Thought for the Day

Thought for the Day

The anointing on a church musician’s musical ministry comes from divine influence on the human instead of from one’s charisma. By the term charisma I mean the compelling attractiveness or charm that can inspire devotion in others.  I believe that a Christian should music emotion and meaning.  However, it is the anointing of the Holy Spirit that properly empowers a musician for musical service rather than one’s personal talent and charm.

 

More on Good and Faithful Musicians Part 4

More on Good and Faithful Musicians Part 4 

            The influence of the Divine upon the human can and should be a reality in the twenty first century.  The musician who is touched and moved by the Holy Spirit has the right to be passionate about the music that he or she uses as a vehicle of worship.  All of the Christian musicians that I have had the privilege to know, who were accomplished musicians, have been very passionate about their secular musicing.   However, some of them believe that their sacred musicing should be very sedate and staid and should be executed in a manner that is seemingly almost detached from any passion or emotion.

             I see no place in Scripture where Christian musicians are instructed to perform sacred music in a manner that is devoid or outward emotion; outward evidence of meaning (understanding); or outward physical expression of being passionate about the music being performed .  Therefore, I am drawn to the philosophical conclusion that although sacred musicing is very serious business, we may and should perform it with joy.

Scripture and Thought for the Day

Scripture and Thought for the Day

Even though some Christian musicians may have a tendency to make the subject of spiritual power too much of a major part of their discussions of spiritual music and musicing, the Bible does promise spiritual power to those who minister in the Holy Spirit.  Luke 24:49, “And, behold, I send the promise of my Father upon you: but tarry ye in the city of Jerusalem, until ye be endued with power from on high.”  Also Acts 1:8 states very clearly, “But ye shall receive power, after that the Holy Ghost is come upon you: and ye shall be witnesses unto me both in Jerusalem, and in all Judaea, and in Samaria, and unto the uttermost part of the earth.”

 

Scripture and Thought for the Day

Scripture and Thought for the Day

Mark 8:34, “And when he had called the people unto him with his disciples also, he said unto them, Whosoever will come after me, let him deny himself, and take up his cross, and follow me.”  A faithful Christian musician who is truly a disciple of Jesus Christ is one who worships with God as the object rather than “Self”.  A Christian musician who seeks applause and praise for his or her musicing is unable to allow God to receive the prominence in the worship experience.  So the first requirement for spiritual musical performance is the denial of self.

 

More on Good and Faithful Musicians Part 3

More on Good and Faithful Musicians Part 3 

            The faithful musical servant is not only a leader and a worshiper but also a

 faithful teacher.  Faithful musical leadership includes teaching others to worship God by musicing unto Him.  The faithful musical servant utilizes teaching skills in their most profound form i.e. teaching by example.  The faithful musical servant is not only a technical leader but also a “touched” leader.  I contend that the touched servant is an anointed servant.  Starting late in the twentieth century Christian writers and music philosophers began to make acrid comments about those who sought the anointing or the Holy Spirit as though such philosophical belief was egotistical or somewhat fanatical.  Although it may not be a popular concept among Christians in this century, the visitation of God upon human servants is certainly a biblical concept.  For examples see Leviticus 7:35, 8:12, 1 Samuel 15:1, and Isaiah 10:27, James 5:14, and 1 John 2:27.

 

 

Quote and Thought for the Day

Ephesians 5:1  “Be ye therefore followers of God, as dear children; And walk in love, as Christ also hath loved us, and hath given himself for us an offering and a sacrifice to God for a sweet smelling savor.”  Christian musicians must be sure that they are followers of God rather than mere followers of the latest music fashions and current trends.  There is nothing inherently wrong with worshiping in new and fresh ways, but there is something wrong with being a slave to “worship fashion”.

 

Thought for the Day

Thought for the Day

I desire that I will not only be a “good” Christian musician but also a “faithful” one as well.  In order for me to be both a “good” and a faithful music minister I must be learn to be sensitive to the will and leadership of the Holy Spirit.  My “creativeness” can be either a great blessing or it can be a great hindrance to my ability to be a sold out musician to the will of God.

