sons music?  I Chronicles 25: 6-7 explains that the chief musicians, that we know  feared and loved Jehovah, taught their levite sons music.  "So the number of them, with their brethren that were instructed in the songs of the LORD, even all that were cunning, was two hundred four score and eight." The chief musicians Asaph, Juduthun, and Heman  who were God fearing were over for the highly developed system of music education that was responsible for their sons music education, (notice verses 8-31). 

 Many Parents of the 20th century  allowed worldly musicians who outwardly profaned the name of Christ to teach their children music .  The result of this type of music education was generation after generation of Christian musicians filled with "Philistine" music philosophy. Sadly enough in the 21st century many parents  have not, for the most part, seen the need for Christ centered Bible based music education. 
  Such music education will rarely come from any place except a  musically conservative Christian school, a Bible college that is a Bible  based music philosophy, or the few Christian Universities that still have a Christocentric music education philosophy.  It is our responsibility to educate our own musically.  If we would, maybe we would have less trouble passing our music values on to the next generation.  I decided a long time age not to get mad but rather to get glad and devote my life to Christian education!

Thought for the day

We can trust Satan to act like Satan and the world to act like the world. So, why can't we trust all Christian musicians to music like Christians?

Who can you trust philosophically?--part 1

As has been said earlier,Christian musicians often question the necessity of developing a personal system of beliefs concerning the nature and value of the whole of music.  Furthermore, they often seem to believe that those values set forth by major public colleges and universities are adequate for Christian musicians.  After all, aren’t the elements of music the same for Christians and non-Christians?  Shouldn't philosophers who have studied it all their adult lives be better at philosophical pursuit than  Christian musicians? The philosophy of a musician who does not bring all his musical endeavor under the Lordship of Christ should never be trusted.  The reason is that the purpose of non-Christian  music philosophical basis is different.  Nothing that a Christian musician does musically is driven by the purpose of glorifying self or consuming music's understanding on one's own self-aggrandizement.

You can trust an unregenerate musician to be worldly in his or her philosophical basis.  Remember, direction determines destiny philosophically!  Any musician who believes that the end of all human endeavor is the gratification and actualization of self will ultimately come to different philosophical conclusions than a musician who believes that music begins and ends with God.

 To the music humanist et. al., musicing begins and ends with self since it is about his or her true humanness. To the musician who has submitted his or her musicing to the Lordship of Christ,  all church music is sung and played to glorify God since God owns music. The Christian musician (if he or she has developed a Christocentric  music philosophy) believes that even when preforming so called "absolute music" it is not, in the truest sense, "absolute". So, he or she will not perform any style of music that is not congruent with a Christocentric whole-life philosophy.  

Thought for the day

The things I value most are: my relationship to Jesus Christ, my wife Sheila, my children, my son-in-laws, my daughter-in-law and my grandchildren.  NOTHING else matters very much. This morning I am counting my blessings and lavishing praise upon my precious Lord and Savior Jesus Christ for who He is and what He does. Praise God!

How I got started studying music in the Bible

 In July of the summer of 1967 I attended the Eastern Kansas Camp with my mother Anna Mayme Wolf, who has now gone to heaven.  The evangelist was Dr. C.E. Cowen who preached a very powerful lucid gospel message. Dr. John I. Page came to me and invited me to step forward and give my heart to the Lord.  I came forward that night an bowed at an old wooden alter in that  open air tabernacle.  I confessed my sins with much godly sorrow, gave my heart to God, and by faith in the merits of Christ alone received Christ as my personal savior. 
     I later graduated from Pittsburg State University in Pittsburg Kansas and  accepted a teaching position at Kansas City College and Bible School in Overland Park Kansas. I believe it was during that school year that I attended Dr. Frank Garlock's music seminar which took place at Kansas City Christian School in Merriam Kansas.
     It was during that seminar that the Lord impressed upon my heart to give serious study to the topic of music in the Bible and to develop a coherent Christ centered music philosophy.  I will forever be grateful to Dr. Garlock for his faithfulness to the Lord.  Without his faithfulness to deliver the message of Christ centered musicing, I might not have started on this marvelous musical journey.

Thought for the day

You will be remembered more for what you "do"with music than what you believe about music.

Direction determines destiny philosophically.

One of the most unfortunate twenty-first century dilemmas in Christian music philosophy is that many Christian musicians do not have a series of systematic written beliefs concerning the nature and value of the whole of music.  Many Christian musicians believe that music philosophy is like jello with too much water in it--it never solidifies into a cohesive whole.

 These musicians fail to realize how important it is to know where they are going musically.

Remember direction determines destiny.  They want to go to Kansas City musically bur fail to realize they are going east on Interstate 70.  No matter how sincere they are about going to Kansas City musically, they will never get there going east.  Once a Christian musician starts with a faulty premise the rest of his or her faulty conclusions topple like dominos all lined up in a row. 

            Those who conclude that music is amoral have to incorrectly assume that in the beginning God did not create music in a personal real objective way.  They believe that God sees music from a distance through rose-tinted glasses.  Since they believe that God does not have an ultimate opinion concerning music ministry, He is not “there” when it comes to music. 

