Thought for the day-worship part 11

Many Christians find it much easier to present God their life as a dead sacrifice rather than a living one.  A dead sacrifice is not capable of service in God's kingdom (see Romans 12:1).

The role music plays in worship-part 11

         A true worshipper not only sings God’s “words” but a true worshipper obeys God’s “words.” That’s simple—simple enough for a Kansas farmer, like me, to understand. True worship is not only singing what He says but also doing what He says. I remember a little chorus we used to sing when we attended church in Newport News Virginia that sums it up quite well. It goes like this, “When God tells you what to do you’d better do it, and you’d better do it. It doesn’t pay to disobey that’s all there’s to it… like Jonah you’ll find out the hard, hard way.”
       When we are in God’s house worshiping, our musicing unto God should prepare us to go out into the world to serve and obey God. It is impossible to serve if we refuse to obey. It is also impossible to be unless we do. However, we must be a Christian before we can effectively do what a Christian does.
       Christ centered musical worship should not be disconnected from the reality of Christian living. Christian musical worship does not send us into a trance, place us on a spiritual high, or be a detachment from the realness of living in the material world. Christians must live in the world (cosmos 2889), but they are not “of the world” (the aion 165– the age or the world system). They are in the material world (kosmos) but they are not of the “world system.” In St. John 17:11 Jesus said, “And now I am no more in the world (kosmos), but these are in the world (kosmos), and I come to thee. Holy Father, keep through thine own name those whom thou hast given me, that they may be one, as we are.” In chapter 17 verse 15 Jesus states, “I pray not that thou shouldest take them out of the world (kosmos), but that thou shouldest keep them from the evil.”
       In verse 18 of this same chapter Jesus gave us the essence of what worship means when he said, “As thou hast sent me into the world (kosmos), even so have I also sent them into the world (kosmos). What does this mean? Romans 12:1 says “I beseech you therefore, brethren, by the mercies of God, that ye present your bodies a living sacrifice, holy, acceptable unto God, which is your reasonable service.”
       A true worshiper is willing to present his or her life as a living sacrifice not merely a dead one. This Christian is not just a believer who maintains a list of things he will not do. Instead, a life of true worship is about what we will do because we love Him. What we do for God does not make us Christians, but it is an affirmation to God that we will go and serve and spend and be spent for the message of the gospel of Jesus Christ because we love Him..
       In the world of honey bees, a true worshiper would be likened to the category of bees called "workers". Workers do, drones don’t. Among honey bees the Queen bee is important and lets all the other bees know it. So, if we are true worshipers of God, we will not only come in to worship but also go out to be “workers”.

 

Thought for the day-part 10

Although a Christian does not worship for what he or she receives, all who worship in spirit and in truth  receive benefit from communing with God through music worship

The Role Music Plays in Worship- part 10

       Here are some thoughts about worship that are designed to make one think seriously about ones conceptions of what worship should and should not be like. These ten statements are a bit blunt at times and probably do not pass the tests of political correctness. However, if they shock us into thinking seriously, my purpose has been accomplished.

1. Do you sing in worship or do you sit there like a knot on a log? There is no neutral ground in music worship. If you do not sing, you are hindering corporate music worship.

2. True Christocentric musical worship is not about “gimme, gimme, my name is Jimmy.”

3. Real Christocentric worship is not about my music, my musical group or what I want or what I like.

4. Real Christocentric musical worship is not about bless me, cheer me, entertain me, perform for me, fascinate me, dazzle me, or make me feel better.

5. Real Christocentric musical worship is not about singing or playing musical instruments. It is a purposeful, conscious act of reaffirming that the worshipper loves God and has made a conscious decision to live a Christ-centered life.

6. Worship is an avowal to live our lives in such a way as to become more like God.

7. The words of our musical worship should remind us of our vows to the King of Kings and Lord of Lords. It is our response to God. 

8. Our musical worship should affirm our commitment to serve God, obey God, love God, and worship God. Jesus said in St. John 14:23 “If a man love me he will keep my words: and my father will love him, and we will come unto him, and make our abode with him.”

9. In St. John 14:15 Jesus said, “If ye love me, keep my commandments.” A life of worship is about keeping God’s commandments. The idea that we can come to the event on Sunday morning, sing and pray and then go out to live in a way that is the exact antithesis of the rhetoric we “spouted off” to God during the worship event is just plain WRONG!

10. Why is it important that we keep his “words”? St. John laid the foundation in chapter one verse on when he declared, “In the beginning was the Word (capitalized), and the Word (capitalized) was with God, and the Word (capitalized) was God.” Since He—Christ—is the Word, we cannot separate Christian living from His Word.

Prayer for the day-worship-part 9

St.John 17:4 states, "I have glorified thee on the earth:  I have finished the work which thou gavest me to do."  Thank you Jesus for the finished work of redemption.  Lord please help me to glorify you on the earth.  Lord I know that the work you have given me to do in no way compares to what you did for us, but it is important work for it is your work.  Please break the "loaves and the fish" so that we can feed those out there who need your word.  These things I gratefully ask in your name. Amen.

The role music plays in worship-part 9

 

        As we have said before, Musical worship that is Christian and real is a musical response to God.   It is actually a musical offering unto the blessed Trinity.We confess who He is and what He has already done. We do the responding, we do the worshiping, and we do the praising. We do the extolling of His wonderful name. We bow our heads and hearts before Him. We figuratively prostrate our selves before Him. We raise our hands in avowal to God in the sanctuary. Note that the lifting up of our hands in avowal to God is a biblically supported act of worship. See, Ps. 28:2, 63:4, 119:48, 134:2, La. 2:19 and 3:42. 
       God doesn’t have to do anything for us when we music unto His name. He has already done His part.  His redemptive work is a finished work (see St. John 19:30) . He has fulfilled His commitment to us. He left the portals of glory, He was born of a virgin and suffered without the gate that He might sanctify His own people by His own blood. He suffered in the garden of Gethsemane; He suffered and died on the cross for our sins, arose and ascended into Heaven where He is seated at the right hand of the Father making intercession for us (see Romans 8:34).
        When we music unto God, we need to get rid of the self-centered ideas like—bless me, tickle me, please me, entertain me and cheer me.  Musical worship is not about me, it is about extolling our wonderful Lord.  This week spend some time responding to God.  If you respond to Him during the week, it will be easier to respond to God through your musical worship next Sunday. 