More on Good and Faithful Musicians Part 1

More on Good and Faithful Musicians Part 1

            Matthew 25:21states, “His lord said unto him, Well done, thou good and faithful servant: thou hast been faithful over a few things, I will make thee ruler over many things: enter thou into the joy of thy lord.”

            Today is Sunday and many Christian musicians are busy with their music ministry.  this ministering  musically is a large part of their faithfulness to God.  A musician can be a good servant morally and not be passionately faithful to the responsibilities of the music ministry where God has placed that musician.  Christian character is what makes a musician a good (agathos 18) person.  The word agathos means good in any sense but its meaning is different than the word pistos (4103) which means objectively “trustworthy” i.e. in the case of a Christian musician, one who experiences the actual reality of being a completely trustworthy servant musician of Christ. 

            It stands to reason that moral goodness is a necessary requirement of the ministering musician who is a bond servant (doulos 1401) of our lord and savior Jesus Christ.  Ralph Earle stated that, “these are the only two things God requires of everyone—that he be good in character and faithful in service.”  Beacon Bible Commentary, A.F. Harper, Editorial Chairman, Vol. 6, p. 237  Although God requires both, I do not believe that being a morally good person automatically makes one a quality musician or does it make one a faithful trustworthy music leader.

 

Thought for the Day

Thought for the Day

Ephesians 5:17, “Wherefore be ye not unwise, but understanding what the will of the Lord is.”  I am concerned that so many Christian musicians have little or no concept of what the will of the Lord is concerning music and musicing.

Postmodernism and Religious Music-part 3

Postmodernism and Religious Music-part 3

            There is no doubt about it; Christian musicians are responsible to bring postmodernism under the scrutiny of the Lordship of Christ.  It will not be an easy task, but we must prove what is acceptable unto the lord when it comes to our musicing.  It is comforting that the Spirit filled musician has the help of the blessed Spirit to help him or her see postmodern philosophy in the light of the Word of God.  However, every musician must wake up and walk circumspectly and be aware of the philosophies that are now prevalent.

 

Thought for the Day

Thought for the Day

Yesterday we considered “proving” which is mentioned in Ephesians 5:10-16.  Christians are advised to remember that the responsibility for “proving” is not God’s responsibility but rather the Christian’s!!

 

Postmodernism and Religious Music-part 2

Postmodernism and Religious Music-part 2

             So, since a host of Christian musicians are plagued with much duplicity, they have been an easy prey for the shape-shifter nature postmodernism.  I am reminded of the musical discourse in Ephesians that is preceded by, Ephesians 5:10-16, “Proving what is acceptable unto the Lord.  And have no fellowship with the unfruitful works of darkness, but rather reprove them. For it is a shame even to speak of those things which are done of them in secret.  But all things that are reproved are made manifest by the light: for whatsoever doth make manifest is light.  Wherefore he saith, Awake thou that sleepest, and arise from the dead, and Christ shall give thee light.  See then that ye walk circumspectly, not as fools, but as wise, Redeeming the time, because the days are evil.” 

Thought for the Day

Thought for the Day

Although postmodernism is not easy to understand and to put into Christian perspective, every Christian musician must struggle with its meaning and influence on religious music.  Christian musicians must accept the responsibility to struggle with the big isues that involve music and musicing.