 

 The very fact that music “is” is proof to a Christian that it is a part of God’s infinite creation.  A thesis thinking Christian  who believes in a real music creation rather than some kind of  theistic musical-evolution is led to the systematic conclusion that because music “is” it is a part of God’s real creation.  Therefore, God is “there” concerning music.  If God is “there” concerning church music in the 21^st century, then it stands to reason that he cares about it in a most objective way.  I repeat, God is "there" concerning music!  Never forget that God is more than willing to guide us musically in this century!  James 1:5 contains a wonderful philosophical promise, "If any of you lack wisdom, (sophia, 4678) let him ask of God, that giveth to all liberally, and upbraideth not; and it shall be given to him."

Quote for the day

I heard Dr. A. Wingrove Taylor say,"God is the one who requires."  I believe  this applies to my musicing--I want to prove that my musicing is acceptable unto God.

Proving music's Acceptability to God

Many Christian musicians act as if the Lord doesn’t really care about music philosophy or music making.  Some Christian musicians believe that all forms of music making and all music philosophies are acceptable unto the Lord and, furthermore, that there are no absolutes in music philosophy or music making. 

 

  The musical discourse in Ephesians 5:9-10 is prefaced by the very important statement, “Proving what is acceptable unto the Lord.  And have no fellowship with the unfruitful works of darkness, but rather reprove them.”  So we know from Scripture that a Christian musician has the responsibility to prove what is or  is not  acceptable to the Lord.  This responsibility includes musicing.  Nevertheless, in spite of this fact,  many Christian musicians still believe that, in church music, all forms and styles of music making are acceptable unto the Lord.  Since they are free to pursue their philosophical  music journey by themselves, they are autonomous musicians.

So now in the twenty-first century, an increasing number of Christian musicians have come to the conclusion that there are no “musts” or “absolutes” in our religious journey  since God only watches us from a distance through rose tinted glasses. Are there any “musts” or “absolutes” in our walk with the Lord?  Christ said in St. John 3:7 “marvel not that I say unto thee, ye must be born again.”  In Matthew 5:20, Christ stated, “For I say unto you, that except your righteousness shall exceed the righteousness of the scribes and Pharisees, ye shall in no case enter into the kingdom of Heaven.”  This list of absolutes could be multiplied by many, many verses, all of which sound very absolute to me. 

 Since there are absolutes in all other areas of our Christian journey, we are drawn to the conclusion that there are also absolutes in music.  As I have said before, all philosophical thought concerning music and all music making comes under the absolute authority of our Lord and Savior Jesus Christ.  Church music not only matters, but it matters to God. Based on the musical discourse found in the fifth chapter of Ephesians,  we can most assuredly gather that the how, why, when, where and to whom of Church Music Matters to God. The monkey, so to speak, is not on God's back since we must prove that the way me music is acceptable unto God.

Thought for the day

If we as Christian musicians lose sight of the concept of lifting up Christ with our musical performance, it will not be very long until we will be selling self with our musicing.

Does the end justify the means when we music?

There is a common twenty-first century praxis of religious music performance in which attention is placed paramountly on the performer’s “self”.  This may include the use of one’s body to draw attention to the performer.  Many male and female Christian performers use bodily movements, and even sensual innuendos to first draw the audience’s attention to the PERFORMER. 

 

 This Jesuit music philosophy of "the end justifies the means" allows suggestive dress, suggestive bodily movements and the use of microphone techniques is such a way as to place the performer in the intimate zone of the audience.  Remember this pseudo Christian humanism not only allows the performer to draw audiences to “self” but also promotes the “lifting up” of self as first and foremost in Christian music making.  This philosophy promotes self first in order to present the Savior second.  Remember this philosophy of “the end justifies the means” allows almost anything if the end result is the presentation of the gospel.

            Does the end really justify the means?  First of all is it intellectually honest to present the Savior with the sensual?  Is it feasible to excite people with sensuality and then try to switch to the spiritual realm?  Is it possible to draw attention to a woman’s body with a low cut dress or a slit up the side of her skirt or by dressing her in tight leather pants and then hit these needy sinners with the good news of the gospel?  Can a man dressed in tight jeans and a muscle shirt or a shiny silk shirt unbuttoned to reveal his chest hair moving back and forth with sexual like movements suddenly hook the crowd with the excellent message of “Jesus Saves”?

 

I contend that most definitely the end does not justify the means.  It is deceitful to try to sell the sacred with sexual innuendos.  It is an ancient Bible landmark that, in our musicing ,we should always lift up God and never self.

Thought for the day

Consider writing down  some of the aspects that make the music you perform and listen to estimable to you.

All musical actions exude from a philosophy.

 

I contend  that all music ministry is based on some philosophy and that this philosophy is fundamentally based on some matrix.  Music philosophy is the basic foundation from which all musical actions exude.  A sound Bible based philosophy of music ministry is founded on principles much deeper than mere likes and dislikes since it is based on Bible principles of musicing..