 

Thought for the day-worship-part 8

Rev. Roan Fay is famous for saying, “get connected”.  When it comes to music worship I believe that one of the most important aspects of meaningful worship is to simply “get connected”.

The role music plays in worship-part 8

 

       Today is the eighth post on worship.  Yesterday was the day of public worship for many Christians.  Hopefully you are reading this post while you reflect on the morning worship service yesterday.  Another week is history and it is time to think about God’s house and worshiping Him.  None of us can redo last week’s worship, but we can all make sure that we lavish praise and adoration upon our God  when we enter his house next Sunday. 
       I thought about quoting scriptures about the importance of worshiping God, but you probably know many Bible verses about singing and playing instruments for God’s glory.  What you and I need to do is to purpose in our hearts to PARTICIPATE wholeheartedly in music worship.  We need to constantly remember that music worship is not about you or me, but about the blessed Trinity.  If we approach the throne of grace with the purpose of lavishing praise on our Lord and savior Jesus Christ as we music unto Him, it will revitalize our worship. 
       Here are a few ideas that might help with involvement in musical worship.  Sit as close to the front as is possible.  The reason that people sit on the fifty yard line is so they can see without distraction. As you music unto God, look at the songbook (or projection screen) and the director at the same time.   It will help you stay engaged in corporate music worship.  I know that you can do this, especially if you can chew gum and ride a bicycle at the same time. 
        Think as you sing!  Many “worshipers” are miles, no light years, away from the place where music worship is taking place.  You cannot worship God with music unless you are mentally engaged while you sing or play.  Finally, don’t worry, “be happy”!  I believe God loves a joyful worshiper.  I used to tell my college choir, “If you’re happy and you know it, show your face that you are happy.”  What we reflect outwardly effects our emotional and cognitive responses to God as we worship him.  So, spend this week practicing being a happy joyful worshiper.  It will effect your musical offering next Sunday morning.

Thought for the day-worship-part 7

 

If a musician merely performs or “shows off his or her musical wares” no musical sacrifice, no musical offering or musical worship takes place.

The role music plays in worship-part 7

 

       Yesterday we mentioned in our post that many Christians consider that when we music unto God we are bringing Him a musical offering.  Many musicians have considered our music worship to be a “musical offering”. Among those who considered it to be so was J.S. Bach.  I have no philosophical objection to this as thesis or praxis.  Where does this praxis get its basis?  The book of Leviticus chapters four and five very intricately explain this sacrificial system.   
        As you read these two chapters, you will note such phrases as “a young bullock without blemish”, “a kid of the goats, a male without blemish”, a kid of the goats, a female without blemish”, and “a lamb…without blemish”.  The common denominator here is a valued i.e. quality offering “without blemish”.  However, if the people were not able to bring the quality offerings mentioned above, then they could bring two turtledoves or if they couldn’t even bring two turtledoves they could offer two pigeons.  If they were not able to bring two pigeons, they could bring fine flower as an offering.  The concept here was that they were to bring the very best offering that they were capable of offering unto God.  
       We should be reminded from this passage of Scripture that they were not revering the offering but rather they were honoring God with the best offering they had to offer. So, when we music unto our heavenly Father, we should bring the finest “musical offering” that we are able to present.  We should also be aware that when we bring Him the finest offering that we can possibly present, If it is an appropriate musical offering presented as “a sweet smelling savor” (see genesis 8:21) unto him, he will be pleased with the offering.  When you come before our heavenly Father today at Sunday morning worship,  give Him your best musical offering which will include your whole-hearted participation .

Thought for the day- fallacies part 7

Some folk would like for Christian Music philosophers to make a list of the "seven songs Jesus approves of".  Wouldn't that be simple?--Yes too simple.

Thought for the day-worship-part 6

If those who attend public worship services would make as much spiritual and musical preparation as they do getting dressed up for worship, public worship would experience wonderful visitations of the Divine upon the human.

The role of music in worship-part 6

       It is not too difficult to argue that the words of a song matter, but to contend that the sound of an instrumental  prelude or offertory matters is much more of an abstract conceptualization.  If we only had to be concerned with God accepting the words of our musical offering then worship music would not be such a complex phenomenon. We know from Colossians 1:16 that God created the visible (horatos-3703) and the invisible (aoratos-517) i.e. sound.  No sounds escape God’s hearing!  He not only knows and sees but also hears.  So, philosophically we must consider the sounds we make in our musical worship. Although it is a novel thought to some, we worship God with the sounds we produce in musical worship. If the musical sounds we produce are not appropriate for honoring God, then no worship takes place.   
        Many Christian musicians seem, by their musical offering praxis, to be  concerned with text only.  In their way of thinking, if the text is biblically accurate, the musical offering will bring honor unto God.  If a Christian is going to base a philosophy of music ministry on a “musical offering” thesis, then that musician will need to acquire some knowledge of the sacrificial system of Old Testament worship.  The Levites and Priests were very careful about the preperation and presentation of the Temple offerings which were presented to Jehovah.  We should do no less today.
       When we are making preparations for music worship, a part of our thought processes must include very careful sound preparations. For instance, we must decide which sounds to include in the instrumental prelude.  The volume, style, use of instruments, and the way the prelude is presented by our musical instruments  will  effect the audience’s preparation for worship. The particulars of how the prelude is presented are an issue of music administration and therefore outside of the scope of this philosophical post today.  However, instrumental musical offerings do matter and I contend that the way we present instrumental musical offerings also matters to God who is not only the object but also the audience and "listener" to our worship.

Thought for the day-worship part 5

  

Have you ever considered that God hears the quality of sounds we produce when we music unto Him?  Since God does hear, we need to give Him the best quality sounds we are capable of producing!  