Postmodernism and Religious Music-part 1

Postmodernism and Religious Music-part 1

            Now that postmodernism is past its prime people are still struggling to understand just what is, or maybe better put, what it was. One definition of what it is [was] has been given by Edward Docx, “Postmodernism was a high-energy revolt, an attack, a strategy for destruction. It was a set of critical and rhetorical practices that sought to destabilise the modernist touchstones of identity, historical progress and epistemic certainty.  Above all, it was a way of thinking and making that sought to strip privilege from any one ethos and to deny the consensus of taste. Like all the big ideas, it was an artistic tendency that grew to take on social and political significance.”  by Edward Docx / July 20, 2011 / Leave a comment Published in August 2011 issue of Prospect Magazine  

                 No one knows for sure whether the postmodern movement has run its course and is being replaced with some new philosophical notion which is too new to even have an official name.  I suppose the thing that matters most about postmodernism is that first, Christian musicians must recognize that it existed for some time and second, that it has greatly influenced religious music.  One of the things that concerns me is that there is so little written by Christians about postmodernism and its influence on church music.  This is even more disturbing since postmodernism came into being, bloomed and now perhaps is being superseded by new philosophical notions, and Christian musicians seem to be oblivious of the fact that its influence exists and is affecting what is happening in religious music today.

Quote for the Day

Quote for the Day

 1Corinthians 14:15, “What is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing with the spirit, and I will sing with the understanding also.”

Should All Christian Musicians Study? Part 3

Should All Christian Musicians Study? Part 3

            There are many practicing Christian musicians that find out in the midst of their music ministry that that they are incapable of “understanding (noeo 3539) neither what they say, nor whereof they affirm (diabebaioomai 1226).” This phrase connotes that it is possible for a Christian to follow a ministry (music) praxis and not be able to confirm thoroughly, with any logical biblical understanding, why they believe (affirm constantly)   what they believe.

            Third, “rightly dividing the word of truth” is a must to any Christian ministry.  This is most certainly the truth in the case of music ministry. Portions of 2Co 6:4-7 teach us that, “… in all things approving ourselves as the ministers of God, in much patience, in afflictions, in necessities, in distresses… By pureness, by knowledge, by longsuffering, by kindness, by the Holy Ghost, by love unfeigned, By the word of truth, by the power of God, by the armor of righteousness on the right hand and on the left…”  Remember that the onus of approval falls on the Christian musician “Eph 5:8-10 speaks to this fact when it states, “For ye were sometimes darkness, but now are ye light in the Lord: walk as children of light: (For the fruit of the Spirit is in all goodness and righteousness and truth ;) Proving what is acceptable unto the Lord…”

 

Quote for the Day

Quote for the Day
2Corinthians 10:18, “For not he that commendeth himself is approved, but whom the Lord commendeth.”

Should All Christian Musicians Study? Part 2

Should All Christian Musicians Study? Part 2

            It is a fair question to ask why I purport that all ministering musicians.  The answers to this hypothesis are found first in the statement in 2Timothy 2:15: “Study to shew thyself approved (dokimos 1384) unto God”. Dokimos means, in this situation, that the musician’s serious and accurate study will cause that musician to music in a way that will render this music and musicing acceptable in the sight of God.  This phrase would also connote that the musician has, by study, has “tried” the music and the way he or she plans to musics so that it will be acceptable unto God.

            Second, the statement “a workman that needeth not to be ashamed” is self- explanatory—those who study music and music in the Bible are a lot less apt to later be ashamed of how thy musiced unto God, than those who rush in like a bull in a china shop and find themselves in the unfortunate situation mentioned in 1Timothy 1:5-7,. “Now the end of the commandment is charity out of a pure heart, and of a good conscience, and of faith unfeigned: From which some having swerved have turned aside unto vain jangling; desiring to be teachers of the law; understanding neither what they say, nor whereof they affirm.”  

 

Quote for the Day

Quote for the Day
Ecclesiastes 12:9, “And moreover, because the preacher was wise, he still taught the people knowledge; yea, he gave good heed, and sought out, and set in order many proverbs.”

 

Should All Christian Musicians Study? Part 1

Should All Christian Musicians Study? Part 1

            2Timothy 2:15, “Study to shew thyself approved unto God, a workman that needeth not to be ashamed, rightly dividing the word of truth.”   Study requires the devotion to acquiring knowledge on an academic subject. This most often requires reading and the dedicated study and detailed investigation of books.  In this case St Paul was doubtlessly referring to devoting time and attention to the acquisition of knowledge of the “Book of Books” in order to acquire knowledge of what it teaches.