Wise Christian musicians  commit their philosophy to pen and ink.  I believe that a well-developed   series of systematic statements (beliefs) concerning the nature and value of the whole of music will serve as a basis for a person’s direction in music.  The reason we care about musical direction is because musical direction determines musical destiny.  A well thought out philosophy of music ministry will serve as an every day guide for all music action.  Articulating one's music philosophy will bring an inner peace and will serve as a concomitant of one’s whole-life philosophy .

            Many Christian musicians have never taken the time to write out their music philosophy and therefore their music philosophy is many times incomplete and  homespun.  As I mentioned earlier, some Christian musicians, whom I have met in my travels over the past forty years, deny that they even have a music ministry philosophy.  They often hide behind the excuse that they are not trained musicians or that they have never had the opportunity to study music philosophy.  What they do not know is that every one has a philosophy of music and all our musical actions exude from what that belief basis. 

 

 Even in the smallest of communities there is often a barbershop or a feed store with some chairs for philosophers.  Just bring up the subject of music and these grass-roots philosophers, who may not know the names of the lines and space, will tell you exactly what is right and wrong with music today.

Thought for the day

What you continually experience musically will have an effect on your" whole life".  What are you experiencing regularly?

Do all musical roads lead to heaven?

Contrary to popular thought, the essential nature and value of  different musics is not always the same.  The  Christen musician who unwittingly believes that one can squeeze the music of Satan's matrix into efficacious worship of a holy God is mistaken.  Although two different musics will both have purpose and will effect the performer and the auditor, the nature and value each is not always synonymous since each may be driven by a different purpose.

Any praxial view of that supposes that "all musical roads lead to heaven" is faulty.  Remember that  when it comes to philosophic musical praxis, direction determines destiny.  All musical trees do not yield the same understanding or , so to speak, the same musical fruit.

 To suppose that music that has been influenced by Satan  and that ipso facto derives its significance  and value from his influence  is valuable to worship  God is a faulty view.  Such a view essentially equates "good" value to a music that has been perverted by Satan.  There is no "good" that comes from any part of Satan's perverted praxis.  Furthermore, there is no spiritual "good" or spiritual understanding to be derived from music that has been influenced by Satan.  One exception is a text that is quoted from the Bible or is clearly biblical.  However, one must also take into consideration the music part of this music.   To suppose that Christian musicians can squeeze "good" out of the result of trying to retask the music part of this music is to suppose that good may be derived from Satan's influence.

Thought for the day

Music philosophy is a belief system.  The way you music is a proof of what you really believe about musicing unto God.

Music philosophy is a belief system.

 

            The Christian must be careful to analyze the fundamental grounds and concepts that govern all musicing to be sure that all philosophical grounds are Christocentric.  Furthermore, all of a Christians musician’s fundamental systematic beliefs concerning the nature and value of music must be in alignment to the matrix of God and His Word which is His divinely inspired guidebook for Christian musicians.

            The reason philosophers refer to a philosophy as a belief system is that it is a systematic approach to why we do what we do musically.  If it does not follow biblical principles it is faulty.  If it is not systematic it is  likely that it will be faulty or incomplete at best.  Every time a musician, or a non-musician, makes a musical choice he or she is exercising a musical philosophy. 

          The real essence of a musical praxis is "doing".  That is the reason I am so concerned about what we do with the great God given art of music.  It does not matter very much what we believe about musicing unto God if we do not follow this belief system when we music unto God.  

 

          A musician's "doing" will be profoundly effected by what he or she believes about the real nature and value of music.  Every Christian musician must have an understanding of why he or she values the types of music he or she listens to and performs.  The same question applies to a Christian's understanding of the essential nature of all the musics allowed in one's" whole life" musical praxis. 

Thought for the day

Christian musicians are sobered by the warning  of Ephesians 5:6a which states, "Let no man deceive you with vain words..."  We are made aware in  II Timothy 3:13 that,"...evil men and seducers shall wax worse and worse, deceiving and being deceived."  However, the very next verse (3:14) gives us great hope, " But continue thou in the things which thou hast learned and hast been assured of, knowing of whom thou hast learned them; And from a child thou hast known the holy scriptures, which are able to make thee wise..."  It is a joy to know that we have over 600 Bible references to help us formulate a Christocentric music philosophy.

What is a Christocentric music philosophy?

We have established that a music philosophy  is a series of systematic beliefs concerning the nature and value of the whole of music. Now we need to establish what a Christ-centered philosophy of music is.  It is a series of systematic beliefs concerning the nature and value of music in which Christ has preeminence.  Christ is at the center of this philosophy which is the antithesis of a humanistic music philosophy. Remember that, for the music philosopher who is a humanist, music begins and ends with self.  To him, any insight or  "understanding" that is derived from musicing or writing about music or listening to music, gives insight into the humanness of his life.  It supposedly gives him insight as to why on earth he exists.

 

.  If we are going to keep God at the center of our beliefs concerning the nature and value of music, then we must, as Colossians 2:8 warns, "Beware lest any man spoil (deceive) you through philosophy (philosophia 5385) and vain deceit, after the tradition of  men, after the rudiments of the world, and not after Christ."