The role of music in worship-part 5

                                         

       As we enter the 21at century it is very popular to refer to God as the “object” of our music worship.  Since philosophically we are dealing with sound when we music unto God, perhaps it would contribute to our greater understanding if we were to refer to God as the “Audience” or “listener” to our musical offering. We present a musical offering and He listens to it. In this context it is perhaps easier to conceptualize why the music part of our musical offering is so vitally important to our musical offering to God.    
       If God is listening to our musicing, and He most certainly is, then it stands to reason that we should be concerned with what He is hearing.  There is no doubt about the fact that God not only sees us music unto Him but he also is aware of the sounds we produce and what the organization of the sounds that present mean.  Since He made all the elements of music when He made music in a real way during His real six day creation, He is acutely aware of the way we organize the building blocks of His personal creation as He hears our musical offering. We forget sometimes that we are, so to speak, playing with God’s football when we music with His creation.        
       The most unfortunate “joyful noise” translation has caused a mighty host of Christians to erroneously suppose that the quality of the sounds we offer unto Him in our musical offering are of little or no consequence.  This notion is predicated on the mistranslation of the word ruah (7321) in the A.V.  We must give God the best musical offering possible.  This offering should not be noise based music.  God will be listening to the musical offering that we present this Sunday morning!(We will discuss the topic of noise thoroughly in future posts on “noise” in the Bible.)

 

 

 

 

 

 

 

 

 

                     

 

 

                                 

 

 

 

                                    

 

 

 

 

                                 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thought for the day-worship part 4

If  a Christians practices the presence of God throughout the week days, it will be much easier to music in spirit and truth during Sunday morning worship.  Why not spend the days of this week preparing your heart for Sunday morning worship by worshiping the Lord every day?  Invite God the Father, God the Son, and God the Holy Spirit to inhabit your Church's musical praise this Sunday.

The role music plays in worship-part 4

       St. John 4:24 states, "God is a spirit: and they that worship [proskuneo 4352] him must worship him in spirit [pneuma 4151] and in truth [aletheia 225]".   This is the New Testament formula for true worship.  Strong says that worship (proskuneo) means to "literally or figuratively prostrate oneself in homage" to Our Savior.  This act of reverent response to our Lord and savior Jesus Christ must be done in spirit [ i.e. the Holy spirit] and in truth [in verity i.e. realness,genuineness and authenticity].
       There is of no use to discuss music in worship until one  is ready to prostrate oneself before the Lord in complete honesty.  If worship is not of verity it is not true worship. In fact it is not Christian worship in any form!  Verse 23 of the same chapter explains, "But the hour cometh and now is, when the true worshippers shall worship the Father in spirit and in truth: for the Father seeketh such as worship him."  Note that the Fathers desires  or requires (zeteo 2212) those  who desire to HONESTLY worship Him to do so in spirit and in truth and furthermore , he seeks for those who will meet the qualifications mentioned above. 
       Many people let their theology get in the way of honest worship, i.e. their beliefs about relationships, sin, hard feelings, attitudes etc. etc.  Regardless of ones theological definition of sin, it is absolutely necessary to get rid of it if one is going to worship God in verity!  So, what I am saying is this, if you get to the worship service with sin in your life--get rid of it!
       There is one more point that we should make from this passage of scripture.  Jesus shocked the Samaritan woman by telling her in verse 22, "...ye worship ye know not what...".  I am concerned that many people who gather to worship and include musicing as a part of their worship, are actually worshiping music instead of God.  They actually worship the creature (music) rather than the creator (God).  Exodus 20:3 states,"Thou shalt have no other gods before me..."  Psalm 81:9 states There shall no strange god be in thee; neither shalt thou worship any strange god."  Music can become a strange god if it is worshiped.

Prayer for the day-worship-part 3

Why don’t we pray right now?  “Lord you know that I want to praise you and worship you .   I am afraid that legitimate things will get in the way of my musicing unto you.  Please help me this week to practice your presence in my life.  Help me to recognize your goodness, your loving kindness, your protection, your chastening love, your financial and spiritual blessings, and your long suffering and love for me.  Lord,  I am looking forward to worshiping you next Sunday but I think that my thankful heart will burst if you do not help me to praise you in such a way that I genuinely express to you just how wonderful you are to me.” Amen.  

The role of music in worship-part 3

        In the last two posts on the role of music in worship we have been defining and identifying just what worship is and is not.  I will probably say more about what music worship is later, but today my topic is getting ready to worship.  Psalm 40:1 states, “I waited patiently for the LORD; and he inclined unto me, and heard my cry.”  Pastor R. E. Carroll believed that the beginning words “waited patiently" translated from the Hebrew word qavah (6960) could be justly rendered, “Expecting I expected Jehovah…”  Sometimes we get little or nothing out of music worship simply because we have low or no expectancy that God will actually inhabit (see Psalm 22:3) the offering of praise we bring to Him. The English word inhabitest in Psalm 22:3 is translated from the Hebrew word yashab (3427) which actually  means to“sit down with” or “dwell with” those who praise Him.  If we could philosophically believe that God desires to dwell in the midst of our musical praise, perhaps we would enter into the worship experience with much more expectancy.    
    I understand that it is a miracle when a mother with children even gets to the worship service, let alone be prepared to worship.  I am also aware that it is not easy to leave all our problems at the door of the sanctuary or to place them in the hands of our all knowing Savior before we come to worship.  However, if we are unable to trust our advocate Jesus Christ the with the vicissitudes of our lives before we come to worship, we probably will not be able to concentrate or lavish praise upon Him.  The result is to go away from musical worship with the knowledge that we were unable to truly music unto God.