            It stands to reason that all Christian musicians must study music and that this study must involve a long broad study or the whole of music.  The verse quoted above does not directly mention the study of music, but I believe that the Bible principle taught here logically extends to the study of music for the Christian who is a ministering musician.  I also believe that it is essential for all ministering musicians to study what the Bible teaches about music and musicing.

 

Thought for the Day

Thought for the Day

Although a host of writers over several centuries have purported that the psalms are of timeless value, church musicians have evidently not shared that opinion since many of them rarely include them in congregational worship.

THE PSALMS PROFOUND INFLUENCE IS TIMELESS—part 2

THE PSALMS PROFOUND INFLUENCE IS TIMELESS—part 2

            Plumer noted the long tradition which the psalms represent when he stated, "The Psalms are wonderful.  They have been read, repeated, chanted, sung, studied, wept over, rejoiced in, loved, and praised by God's people for thousands of years." Plumer, W.S.  Psalms.  Carlisle, Pennsylvania:  The Banner of Truth Trust, 1978, p. 5.

    Barnes pointed out the timeless value of the Book of Psalms. “It is not a little remarkable that the Psalms in the estimation of religious person, hold substantially the same place under the clear light of the Christian dispensation which they did under the comparatively obscure Hebrew economy, and that with all the additional light which has been imparted under the Christian revelation, the Psalms have not been superseded.  The Christian looks to the Psalms with an interest as intense as did the ancient Jew, and, as expressive of personal religious experience, as well as for the purpose of a manual for worship, the Psalms are selected by the Christian, from the whole Bible, as they were by the Jew from the books in his possession--the Old Testament.”  Barnes, Albert.  Barnes' Notes on the New Testament.  Grand Rapids: Kregel Publication, 1962, p. XL.

            So, the Book of Psalms is probably without doubt the greatest devotional book in the Bible.  The fact that the most practical book of devotion in the Bible is a song book is proof of the importance of music in the life of the Christian.  It should also be pointed out that although this collection of lyric poetry is deep in its religious, ethical, and theological content, it is presented in such a way that the common man is able to identify with its situations and understand its meaning.  Since this great collection of music has not become outdated or its message superseded, the psalms will relate to contemporary Christian experiences.  For this reason the twenty-first century church musician should seriously consider its value in public worship.

THE PSALMS' PROFOUND INFLUENCE IS TIMELESS—part 1

THE PSALMS' PROFOUND INFLUENCE IS TIMELESS—part 1

            This collection has served throughout the centuries as the main devotional source of the Bible.  The uses of the collection are many.  Here are just a few:

            1.         It is a song book intended to be sung.

            2.         It is a devotional book for both public and private worship.

            3.         It contains many Bible doctrines.

            4.         It is a fascinating poetical book.

            5.         It generally contains theology, history, prophesy, prayers and praises.

            6.         It expresses the deepest religious expressions.

            7.         It relates to saint and sinner.

            8.         Its message relates to the current needs of believers since its message is  

                      timeless.

            Some writers believe that this book has had as profound an influence on Christendom as any other single book of the Bible. Perone stated, "No single book of scripture, not even the New Testament has, perhaps, even taken such hold on the hearts of Christendom.  None, if we may dare judge, unless it be the Gospels, has had so large an influence in molding the affections, sustaining the hopes and purifying the faith of believers."1 Eiselen concurs when he states, "There is no body of devotional literature in the world comparable to the Psalms in expressing the reality, depth, and purity of religious experience."2  Henry purports that, "There is no one book of scripture that is more helpful to the devotions of the saints that this, and it has been so in all the ages of the church, ever since it was written and the several parts of it were delivered to the chief musician for the service of the church."3  Allen states that, "The Book of Psalms is the single master representative book in the entire Old Testament.  In it are mirrored the basic theological convictions of the people who produced the Old Testament."4  Clarke sums up the thought quite well when he states, "I know nothing like the Book of Psalms:  it contains all the lengths, breadths, depths, and heights of the patriarchal, Mosaic, and Christian dispensations.  It is the most useful book in the Bible, and in every way worthy of the wisdom of God."5

 1.       Perowne, J.J.  The Book of Psalms.  Vol. 1 and 2.  Grand Rapids,            Michigan:  Zondervan Corporation, 1878.  (1968 Printing), p. 22.