 

Since philosophy is the love and pursuit of wisdom, Christians must beware that  they  do not develop a belief system in music based on the rudiments (stoicheioin 4747) of this world. In this passage of Scripture  St. Paul is warning the Colossian Christians not to let the world (kosmos 2889) spoil,( seduce, corrupt, lead away-- sulagogeo 4812) them into developing philosophical thought patterns in the way the world ordered or arranged them.  In other words ,God (thesis) has ordersed things a certain way and the world, influenced and controlled  by Satan (antithesis), has confused or rearranged or reordered many things. This philosophical reordering influences how we music. 

So, don’t let the world take you captive by believing the empty delusion caused by what it believes to be the nature and value of music.  Do not let the humanistic music philosopher lead you astray philosophically by believing that the most important thing that music accomplishes in our lives is the authentication  of our humanness.  We are human--we are in the kosmos( 2889) but we are not of the aion (165).  Therefore, Christian musicians should look at the nature and value of music differently.

Quote of the day

"God is not only concerned about what you believe but also how you behave"-- Rev.Paul Pierpoint.  I say that God does not only care about what musicians believe musically, but also how they behave musically.

Does your music philosophy have a "hole" in it?

Is the Bible all we need in the development of a unified, congruent, thorough, useful, and biblical philosophy?  No!  Why then do you keep mentioning Bible principles of music?  Bible principles are not all we need but they are the foundations of the development of our music philosophy.  When we are developing the who,what, where, when, why and how of our musical foundations, the Scriptures are the looking glass through which we always view the whole of music.

Why do you keep talking about the "Whole of music?"  If  a music philosophy does not include the  "whole" of music it will surely have a "hole" in it!  II Timothy 2:15a  admonishes Christians to,"Study to shew thyself approved unto God..." The words spoudazo (4704) translated study means to be earnestly diligent.  The word dokimos (1384) means, according to Jamison-Fausset-Brown,"tested by trial, as opposed to 'reprobate')." So, study diligently to test your music philosophy.

In order for a Christian musician to develop a series of systematic statements i.e. beliefs about music, he or she will need to become knowledgeable of the nature and value of music. This musician must retain God's knowledge in his or her philosophical belief system.  (see Romans 1:28). As a student of music philosophy studies the "garden variety" of music philosophies published today, he or she must view them in light of Bible principles of musicing.  The student must be aware of what a particular music philosopher believes, not only about music, but also about God.

Quote for the day

"The Devil has many tools to work with today to pull us down." ( Rev.Paul Pierpoint)  If man had not failed God, and given up his dominion over music, Satan would not be able to influence so much of  music today.

God Intended For Music to be Under Man's Supervision

            It is possible that the beginnings of musical knowledge could be traced to Genesis 1:26 where Adam is commanded to “...have dominion (7287) over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth (776), and over every creeping thing that creepeth upon the earth.”  Also in verse twenty-eight he is admonished to “replenish the earth (776) and subdue (3533) it.”  The words dominion (radah 7287) and subdue (kabash 3533) mean to subjugate or to conquer and the word earth (erets 776) is the broad term used for the world as opposed to the word adamah (127) which means the soil.  Note that  God not only put the soil under man but also the erets i.e. the world around him. The world around him included music.

 

 So, Adam was given the command to conquer and bring under his control the world around him which included music.  We know from Genesis 2:19-20 that Adam was given tremendous insight and knowledge.  Although these passages say absolutely nothing about music, it is possible that he also had unusual insight in music.  However, the pursuit of such an exotic hypothesis would be nothing more than exegetical gymnasics

We know from the authority of the Genesis record, that God intended for man to subjugate and subdue all of his creation: which certainly included music.  We also know that God set man over the personal works of his creation.  Hebrews2:7-8," Thou madest him a little lower than the angles; thou didst set him over the works of thy hands:  Thou hast put all things in subjection under him, he left nothing that is not put under him.  But now we see not all things put under him."

Albert Barns stated,"It was the original appointment(Gen. 1:26) that man should have dominion over the lower world, and be its absolute lord and soverign.  Had he continued in innocense. this dominion would have been entire and perpetual.  But man fell, and we do not see him exerting this dominion. (Barnes Notes on the N. T. --Heb. to Jude-- p. 59.)  So, if Adam and Eve had not fallen, We probably would not be having so much debate over music philosophy. 

Thought for the day

We need to bring our lowest level of musicing up to the highest level of our knowledge of how to music unto God.

Developing a Unified Music Philosophy

According to Francis Schaeffer, up to the time of Kierkegaard, the one thing  that  philosophers had always hoped for " ...was that they would be able to construct a unified field of  knowledge ." (Escape From Reason, p 35 and 42.)   There are two ways in which Christian musicians  may develop a consistent, congruent, unified system of beliefs concerning the nature and value of the whole of music.  They must utilize a Bible based epistemology (theory of and limits of "knowing") and the methodology (the method used for coming to a knowledge of truth).