Thought for the day-worship-part 2

 

Worship music is about the Creator (God) and is not about the creature (the worshiper and the music).  Therefore, we must make sure that we are worshiping God instead of our favorite style of music. (Romans 1:25)

The role of music in worship-part 2

                                

 

       In yesterday’s post we began with a definition of worship.  Today we will continue to consider philosophically what worship is and is not.  Kenneth Osbeck put it quite well  when he defined worship as, “An act by a redeemed man, the creature, toward God, his creator, whereby his will, intellect and emotions gratefully respond to the revelation of God’s person expressed in the redemptive work of Jesus Christ, as the Holy Spirit illuminates God’s written word to his heart.”  The Ministry of Music, p. 177. So, worship is man's response to the Trinity, and man’s relationship and adoration to God for who He is and what He has done.  It is not about a religious event ,what a worshiper gets out of the worship experience, or a worshipers favorite style of music. 

       It is literally a Sacrifice of Praise--The worship experience should be a sacrifice of praise unto God that gives off a sweet fragrance which will edify the believers and make sinners hungry to have fellowship with God.  Although the sinner cannot truly worship God, (because he is merely an observer) it is very worthwhile for the unregenerate to experience believers genuinely lavishing praise upon the Trinity through musicing.  Musical worship has a spiritual drawing power. The Holy Spirit is able to draw sinners to Christ as believers music unto God.  The experience of Christians singing and playing worship music will cause the unregenerate to realize that the Christians are experiencing something he or she cannot fully enjoy, ipso facto, they are not believers who have experienced the new birth. 
       So, we have considered that worship is man's response to God.  It is not man centered but rather God centered.  Those who do not know the Lord as their personal Savior can not truly worship, but the Holy Spirit is capable of using their observance of Christians joyfully musicing unto God as a means of convicting them of sin and making them hungry to have a right relationship to God.

Quote for the day- fallacies of philo.-part 1

"God is the one who requires." (Dr. A. Wingrove Taylor)  I contend that we should beware of  the requirement of the post-modern church movement to drop all forms of traditional musicing in the church.

Thought for the day-worship-part 1

This week think about the fact that the Bible commands everyone, at least everyone who has breath, to praise the LORD by musicing unto Him? (Psalm 150:6)

The role music plays in worship-part 1

               

       The topic that I am going to discuss today is not just for pastors or ministers of music or song leaders or church pianists, organists, those who sing in the church choir or those who play in the church orchestra, but rather for all Christians who go to church to worship God.  This discussion of the role music plays in worship is for young and old alike. It is a discussion about worshipping God with music.      

       Philosophically, what is music worship? Before we answer that question perhaps the first order of business should be to define worship. The word worship is derived from the Anglo-Saxon noun “worthship”. It is a joyful giving of reverence, honor, respect, and adoration to God.  Worship is a wonderful reverential communion with the Father, the Son, and the Holy Spirit.     

        In the worship experience we communicate our adoration and love to God.  We honor Him, we acknowledge Him, we confess His name, we bow before Him, and we celebrate God for who he is, for what he has done , and for what he will do, (Webster says that  worship connotes, "to perform a religious ceremony publicly”.) To the Christian, it has much deeper meaning than a mere ceremonial act.     

       One can ask the legitimate question, “What is the purpose of worship music?” It is to give honor—i.e. worship music should take place for the primary purpose of giving honor to God. It also exists to edify the believer.  Edify means "to improve spiritually or morally by instruction or example".  It should be a means of grace to bring the believer closer to God.  God desires to have fellowship with mankind so when we take the spiritual journey from the natural to the supernatural and individually and corporately lavish praise on God with our musicing unto Him, God is pleased, honored and glorified.
       Worship should strengthen and sustain spiritual life.  Worship should be a means of grace to the believer since it is capable of administering God's grace to the Christian. However, music worship is not ultimately about the believer but rather about God.  Therefore, the worshiper does not approach musical worship for what he or she can get out of it, but rather as his or her response to God.

Song Leaders?- part 8

        Yesterday we considered philosophically what the Bible meant by the the phrase "was for song". Today we will continue that discussion of song leaders as we prepare our hearts for worship this Lord's day. Chenaniah was a skillful song leader and teacher who had burden (massa 4853) for song and instructed (yacar 3256) about this burden of song.
       The Hebrew word massa is often misunderstood by Bible commentators to mean "carriage". They believe that this verse is explaining that Chenaniah was an expert in handling the ark of the covenant. However, this portion of the chapter is a musical discourse about the Levites that King David placed over the pre-Temple music at the time of the moving of the ark and placing it in the tent. So it is highly doubtful that this is a reference to he carrying the ark of the covenant.
       Since Chenaniah was a musician, a much more tenable hypothesis would be that Chenaniah was a skillful singing instructor who had great burden for song borne in upon him of God. The word massa used here of Chenaniah appears many times in the O.T. This word is the same word used of the prophets of the O.T. such as in: Isaiah 13:1, Nahun 1:1, Habakkuk 1:1 where it always means "a thing lifted up" signifying the burden if prophesy which was borne in upon the prophet when he received it from God. In other words, Chenaniah's message for song was borne in upon him from Jehovah! Just like the prophets of the O.T., Chenaniah felt pressed to share his burden with the people. He had been given a message from God which he shared in this teaching and in this musicing unto Jehovah.
       It wasn't perfect pitch or a beautiful sounding voice, his knowledge of vocal pedagogy, or his conducting skills that made him so great as to merit mention by name in the Holy Writ. It was his spiritual communication with Jehovah that brought him to prominence. From the biblical record it seems that the outstanding thing factor of this chief musician's life was his serious and powerful ministry in ancient Israel. As we enter God's house today, we should go with an expectancy that God will reveal Himself to us as the song leader helps us to lavish praise upon the Trinity through our musicing.

Thought for the day-Song Leaders? part 8

It is my sincere prayer that when my work on this earth is completed, those who knew me best will consider that I had great "burden" for musicing unto God and expressed it with passion when I musiced unto God and when I had the privilege of leading others in worship.

Thought for the day- song Leaders? part 7

What brings a fine musician to the conclusion that a Christian can consume music on his or her own desires?