2.        Eiselen, Frederick; Lewis, Edwin; and Donleavy, David.  The Abingdon Bible Commentary.  New York:  Abindon-Cokesbury Press, 1929,        p. 514.

 3.   Henry, Matthew.  Matthew Henry's Commentary. Vol. 3, McLean, Virginia:  MacDonald Publishing Company, no date, p. 237.

 4.       Allen, Clifton J.  The Broadman Bible Commentary.  Nashville: Broadman Press, 1971,  Vol. IV, p. 153.

 5. Clarke, Adam.  Clarke's Commentary.  Vol. III,  Nashville:  Abington Press, no date, p. 218.

Thought for the Day

Thought for the Day

I wonder why psalm singing ha almost disappeared in the public worship of so many fellowships or believers even though there is so much written about the importance of psalm singing?  Perhaps it is because many church musicians have come to believe that songs of our own composing ate more relevant than the inspired Word of God.

Quote for the Day

Quote for the Day

 “Calvin praises the Psalms for their teaching concerning Christian prayer. He speaks glowingly of the privilege and access we have to the courts of the Almighty”: … it appeared to me to be requisite to show … that this book makes known to us this privilege, which is desirable above all others-that not only is there opened up to us familiar access to God, but also that we have permission and freedom granted us to lay open before him our infirmities, which we would be ashamed to confess before men (p. xxxviii).”  http://www.cprf.co.uk/articles/johncalvinpsalms.htm#.VoP7vfkrLIU 

 

THE SONG BOOK OF THE BIBLE—part 2

THE SONG BOOK OF THE BIBLE—part 2

            The inspired psalms are an interesting, exciting, and quite fascinating collection of ancient Hebrew poetry.  These Hebrew songs are the largest and oldest complete collection of mono-theistic religious poetry and melodies surviving in the world today.  This collection of lyric poetry is studied and respected by saints and scholars throughout the world.  Even those who do not respect the Bible as the inspired word of God, revere this book for the quality of its poetical verse.

              The quality of this Hebrew lyric poetry gives credence to the belief that there was a high level of literary and musical development among the ancient Hebrew culture.  The recent deciphering of the "Biblical accents" or the te'amim by Suzanne Haik-Vantoura has produced what she believes are the actual melodies of the psalmody of the Bible.  In Chapter VIII the subject of the deciphering of the te'amim will be treated more thoroughly.

Quote for the Day

Quote for the Day

            “In the Preface to his commentary on the Psalms, John Calvin confesses that words cannot convey the wonder of this inspired book: ‘The varied and resplendid [i.e., resplendent] riches which are contained in this treasury it is no easy matter to express in words … the greatness of [the Psalms] does not admit of being fully unfolded’ (Baker ed., p. xxxvi; pages given in Roman numerals refer to this book).”  http://www.cprf.co.uk/articles/johncalvinpsalms.htm#.VoP7vfkrLIU

THE SONG BOOK OF THE BIBLE—part 1

THE SONG BOOK OF THE BIBLE—part 1

            I often refer to the Book of Psalms as a "Song Book" instead of a "Hymn Book" since the psalms are not all etymologically considered to be hymns.  Many writers have referred to the Book of Psalms as the "Hymn Book" of the Bible and we take no occasion with such reference to the Book of Psalms.  However, it is a different kind of lyric poetry that is not like hymns, gospel songs, or worship choruses.