The first requirement is that the musician must believe that there is truth concerning how to music unto God, and that we are able to come to a knowledge of that truth.  Second, that Bible knowledge concerning music is not dispensational.  One must come to grips with II Timothy 3:16-17, "All scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness: That the man of God may be perfect, throughly furnished (exertizo 1822- equipped fully) unto all good works. The Bible did not say that the Word was profitable but that it is profitable.

What does "all Scripture" mean?  All passages except those mentioning music?  Are these ancient musical writings profitable in the twenty-first century?  Are they inspired or not?  Are they too difficult or too esoteric for us to understand? The Scriptures on music are there, and since God is there we have objective truth concerning music.  The question is ,"What are we going to do with this truth?" James 3:13 asks "Who is a wise (sophos 4680) man and endued with knowledge among you? let him shew out of a good conversation his works with meekness and wisdom (sophia 4678)."  The wisdom is there and the validity is there.  It is our responsibility to use this knowledge to form a congruent music philosophy.




 

Quote for the day

"What is the difference between a wise man and a wise guy?  A wise man is smart--a wise guy is a smart-alec." (Pastor Travis Johnson)  Are you wise concerning musicing unto God, or are you merely a "Wise Guy?"

What is a Music Philosophy?

If we are going to keep discussing a philosophy of music then we must know what it is.  Some grass roots church musicians say, “I’ve done this all these years without a philosophy, why do I need one now?”  They are somewhat like the church board member who adamantly refused to agree to the church buying new chandeliers.  When asked why he replied, “First, no one here really knows what chandeliers are, second, they would cost a lot of money and third, we need some new lights in the sanctuary.”  Rather than bothering to ask what chandeliers were, the board member was actually fighting the very thing he believed the church needed. 

            Many church musicians that claim they don’t have a music philosophy are very outspoken about what should or should not happen in church music.  Although they declare that they don’t have a philosophy of music, they do have one it just isn’t systematic or thorough.

            What is a music philosophy?  It is a series of systematic beliefs concerning the nature and value of the whole of  music.  These beliefs should be written and they should be systematic.  If  you as a Christian musician are going to be prepared and not end up being ashamed you  must , "Study to  shew thyself approved ( tested or approved 1384) unto God, a workman that needeth not to be ashamed, rightly dividing the word of truth." ( II Timothy 2:15)

Thought for the day

If you want to know more about music's significance, study the whole of music and also study it in light of Bible principles of musicing.  If you want to know more about the significance of mankind, study the Bible, not music.

Humanism and Music Philosophy

 One of the most influential music philosophers in the U.S. Bennett Reimer,stated that"... the arts may be conceived as a means of self-understanding,a way by which a human's sense of his nature can be explored, clarified, grasped.  Many words have been used to describe the value of insight into one's nature as a responsive organism: 'self-unification' (John Dewey);'personal identity' (Susan K. Langer); 'individualization' (Leonard B. Meyer); 'individualization' (Carl G. Yung); 'self-actualization' (Abraham B. Maslow);  'integration of the personality' (Paul Tillich).  All these terms signify the humanizing value of self-knowledge."  (A Philosophy of Music Education by Bennett Reimer, pp. 25-26.)

This long list of general and music philosophers is proof of the fact that a great host of influential music philosophers are strong humanists.  They believe that music begins and ends with SELF.  What is even worse is that  those on the list above all believe that a musician can and should derive life's significance from the arts. 

Now you know why I hammer the thesis that "God made Music" and "God owns music" so hard. You have probably guessed already that I believe that we derive life's significance from the Bible and from a personal relationship with Jesus Christ our savior.  I have devoted almost all of my life, and all of my adult life to the study of music education, music of the Bible, and philosophy of music.  None of my studies have ever brought me to the conclusion that we derive life's significance from music or any of the fine arts.

 I am reminded of the a verse in I Corinthians that explains that,"For after that in the wisdom of God the world by wisdom new not God..." (verse 21a) , and also II Timothy 3:7  which states, "Ever learning, and never able to come to the knowledge of truth." 

Quote for the day

"Our biggest battle today will probably be keeping our attention on HIM ( .Rev." B. Durr sr.) This is certainly true of  Christians who are musicians.

"Christian Musical Humanism"

 

            The attitude of a sincere Christian musician should be that “He must increase and I must decrease.  He that cometh from above is above all: he that is of the earth is earthly, and speaketh of the earth: he that cometh from heaven is above all.” (St. John 3:30-31)  Musicing is not about the performer or his or her musical talent. Spirit filled music making should be Christocentric and not self-centered. Musicing does not begin and end with self, but rather, it begins and ends with God who is" above all ".

 

 Secular (and religious) humanism purports that the end of all human endeavor should be the actualization of one's human potential.  This self centered philosophy has spawned  generations of Christian musicians who actually believe one’s highest development must be the actualization of self.  What this means simply that in the maturing process a Christian performer recognizes his or her human potential, i.e. the ability to make music and uses it to empower self..

 

 It is a truism that  a Christian musician should become aware of the musical gifts that are God given, and should develop these talents in order to to  use them for God's glory. However, all music endeavor does not begin and end with self, but rather, it begins and ends with God.