Song Leaders? part 7

       We have been discussing the song leader and what he or she should be like.  We have learned that in the Old Testament in ancient Israel these Temple music directors were called "chief musicians".  Today we are going to look into the life if a Temple song leader named Chenaniah.
       Although translators of the Bible labor over each original word, sometimes the nuance of scriptural meaning is lost.  Such has been the case concerning I Chronicles 15:22 which the A.V. renders, "And Chenaniah (3663), chief (sar 8369) of the Levites, was ( hayah 1961) for (key 3588) song (massa 4853): he instructed (yacar 3256) about the song (4853) because he was skillful (biyn 995)."
        An amplified rendering could justly read,  "And  Chenaniah, whose name means Jah has planted, was an accomplished musician and had burden [borne in upon him of God] for song.  He corrected, instructed or chastised with words about the burden (massa) of song because he was able to perceive and could separate or distinguish mentally."  As we can see from the amplification, Chenaniah's name signified that he had purpose in life for his name meant "God had planted" and had purposed that he become a Chief Levite musician that God could trust to stay on the job.
        He became a "chief" musician because he was skillful and could discern the import of what was right concerning music ministry in the Temple.  He knew what he was doing musically and set about imparting this musical  philosophy and practice to others--he was a music teacher with a passion and burden for church music. From the fact that the Chronicler used the Hebrew  word biyn, we can deduce that Chenaniah was a skillful music director (song leader), and that his massa or burden for song that was was given to him by Jehovah, caused him to not only minister musically but also to teach others to minister in the Temple.  Tomorrow we will consider more about Chenaniah's burden for song.

Thought for the day- Song Leaders? part 6

It is no mystery to me why music in the ancient Temple rose to such great heights.  The ancient Jewish nation accepted the responsibility to train their own in the right way-- i.e. they instructed their children in "the songs of the LORD".

Song Leaders? part 6

       Yesterday we considered a small portion of what the Bible teaches about the Levite musicians who were the music directors in the Temple.  We should be reminded that we study music worship in the Temple not merely because we are curious about Jewish music but because this is the ancient place where true public musical worship of Jehovah took place. 
       The Levite musicians who were the musical conductors in the Temple were called or separated for a particular service or ministry--that of leading music worship.  We know of a certainty that they were in charge of all music education in the ancient Temple.  We gain part of this knowledge from the musical discourse in I Chronicles chapter twenty five, where it lists the names of the chief musical directors and their Levite sons.   In verse six it explains that, "All these were under the hands of their father for song in the house of the LORD, with cymbals, psalteries, and harps, for the service of the house of god, according to the king's order to Asaph, Jeduthun, and Heman."
       Note that it was their philosophical praxis that music education was to take place: (1) under the hands of God fearing Levite musicians, (2) in the house of Jehovah, and (3) for the propose of worshiping Jehovah.  Also note that  Heman was an expert (vs. 5) in "the words of God".  As a matter of fact (vs.5), he was so astute in the knowledge of the WORD that the Chronicler, under the inspiration of God, referred to him as a "seer" (chozeh 2374).  A seer was a beholder of visions of God, i.e. a man who beheld or understood the will and word of God.
       One final note-worthy mention is the fact that these music directors (vs.7) instructed their Levite musician sons  "in the songs of the LORD".  If our music philosophy would include a detailed praxis of instructing our children in spiritual songs, i.e. the songs of the LORD, perhaps we wouldn't have so much trouble with the "music worship gap"in our homes and churches.

Thought for the day Song Leaders? part 5

When we study the Bible definition of what the chief musician song leaders of the Temple were like, it should not scare or intimidate us but rather encourage us to know that what we do matters to God!

Song Leaders? part 5

       For the past four days we have been discussing the topic of what a minister of music and or a song leader should be like--actually how one should act and look when he or she is leading musical worship. This discussion has included conducting techniques (utilizing both arms) , facial expression, body language, and emotion and meaning through expressive conducting techniques. We have also considered whether or not a song leader has the right and responsibility to let the joy of the Lord be expressed in an emotional way through conducting techniques and his or her visage. 
       Today we are going to look at what the Bible has to say about this Chief Musician.  The Book of Psalms refers to the chief musician fifty-four times.  The Hebrew word from which the words chief musician are translated in the A.V. is natsach (5329).  This word means to be eminent, to glitter from a distance and be superintendent.  These music directors were chosen to supervise the business of making music unto Jehovah in the Temple.
       Other names for these music directors were: chief singer  (natsach 5329) in Habakkuk 3:19; overseer (paqiyd 6496) in Nehemiah 12:42; principle (rosh 7218) in Nehemiah 11:17 which connoted being first in rank or being captain; chief (sar 8269) of the Levite musicians in I Chronicles 15:22, meaning to be a head person or a master musician; and chief ( rosh 7218) of the fathers of the Levites in I Chronicles 9:33.  All of these names carry the meaning of a "head person" or leader in charge of music who has skill, and who is a responsible leader.
       Special note should be made of the word natsach (5329).  This term used in the title of fifty-four of the Psalms connotes a person with great charisma.  This musician who is a song leader was said to "glitter from afar".  This person was to be a powerful song leader (and much more) and an accomplished musician.  So, we can see this chief musician conductor was an eminent leader of Temple music.  This  Bible definition of a song director is philosophically far from the retiring "vanilla song leader that some Christians suppose.

Thought for the day-song leaders? part 4

I believe that if a music worship leader loves our Lord and Savior deeply and passionately his or her love will show on the outside at least part of the time when they music unto Him!