            The Book of Psalms is not only "our" song book of the Bible, but it was the song book for the religious services of the second Temple.  Although some of the psalms were sung in the first Temple it was not completed at the time that Solomon's Temple was built.  Since the time that the Old Testament Canon was finished, the Book of Psalms has served as perhaps the greatest Biblical source of materials for hymns, gospel songs, and praise choruses.

Thought for the Day

Thought for the Day

Although we are admonished to not sing three types of songs in Ephesians 5:19, we are directed to sing psalms many more times I the Bible than the other two types of songs.

 

THERE IS MUCH WRITTEN ABOUT THE PSALMS—part 2

THERE IS MUCH WRITTEN ABOUT THE PSALMS—part 2

            Since there is so much written on this first book of the Hagiographa, it is difficult to know just what should be included in this work that will be most helpful to ministers of music.  It seems that the first order of business should be to remind church musicians that this book is the "Song Book of the Bible."  This book does not merely contain music, it is all music.  This is an inspired sacred song book, and since its contents are completely religious in nature, the minister of music must have knowledge of how these poems (songs) are constructed in order to knowledgeably sing these most excellent songs. 

`           It is also important for musicians to understand the content of these songs in order that they may be performed with understanding as I Corinthians 14:15 admonishes.  Finally the chief singer or chief musician is to be reminded that these songs were not intended to be read but rather sung since this and all Old Testament scripture was intended to be chanted or sung.  Reading these songs never does them justice for this is not a "Talk Book" but rather a "Song Book."

Quote for the Day

Quote for the Day

1Chronicles 16:9, “Sing unto him, sing psalms unto him, talk ye of all his wondrous works.”

THERE IS MUCH WRITTEN ABOUT THE PSALMS—part 1

THERE IS MUCH WRITTEN ABOUT THE PSALMS—part 1

            The study of music in the Book of Psalms is an awesome task.  Many of the other aspects of music in the Bible are not well researched by Bible commentators, but the subject of the "Psalms" is a well-worn topic.  There are hundreds of complete volumes devoted to the study of the Book of Psalms.1 These books range from small paper back volumes on the devotional aspects of the psalms to monumental treatises like William Plumer's Psalms which is 1,212 pages in length.

            Many of the Bible commentaries on the psalms have valuable introductions that give information on the history, poetry, theology, arrangement, authors, inscriptions, parallelism, figures of speech, inspiration, prophesy, names of God, divisions, collection, and even musical terms in the Book of Psalms.  There are often long discussions concerning the dating, collection, and authenticity of the inscriptions of the various psalms in this ancient collection of poetry.

Quote for the Day

Quote for the Day

“Theology determines how we worship, including the type of music we use. The real issue is who we understand God to be.  That is what determines how we respond to Him, i.e.- how we worship Him, even if we do not realize it!  Our worship "style" and the type of music we use reveals what we believe about God.  If a church wants to study its Worship, this is the place to begin:  ‘What do we believe about God?"’  http://www.reformedliving.org/index.php?option=com_content&view=category&layout=blog&id=34&Itemid=12

Quoting Luther Without Documentation

Quoting Luther Without Documentation

            You may have read the quote, “Why should the devil get all the good tunes?” that   Martin Luther was supposed to have made.  The problem is that the writers who attach his name to this statement never give the document from which this pungent quote was allegedly taken. Perhaps this quote is the sister to the quote “Why should the devil have all the good art?” that no one can seem to find or document.  In an effort to build a case for the faulty notion that the music part of music doesn’t matter, these bogus quotes surface time and time again.  If Martin Luther’s or John or Charles Wesley’s name is not attached to these quotes then these zealous writers affix the venerable William Booth’s name to such quotes.

            In all Honesty, the argument will not be settled easily because the problem is much larger than the music beliefs of Luther or the Wesleys.  What I am contending for is some intellectual honesty from writers who are desperate to prove a point about the styles that they use as concomitants to the music they use in public worship.  We all know that common research writing requires documentation when someone’s name is affixed to a controversial quote.  In the process of a writer’s musical jihad, he or she must be sure to “play fair” when attempting to hook centuries of traditional church music praxis to much of what is being practiced by church musicians in this century.