 

This ability includes the performer’s charisma or the ability to move a crowd with the great art of musical performance. There is a sense in which it is empowering for a Christian performer to actualize his or her potential in order to move or manipulate a crowd through music making.  Capturing an audience’s attention until it is completely drawn to one’s persona is addictive and is a major source of self-satisfaction.  Holding the emotions of a crowd in the palm of the performer’s hand, so to speak, is an enormous source of self-engrandizement. However, this mindset is humanistic and not Christocentric.

Thought for the day

Man fell and is flawed and, unless he is regenerated, he will no doubt not follow the matrix (the source from which something is formed) of God concerning music Philosophy.

No Musical Absolutes --A flawed View

What would lead a Christian musician to believe that, when it comes to music making, there are no absolutes?  They honestly believe that music is completely a matter of personal taste.  There is room for taste in church music, but musicing unto God is not all a matter of a musician's tastes.

 One thing I will tell you for sure is that all philosophical thoughts concerning music and all music making comes under the absolute authority of our Lord and Savior Jesus Christ.The philosophical musical view that Christian musicians are free to do whatever they wish with their musicing is an autonomous flawed view.

All committed Christian musicians regardless of their theology, should, no ,I mean must , be careful Christian musicians. They are careful in what they think, what they say and what they do.  If  they are committed to being Christlike in everything they do in the Lord’s name, that  tenderness toward God will include their musicing. I can’t help but believe that a  tenderness toward our Lord ans Savior Jesus Christ will cause them to be careful in their musicing, and in their philosophical musical viewpoints.

There is another aspect of Colossians 1:16 quoted earlier that merits discussion here. All things were not only created by God, but also for God. God created music for his glory not for man’s engrandizement. Any practical view of music philosophy or music making that is humanistic is an autonomous view and therefore a non-biblical view. In Colossians 1:1-8 we are reminded “...that in all things he might have the preeminence.” God must have the preeminence in our music making. Men like Diotrephes in III John 9 have always hindered the work of God by seeking to be preeminent in the church. Beware of the church musician who is enamored with self.

Thought for the day

When a Christian musician fails to consider the juxtaposition of sounds and words, he or she  is evidencing a disregard  and a failure to understand the nature and value of sacred music..

God Created Sound

If you read yesterday's discussion, you will remember that Colossians 1:16 states that God created the visible (horatos 3703) and the invisible (auratos 517) part of music.  Christian musicians are much more familiar with God creating the visible than they are with his creating the invisible.  Twenty-first century Christian musicians are often much more fascinated with God creating the musical notation (the te'amim) of the O.T. than with the creation of sound.

We get caught up in discussions of the possibility that Moses came down from the mountain with the te'amim engraved on the tablets. We may postulate that Jehovah possibly revealed them to Moses and that Moses added them to the Decalogue. We may wax eloquent in our notion that Moses developed the system of  Bible notation since he could have learned  about musical notation from the Egyptians.( We know from Acts 7:22 that "...Moses was learned in all the wisdom of the Egyptians, and was mighty in words and deeds.")  An even wilder hypothesis is that he learned notation from the Sumerians or Akkadians.

However, it is an abstract thought to many Christian musicians that God created sound i.e. the invisible part of music.  It is what I call the "music part of music."  You cannot touch it, or see it, but it is very much there.  The invisible part gives music life and great power.  It gives our musicing the ability to function ,develop, come "alive" and be efficacious.  Therefore, Christian musicians should give very serious consideration to the sounds (auratos) that we connect to the Logos Christos.

Thought for the day

 Religious humanism in music is the outcome of putting yourself  where God ought to be philosophically.

God Owns Music

It is imperative that all philosophical basis of music begins with God’s creation, which includes music, and God’s ownership which includes music.  To the Christian, all forms of music come under the Lordship of Jesus Christ.  Colossians 1:16 states:

       For by him were all things created, that are in heaven, and that are in earth, visible and invisible, whether they be thrones, or dominions or principalities, or powers: all things were created by him, and for him 

St. John 1:3 further explains that “All things were made by him; and without him was not anything made that was made.”  Once there was no music.  God was before music.  God wanted music so He made music.  No one else made music.  Therefore, no one but God has true ownership of music.  The Christian musician should get rid of the sense of ownership of music.  No spirit filled musician, or any musician for that matter, has the right to say this is my music. Remember, as we considered in another blog, no musician ever has taken 'nothing' and made 'something'. He merely arranges God's musical building blocks. He 'constructs' but he can not create.

Why all this fuss over ownership? God is autonomous.  God made music.  As Christian musicians, we must give Him preeminence--that includes music.  Any other philosophical belief will lead down the long slippery slope of humanism. We, as Christian musicians, are not autonomous!