Song Leaders? part 4

       We have spent the past three days discussing what and what not to do if one wishes to be an effective worship leader.  Some church music philosophers purport that Christian humility demands that the minister of music be a very mild, plain "vanilla" sort of leader that  recedes figuratively into the background.  These well meaning church music philosophers believe that any display of emotion or visual excitement on the part of the conductor hinders the work of the Holy Spirit in worship.
       These philosophers are what I consider to be a type of religious music worship formalist because they believe that worship understanding is a cognitive exercise alone that must be encapsulated within ones psyche.  They believe that music's meaning is cerebral and that if it fails to remain strictly a cognitive exercise  it becomes a worldly display of emotion.
        These  musicians clap their hands at a classical music concert until they turn red, but they abhor any display of emotion when it comes to worshiping our heavenly Father who is truly worthy of our emotional responses.  These musicians scream their heads off, so to speak,  at their son's or daughter's ball game, but they believe that they must remain almost mute, or at least stoic, when it comes to emotion and outward expression to a worshiping body of believers musicing unto God.  I contend that the most worthwhile display of emotion that a music director, or any worshiper for that matter, could ever make would be lavishing praise upon our Savior so dramatically that it is displayed on his or her outward appearance.

Thought for the day- conductors-part 3

Name for me the famous conductors of the world who did not use conducting gestures when they stood before the professional musical organizations they conducted.  Why should a minister of music have lesser expectations for musicing unto the King of Kings and Lord of Lords who was and is very God, who left the splendors of heaven, took on the form of man,  suffered and died for our sins, arose from the dead, ascended unto the throne of God and now sits at the right hand of the Father making intercession for us?

Song Leaders? part 3

For the last two days we have been very seriously discussing the requirements of a congregational song leader.  One thing about reading my music philosophy blog or hearing my lectures in a college class is that you will never have to ask, "Mr.Wolf, what do you really believe about the topic we have been discussing?" As you could probably guessed, I an what is called an "over conductor" and a very passionate one at that!  As I have had the privilege to watch some the great conductors of the world in Europe and the USA, I have noticed that they were all very passionate conductors and that it shows in the way they conduct.
       You might honestly ask at this point in our discussion,"Is there room for a song leader who has a sane, sophisticated, quiet, reserved personality?  The answer is yes.  All conductors do not have to be "over conductors", but I submit to you that being almost insane helps! A song leader can have a more quiet approach to conducting, but he or she can not afford to outwardly show complacency. 
     There is a notion among ministers of music and church orchestra conductors that when a conductor stands in front of a choir, orchestra or congregation of worshipers, he or she is not an exceedingly important functionary.  This notion brings ministers of music to the erroneous conclusion that vibrant performance conducting gestures are not necessary.  These so called music leaders believe that a good leader only "facilitates" in performance and that he or she doesn't actually change the way  that an instrumental or choral organization  or congregation musics unto God.
       These conductors tell me that they could walk away from their church choir, church orchestra, or congregation and they would sing, play and worship just as well without them.  My answer is always, "then you should walk away if you are not helping," No director should do something that isn't necessary or efficacious.
       I an afraid that this faulty philosophical notion has been very detrimental to public worship.  A conductor that doesn't passionately lead, gives off  signals that are most often misread by a church orchestra, church choir or a congregation of worshipers--that he or she is  apathetic. So, I am drawn to the conclusion that although a song leader doesn't have to be a "wild man" he or she must be a passionate conductor and it must show in the way he or she conducts.

Thought for the day-song leaders?-part 2

Should someone sing J.S. Bach's "Sleepers Awake" after you lead congregational singing?

Song leaders? part 2

Yesterday we began a discussion of the requirements of a congregational song leader.Today we will continue our discussion.  I can understand a song leader who is not knowledgeable of good standard conducting techniques and I understand that many of them are sincerely trying to lead musical worship. However, I have a hard time understanding a song leader who stands before the congregation with facial expressions that accurately represent the “Great stone face.” When I watch song leaders I often see no smile, no joy, no enthusiasm, no excitement, no outward facial expression that represents all the joy and grandeur of corporate singing about our Savior "who taketh away the sins of the world". Great joy should exude from the song leader as the congregation sings the great hymns, gospel songs and worship choruses. These songs and choruses are capable of being vehicles to express the awesomeness and solemnity of the worship of a triune God.
 Jesus, quoting from Isaiah 55:7 stated in St. John 7:38: stated, “He that believeth on me, as the scripture hath said, out of his belly shall flow rivers of living water.” Is it too far-fetched to suppose that the song leader, who really believes on the Lord Jesus Christ, can be capable of letting his or her love show through conducting techniques?  I contend that out of the song leader’s belly (heart, or inner being) should flow effusions of love and praise!  They come forth like gushing water from an artisan well.  These “living waters” cannot be contained because the director believes what Jesus said.  It is amazing to me that a minister of music can stand in front of an  assembly of worshipers and fail to let this "living water" be effectually expressed through his or conducting gestures, facial expressions, and deeply passionate body language. 

Therefore, the song leader’s love, joy, belief, understanding, praise, adoration and blessing should all show on his or her face.  The song leader’s body language, facial expression and conducting gestures should all passionately express the glorious praise of our God!  If this happens,  musical worship will be changed dramatically.  Not every member of the congregation  will  have a degree in music or necessarily deeply understand music, but they will all  understand when a song leader is overflowing with deep and meaningful compassion for what he or she is doing and expresses this understanding through performance conducting  and body language that is expressive of his or deep love for the Lord!

Quote for the day-song leaders part 1

"Worship is the single most important event that happens weekly (and sometimes weakly ) in the local church." Church Music in the Real World, by Bob Burroughs p. 86.  It is our responsibility as song leaders to make sure that it does not happen weakly.

Song Leaders? part 1

 

          My earliest memories of going to church include standing with a hymnbook in my hands, singing vigorously while trying to see over the pew in front of me.  It never entered my mind that the day would come when the hymnbook would begin to disappear in the sanctuary.  It also never occurred to me that effective song leaders who are passionate music directors with obvious effective conducting skills would also ,little by little, begin to disappear. 

          First, even more disappointing than the disappearance of the hymn book has been the vanishing of the effective song leader. By "effective song leader", I mean someone who is knowledgeable in conducting skills and expresses the essence of the worship music while utilizing these skills. I am fortunate, where I attend church to have a minister of music who understands conducting, but as I travel to a variety of churches, I experience fewer and fewer song leaders who use both arms in the process of conducting patterns and gestures, (remembering that there are worshipers on both sides sides of the conductor) .
       There seems to be a lack of understanding among directors that there are performance conducting techniques  that are a non-verbal method of  "drawing" the congregation into the experience of musical worship. Those who do not understand the function of conducting patterns seem to not understand how conducting gestures should visually express the essence of the text and the music part of the music they are trying to lead. Directors seem to forget that conducting is not merely a rehearsal function. 