Quote for the Day

Quote for the Day

"And you, my young friend, let this noble, wholesome, and cheerful creation of God [music] be commended to you. By it you may escape shameful desires and bad company. At the same time you may by this creation accustom yourself to recognize and praise the Creator. Take special care to shun perverted minds who prostitute this lovely gift of nature and the art with their erotic rantings; and be quite assured that none but the devil goads them on to defy their very nature, which would and should praise God its Maker with this gift, so that these. . . purloin the gift of God and use it to worship the foe of God, the enemy of nature and of this lovely art" (Quoting Martin Luther) Protestant Church Music, by Frederick Blume, New York: W.W. Norton & Co., 1974, p. 10. 

Are Popular Styles Appropriate Contrafacta? Part 2

Are Popular Styles Appropriate Contrafacta? Part 2

             An example of contrafactum was the setting of Charles Wesley’s hymn text Hark! the Herald Angels Sing to a melody from Mendelssohn's Gutenberg cantata Festgesang by William H. Cummings.  Palestrina’s Mass Assumpta et Maria is a contrafactum (parody) of his motet Assumpta et Maria. Note that the term “parody” in the sixteenth century was not used in a pejorative sense.  It simply means that there was a borrowing of melody, harmony and rhythm of another musical composition which was composed in like manner to other music written especially for sacred music.

            Why all the fuss about musical parody or contrafactum?  Any sacred musical praxis which is justified by mistakenly believing that using many popular musical idioms is comparable to historic use of secular contrafacta is faulty. Observing the vast chasm between historic church music and many popular musical idioms of the late twentieth and early twenty first century clearly debunks any music philosophy or praxis which tries to draw parallels between what is going on in modern church music and historic use of contrafactum.

             It should be pointed out that the mixing of secular styles of music with sacred texts is often done in jest by many arrangers today. This hocking of the arranger’s musical skills, which is done many times to simply prove that he or she can amalgamate the world’s music with sacred text, is hot an intellectually honest endeavor.  A style of music should be married to a sacred text because the composer or arranger believes that the genre being used is the best vehicle for the presentation of the text.  Certainly to utilize a musical parody in the pejorative sense is a sacrilegious musical effort on the part of the composer or arranger. 

Quote for the Day

Quote for the Day

“Does music of rebellion fit the worship of our majestic God? No. It may be useful in expressing angst, or man’s sinful condition, or even the lament or oppression of minorities in some forum, but this forum is not properly a worship service.”  Singing and Making Music by Paul S. Jones, p. 175.

Are Popular Styles Appropriate Contrafacta? Part 1

Are Popular Styles Appropriate Contrafacta? Part 1

            As the reader can now see the discussion of the kind or kinds of music the Wesleys and Martin Luther utilized with their sacred music has been going on for several years among modern writers od church music.  The casual reader may not have had the time or have recognized the need to check out the validity of these written assertions about Luther’s (and the Wesley’s) sacred music.  It should be pointed out that even if John Wesley, Charles Wesley, or Martin Luther were advocates of using bawdy music, which they were not; their use of this music would not have constituted Divine approval of such music with sacred lyric texts.  Although there is room and justification for the use of a variety of styles of music with sacred lyric texts, it does not take very much musical logic or spiritual discernment to rightly hypothesize that not every style of music or not every tune will make a proper concomitant to the message of the gospel of our Lord and Savior Jesus Christ.

            Because the history of contrafuctum (derived from Latin) has become so esoteric in the last one hundred years, its connection to sacred music is misunderstood by many secular and Christian musicians.  Therefore, it is sometimes misrepresented by many writers in church music.  The use of a secular melody with a religious text without substantial change to the music. It may also be correctly defined as music with the absence of contrast between 'secular' and 'sacred' styles of music in the Middle Ages which left no resultant contradistinction between the melodies, harmonies and rhythms if sacred and secular music.  For the reasons mentioned above composers, including those who composed their own music as a concomitant to sacred didactic lyric poetry, sometimes borrowed a secular song and used it either in part or whole in their sacred music compositions (contrafacta) .  The concept of contrafactum also included the substitution of one text for another without substantial change to the music.