As a Bible College music teacher for over forty years, I have seen very talented music students that headed down that philosophical path.  They found out early on that they were talented enough to proceed with out God's help. They would deny that they were "religious humanists"but deep down in their heart they were not sold out to God.  They either secretly or sometimes openly held ownership to music especially when it came to matters of musical style.  Like Thomas Aquinas, they followed a philosophical path  in their musical pursuit that was independent from the Lordship of Christ.  (Remember that Aquinas believed that man was fallen in matters of grace but that he was not depraved when it came to matters of nature--which included music ipso facto. )

Quote of the day

When I think of some of my professor's philosophies of music which they considered  "common sense", I think of a statement made by Peter Kivy. " 'Common sense' has a distressing propensity for turning out to be common nonsense." Introduction To A Philosophy of Music, p. 120. by Peter Kivy

Evidence that demands our attention

As we discussed yesterday, by the time Stolba’s book was published the evidence was overwhelming that, based on current knowledge of Ugaritic and Hebrew music notation, Western music did not start in the West, but rather in the Near East.  If they had listened to Plato, music historians could possibly have avoided much of this misconception.  Most certainly a careful study of the te’amim (musical notation of the O. T. Scriptures)  and the Ugaritic notation would have proven precise written music notations long before the existing Greek fragments.,

            So, after much confusion, musicologists are now face to face with the fact that the notation of Bible music is authentic and that it is very ancient.  Music historians now realize that the Ugaritic notation is 1400 to 1500 years older than the Greek  musically notated  fragments found at Oxyrhynchos, Egypt and that Bible music notation is at least 3000 years old. Depending on when the te’amim were developed, written Bible music may be much older than the 3000 years date given by Stolba. (See The Development of  Western Music, K. Marie Stolba p. 5)

            Why all this fuss about music history?  The import of this discussion is simply that in the beginning God created music.  It is my belief that it is possible that, under  inspiration,  God revealed the te’amim to the ancient Bible authors who wrote both music and words as a unit or a musical melos. If musicologists and Christian authors who write on Church music would treat the Bible with respect , like Stolba has, they would have many more answers to music's beginning. 

 

The written Bible notation is without doubt musical evidence that demands our attention and respect.  Again, I want to say that music began when God created all things.  When Jehovah revealed it to mankind is still a mystery.  "For now we see through a glass darkly; but then face to face: now I know in part;but then shall I know even as also I am known."I Corinthians 13:12

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Thought for the day-new song part 7

Since the new song of the Bible is a song of renovated character, then we need to make sure that we as performers have a changed life.

The New Song-part 7

     Today's post,and maybe tomorrow's, will discuss the meaning of the word "new".  It is my contention that if one is going to use the word "new" in developing a music philosophy, then one should posses an understanding of what "new" means when it is used in conjunction with song in the Bible.  If one fails to do this, then there is a real possibility one's music philosophy and, ipso facto one's praxis, will be faulty. 
     In the OT the Hebrew word chadash 2319 [pronounced khaw-dash'] which is taken very closely from chadash 2318 [pronounced khaw-dawsh]. The Theological Lexicon of the Old Testament pp. 394-397  discusses  these two words together. "The song called for here is not "new" because a new text is to replace the old, or a new melody the old; this notion is thoroughly foreign to these psalms. This song is "new" because God has brought about something new, and this song is to respond to this new act of God;  this new act of God is to resound in the new song."( p. 397)
     So, although there is the question as to the fact that 2319 is always used in conjunction with these OT references to new song instead of 2318, it is believed by some, me included, that these references  do not connote something new or novel but rather a song of renovated character as a response to as a response to an act of God wrought upon the heart of the musician.

Thought for the day

If a musician is going to retain God's word  in  musical knowledge, he or she must consider the Bible to be authentic. 

Retaining God in Our Knowledge

In 1960, Donald Grout published his famous, “A History of Western Music”.  In this treatise, Grout is careful not to be specific concerning the origins of music.  He attributes the beginning of Western art music to the Christian church.  He also states that “Greek mythology ascribed to music a divine origin and named its inventors and earliest practitioners gods and demigods, such as Apollo, Amphion, and Orpheus.”3 He also mentions Old Testament references to music but does not recognize Bible music as authentic knowledge concerning the beginnings of music. 

 

In 1971, Edith Borroff published, “Music in Europe and the United States”.  She begins her treatise on music history with “Speculation on the beginnings of music is endlessly fascinating, but no certainty is even likely to come to it.”4 Although Borroff was unaware of it, the Hebrew Scriptures had authentic knowledge about Ancient music notation. 

 

In 1990, K. Marie Stolba published, “The Development of Western Music History”. She begins this treatise on music history by reminding history students that “Plato placed the origin of music in creation, and numerous legends present music as a gift of the gods or the invention of one of them.”5 She begins chapter one by acknowledging the music of Ugarit and the te’amim (musical notation) of the Bible.6

 

I was thrilled to see a college text with an excerpt from the Old Testament including the te'amin.  Although it has taken centuries for music historians to come to a knowledge of the truth, Musicology has forced music historians to retain God in their knowledge.(see Romans 1:28)

           

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3  A History of Western Music, Donald Grout, p.3.

⁴ Music in Europe and the United States: A History, Edith Borroff, p.3.

5 The Development of Western Music: A History, Edith Borroff, p.3.

6 Ibid, p.5

Thought for the day

One of your defenses against Satan's music perversions is Psalm 34:7  "The angel of the LORD encampeth round about them that fear him, and delivereth them."

Does Satan have the power to pervert music?