          Second, I seldom see a song leader who actually  leads the people in singing. The congregational song leader should direct the music with passion.  The character of the song leader’s conducting gestures should reflect the essence and character of the song he or she is trying to represent with conducting gestures. The conductor should remember that he or  she is leading the congregation in presenting a musical offering unto God, and that it should be a meaningful musical offering which is, as much as is possible, without blemish.  The director is not leading the congregation in singing songs for fun, but rather, he or she is  leading them as they  are responding to God through singing!

          Third, the facial expressions of the song leader should mirror the message of the text. Believe it or not, the conductor’s visage should change as the meaning of the text changes.  The body language of the song leader should be a non-verbal effusion of the director’s inner desire to express the meaning of the text and the music part of the music.  When the music "weeps, the conductor should obviously be moved with great compassion.  When the music rejoices, he or she should almost burst with enthusiasm and obvious joyful, passionate expression   through both  conducting and facial expression!  I believe that Church Music Matters and that a strong philosophy of worship conducting also matters and will effectively change the worship experience!  Remember, every music choice we make exudes from our music philosophy.

Thought for theday-Genesis rec. part 3

 Christians who deny a literal creation as recorded in Genesis often find themselves without ancient biblical philosophical foundations for music.

What we know about music from the Genesis record-part 3

            There is one more concept of God's creation  recorded in the Book of Genesis that we should be discuss here. As we considered  on February 5 2013, Genesis 1:31 recorded that in God’s opinion His music creation was very (ma’od 3966) good (towb 2896).  In other words, His music creation wasn’t merely good, but it was exceedingly good or beautiful.  The Hebrew word ma’od is a superlative term.  To God, music was not “just there”, but rather it was exceedingly good when used as He intended.  The word towb connotes not only goodness but also beauty.  Although it is difficult to fully ascertain what is meant by beautiful it is possible to understand that God created music for His glory and created it to be exceedingly beautiful and wonderful. We can also justly conclude that this creation which was ma'od towb was exceedingly valuable to mankind.  It was very beautiful,valuable meaningful,and had the ability to be very efficacious either for good or, if pervert, for evil.. 

            It stands to reason that if God created music to be exceedingly good and that it is the objective of Satan to pervert it by removing its goodness.  Since towb also means good or best, we may safely conclude that it is the work of Satan to pervert those elements of music that make it exceedingly the best.  If one believes that Satan’s perversion of music produces “good music”, then that person has just bequeathed Satan with the ability to produce “perverted good” music.  (See Chapter 5 of my Book, Church Music Matters).

Thought for the day-styles-part 2

It is one thing to sing the song "Give of your best to the master", but it is another thing to perfect one's musical offering by careful vocal study.

Music Styles--part 2

       One of the objectives of these posts on music styles is to apply music philosophy to music praxis.  Music philosophy is actually only so much rhetoric until it is put into practice.  One’s music philosophy may look excellent on paper, but unless it is applied to music “doing” it only serves to ease a musician’s conscience.   It is one thing to say you believe something, but it is entirely another to back it up by what we actually "do" when you music.       
         If the words of the songs we sing unto God are completely biblical, then they embody truth.  They represent absolute truth because their message is absolute truth. They represent what Francis Schaeffer would call “true truth”.  If the words are congruent  with biblical principles then it stands to reason that the style of singing should also be congruent with the words sung.  the words and the music must send the same message.
        I Corinthians14:7-8 states, “And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds, [melodies] how shall it be known what is piped or harped?  For if the trumpet give an uncertain sound, who shall prepare himself to the battle?”  There is much deeper musical truth in this Bible music reference than is commonly understood. When a soloist’s vocal performance style allows scooping up to pitches, breathy indiscriminate nonvocal sounds, delayed vibrato (or no vibrato), the result is without doubt an “uncertain sound” vocally speaking. The vocal performance style actually belies the constant truth of the message of Christ crucified.  So, when a vocalist juxtaposes biblical “true truth” with a vocal performance style that is not accurately in pitch, constant or aesthetically presented, then the musical message, which affects the spiritual message, is greatly hindered, diluted and therefore obscured.

Thought for the day--music styles-part 1

How do Christians deduce that if they read the Bible, attend church, and pray they will become so spiritually fortified that they can listen to any type of music they wish and it will have no negative effect on them?

Music styles--part 1

       Dr. Robert Berglund once said, "Why is it that almost every music appreciation textbook written deals with style in music?  The obvious answer is that it is through style that music assumes much of its meaning to the listener." A Philosophy of Church Music p. 22.    Roger Scruton explained that, "The first step towards understanding music, therefore, is to understand sounds as objects of perception." Understanding Music, p.5.  So, it is universally understood by music philosophers that style matters.  Furthermore, music understanding is achieved through many means, but paramountcy through  the understanding of sounds delivered through music style. 
       Why should the Christian care about music styles?  It is believed by many Christians that style is only a matter of musical taste and therefore of little or no concern to the spiritual outcomes of sacred music.  The only problem with this "all styles are ok" notion is that this notion is just not ok!  In our posts for the next few days we will be considering music styles and their effect on both sacred and secular music in the life of a Christian.

Thought for the day-I believe part 2

I believe that whether one is listening to or preforming secular or sacred music he or she should always be aware of  the wonder of the infinite God who created music.

I Believe-Schools od Music Philosophy-part 2

Today I am going to discuss, very very briefly my position on the "garden variety" of schools of music philosophy.  Bennett Rimmer stated, "Aesthetics must be used by the music educator to serve his purposes."  He also said, "Only those portions of aesthetics useful to his purpose need be used." A Philosophy of Music Education, p 13.  I believe he was correct in his perception of how to use aesthetics in one's philosophical pursuit.  I feel the same way about aligning one's self with the major current schools of music philosophy: Formalism, Expressionism, Referentialism, Symbolism and Absolutism.  They all contain elements of usefulness, but are not worthy to accept completely.
       Perhaps I'm an un-absolutist, slightly formalist, fringe referentialist who believes in aesthetic experiences but refuses to  either worship these encounters with music or considers them to be the only worthy outcome of musicing.  I am by no means a strict absolute formalist, but I do believe that the internal formal properties are of vital importance to what makes  piece of music a beautiful, quality, organized, aesthetic, artistic musical composition. I am undecided about whether or not music contains symbols which are transmitted to the listener.
       Although I m not a strict referentialist, I am constrained to acknowledge that no one performs or listens to music in a vacuum.  Every performer and listener brings something to a listening or performing experience.  Therefore, I do find myself, at least partially, on the fringes of the camp or the music referentialists.  However, I am quite certain that they would in no case claim me!

Thought for the day

If you were Satan and knew how powerful  an influence music could have over mankind, what would you do to it to make it less efficacious for good?

What we know about music from the Genesis record-Part 2

       As we have have considered in previous posts, music in its beginning, is not the original concept of primitive mankind, but rather the concept of God who is alpha and omega the beginning and the end.  To assume anything less is presumptuous and has no basis  in or outside of Scripture.  God created sound or tone, the basis of music, and it has existed from the time of creation. As we have stated emphatically before, man did not evolve into existence, and likewise music did not evolve into existence. 
       The Genesis record does not major on the particulars of music in ancient times.  Frankly, the Genesis record establishes many other very important foundations that we will not discuss in these philosophical posts on music.
However, we are not completely left in the dark concerning the of the beginnings of music since we have the mention of Jubal and his music instruments early in the Genesis record.  By the time of Jacob (Genesis 31:27), we have record of songs, the frame drum translated in the KJV (toph 8596), and the lyre (kinnor 3658) translated harp in the KJV. 
        A review of Scripture (much of it later than the Genesis record) reveals that during Israel’s early period of nomadic life, instrumental music was well developed.  I will say gain that music's beginning can be traced back to creation, but most of its mention in the OT will be recorded after the Book of Genesis.  You may wonder what I am trying to establish philosophically by nailing down the facts of music's beginnings in God's creative acts and its early mention in Genesis. A simple answer is, at this point, that there are ancient landmarks of musicing to be found in early Scripture.

Thought for the day-Genesis record-part 1

Those who deny a literal creation by an infinitely wise God spend the rest of their lives developing stomach ulcers trying in vain to figure out how music began.

What we know about music from the Genesis record--part 1

Yesterday we discussed the fact that God created the seven note musical scale as an on purpose part of his six day creation.  At the end of the sixth day the Genesis record in chapter 1:31 explains “And God saw everything that he had made, and, behold, it was very good.”  As I stated earlier we know with certainty that in the beginning God created music.  Now we know with certainty in verse thirty-one that the music creation was not only good but also very good.  In God’s opinion the system of music he created was very good.  I don’t know about you but for me I trust God’s opinion for it embodies absolute truth concerning all aspects of music.

            One may honestly ask, “What is God’s opinion concerning music?”  This is an honest question so it deserves an honest answer.  Some of God’s ultimate and perfect opinion concerning music is found in the more than 600 references to music in the Bible.  Many Bible doctrines are only mentioned a few times in God’s Word but music is so important to God that he mentions it hundreds of times in this inspired infallible Word. 

            So, the concept that God doesn’t have any thing to say about sacred and secular music is false.  As a matter of fact, this faulty view actually denies God’s authority over the whole of Creation which includes the whole of music.  It behooves all of us to study His Word and discern just what His will is concerning music.  It is also safe to conclude that all Music Matters very much to God. Although it it presumptuous to claim to know exactly all that God thinks about music, we do know from His infallible inspired Word more about how to music unto Him than many Christian suppose.

Thought for the day

Some Christians believe that the music part of music (the seven note creation) doesn't matter to God in spite of the fact that He, on purpose, created it.  Can you imagine God creating something as wonderful as music that He doesn't care about?

The Seven Note Creation

       On January eleven 2012 we discussed that God created sound.  Today we are discussing God's creation of the seven note musical scale.  Before God created man, He created, “the heaven and the earth.”  The world was brought into being and set in motion at the will of God in accordance to His laws. 
        A part of these laws was the eternal concept of seven days ending with a Sabbath and a re-beginning on the eighth day.  God, without doubt, created music in the beginning to conform to these laws.  The eighth note of the musical scale is essentially the same as Sunday of the next week.  Sunday is the eighth day or the day of re-beginning of the same sequence just like the eighth note of the musical scale.  If you sing the diatonic major scale and stop on the seventh degree  this leading tone demands resolution.  The note of resolution is the eighth degree of the music scale which is the same as the first degree i.e. the tonic.   The concept of seven degrees in a musical scale cannot be improved upon since the number seven is always the number of perfection in Scripture, and eight is the number of regeneration and re-beginning. 

       When we study the te'amim (which is the musical notation found above and below the texts of the entire Old Testament) we find that the the tonic of both the psalmodic and prosodiac systems of notation have a tonic note.  (See chapter 8 of my book, Music of the Bible in Christian Perspective).  This tonic note is called "silluq".  This term means "end" and has the same function as the tonic note of our "modern" diatonic scale.. God created and rested in seven days and God made a seven note  scale with a resting note.  After the seventh day the sequence of days re-begins and after the seventh note the musical scale re-bergins--all this is more than a coincidence!  It is the work of an omniscient creator.

       Outside of our knowledge of  the te'amim, 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."  We also know that Adam was given domain over the erets (776--see Jan. 17 post) so he no doubt had wisdom concerning music. The more we learn about God 's seven note creation the more we are drawn to the conclusion that a God this wise is capable of guiding us in developing a unified Christocentric music philosophy in the twenty-first century.  Praise God!

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