Does Satan have the power to take God’s creation of music which Genesis 1:31 tells us was “very good” and rearrange it until it is no longer very good?  I believe the answer is yes!  Satan perverts many things that God created for His glory and our good.  For instance, when Satan twists sex into his perverted form it is no longer the wholesome wonderful thing that God created for us.  Since we know this, why do we struggle with the concept that Satan can pervert music?  It is the work of Satan to twist, pervert, and destroy the original work of God’s creation.  That is what Satan does!  So, any praxial view purporting that all music is good, no matter how it is arranged, is a faulty view.

 

Can we trust Satan?  The answer is "yes we most definitely can".  We can trust him to always be Satan!  He never takes the day off.  I believe he is very busy working on music.  Can we trust the music that he works on or influences musicians who arrange the building blocks of music  (which belong to God)?  Yes, we can.  We can trust that his perverse influence will permeate it.

 

You may ask,"Is it easy to always tell whether Satan has influenced the building blocks?"  No.  "Why?" II Corinthians 11:2-3 warns us, "For such are false apostles, deceitful workers, transforming themselves into the apostles of Christ.  And no marvel: for Satan himself is transformed into an angel of light.

 

Thought for the day

II Timothy 3:16 applies to music too!  No music philosophy is Christocentric unless it is based on God's Word.

Music's History and Significance

Music theorists and historians have stubbornly resisted the fact that the ancient Hebrew Scripture helps us to identify the beginnings of music.  Scholarly sources like The New Oxford History of Music report, “It is very difficult to say anything definite about the origin of music, because the phenomenon is quite outside the range of our observation.  Even in those primitive civilizations that still exist there is no race so primitive that it can be considered a relic of the beginning of human culture.” 1  The problem with this statement is that we should not look for the origin of music in any existing remnant of early civilization but rather in the Old Testament Scriptures.  It is true that the Pentateuch is relatively silent as to the specifics of the beginnings of music.  However, we do know that God imparted musical knowledge to man before the flood.  Genesis 4:21 states that Lamech’s son Jubal, “was the father of all such as handle the harp and organ. "

 

What really matters is not exactly where music started, but how it began.  As we have discussed earlier, "In the beginning God created" everything--that certainly includes music!  Every theory starts with a whole laundry list of presuppositions.  A Christian music philosophy also starts with presuppositions. 

 These include:  God created.  Gods created music in a very good condition.  God owns music.  God created music for his glory.  God created music so that we may music in a way that will bring honor and glory to his name. God create music for the edification of  man.  God created music not only as a  science but also as a fine art.  God created music so that we could enjoy the beauty of "created music".  God expects the Christian musician to "subdue" music.  ( We will discuss this in a late blog.)

 

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1  The New Oxford History of Music,

Thought for the day

It amazes me that so many musicians who know that Satan is continually working to pervert suppose that , when it comes to music,  he "took the day off".

Both God and Satan Think about Music

In his act of creation, I believe that God thought about music.  The fact that God thought about music should be evidence to us that God still “thinks” about music.   He did not say I was, but rather "I am" (Exodus 3:14). Therefore we can safely deduce that .  Since God thinks about music,  we know that he has an opinion concerning music.  Therefore, it behooves us to study his Word to see what he thinks about music.

So, God thinks!  Satan thinks also.  God thinks about music!  Satan thinks about music also.  God knows that music has a powerful influence upon us.  Satan knows that music has a powerful influence upon us.  God created music for His glory and for our good.  Satan has perverted music so that it will influence us to turn away from God.  God meant music for our good.  Satan means to destroy us spiritually by perverting the great art of music.  How do we know that Satan works continuously to pervert music?  We know he does because we can trust Satan to be Satan.  There is no “good side” to Satan since he is the antithesis of God.

Thought for the day

Pythagoras did not create the music scale as we know it. He only became aware of some of the complexity of God's musical creation.

How did music begin?

So, let us explore the philosophical presupposition “in the beginning, God created music.”  Many church musicians do not start with this necessary philosophical basis.  On the contrary, many Christian musicians believe that there is no answer to the question, “How did music begin?”  They fail to recognize the evident answer found in Genesis 1:1, “In the beginning God created...”.  The fact that God created music is no joke, but rather it is a truism.

 

God truly created music.  Although the word created is used loosely by musicians, man never creates music.  God took nothing and made something--that something was music.  Music composers and arrangers only "construct"--they only are capable of "arranging" God's musical building blocks.  A contractor who builds something takes created materials and uses them to construct something.  He takes "something" and constructs with these materials.  He never takes "nothing and makes "something".  No matter how great  of a building he constructs, it is not a creation.

Thought for the day

When it comes to music, we are stewards not owners.

Yesterday we considered that God Created music.  Today we need to remember  that in the beginning music was created by Him and for Him and not “us” alone.  Since He cares about “us” in a personal way,  God also.. created music for our education, edification and our enjoyment as a part of His very excellent creation.  He created music so that we might worship Him in a very personal way. 
 
We should get rid if the sense of ownership of music.  When we have the sense of our ownership of our music, it becomes ours and this music that we own becomes independent of the Lordship of Christ.