Quote for the Day

Quote for the Day

“Luther took the entire melody from only one secular song, ‘I Came from an Alien Country’ for ‘From Heaven on High, I Come to You’. It first appeared in 1535 but four years later was replaced by an original tune from Luther, not the borrowed one. The secular tune does not reappear until after his death. The tune’s use in worldly haunts would sully the sacred text and bring secular associations inappropriate to worship, so Luther replaced it.”   Why I Left The Contemporary Christian Music Movement  by Dan Lucarni(New York: Evangelical Press, 2002), p.107

Did Martin Luther Use Barroom Music with Sacred Music? Part 3

Did Martin Luther Use Barroom Music with Sacred Music? Part 3

            Here is a short history of some of the sources of the music Luther used with his sacred lyric texts: "Of the melodies to Luther’s 37 chorales, 15 were composed by Luther himself, 13 came from Latin hymns of Latin service music, 4 were derived from German religious folk songs, 2 had originally been religious pilgrims’ songs, 2 are of unknown origin, and one came directly from a secular folk song." (Data compiled from Squire, pp. 446-447; Leupold, ed., Liturgy and Hymns; and Strodach, ed., Works of Martin Luther, VI)  NOTE: The one secular song was from a popular pre-Reformation (not a drinking tune!) secular song, "I Arrived from an Alien Country," and was used as the melody for the Christmas hymn, "From Heaven on High I Come to You", the first stanza Luther patterned after the folk song. (sources: Robert D. Harrell, Martin Luther, His Music, His Message, p. 18)   The quote above is taken from http://www.av1611.org/question/cqluther.html 

            Furthermore, after researching every published work dealing with Luther’s music, Robert Harrell says point-blank: "None of the works dealing with Luther’s music can trace a single melody of his back to a drinking song." (Robert D. Harrell, Martin Luther, His Music, His Message, p. 34). (ibid, above).  So it is safe to conclude that there is no scholarly basis to believe that Luther used secular music with his sacred texts in a willy-nilly manner.  There are many sources and data sited in the article quoted that are worthy of the reader’s consideration so I suggest that those who are not convinced or who have further interest read the entire article and follow up the sources sited.  If Christian writers had not misquoted the facts so often further research would not have been necessary except that many of these articles are quite convincing on the surface.

Quote for the Day

Quote for the Day

“Here’s what we do know about the Martin Luther situation. Luther was obviously quite interested in empowering common people to participate in the liturgy. When it came to music, he wrote his own tunes based on existing chants and religious tunes, and folk melodies.”  http://www.patheos.com/blogs/ponderanew/2015/11/02/which-of-our-favorite-hymns-are-rewritten-bar-songs/

 

Did Martin Luther Use Barroom Music with Sacred Music? Part 2

Did Martin Luther Use Barroom Music with Sacred Music? Part 2

            One of Martin Luther’s often quoted beliefs is, ”Next to the Word of God, the noble art of music is the greatest treasure in the world.”  I find it hard to believe that a musician who considers sacred music to be this important would even contemplate the use of ribald forms of music.  Since he considered music is to be next to the Holy Writ, it stands to reason that he would not juxtapose sacred texts with music that formerly brought reproach on Christian living.  As a matter of fact Martin Luther believed, “Music is a gift and grace of God not an invention of men.”  Certainly he did not have any trouble placing music under the Lordship of Christ.

             In my short lifetime I have found that Christian musicians who believe philosophically that they own music because they created it, do not consider that it is God’s because He created it—they own it so they have independent control over it and its connection to musical worship.  When musicians, like Luther, consider that music belongs to God and that it is a “gift and grace of God” they tend to be much more careful how they connect it to the worship of a high and holy triune God.  I am afraid that many Christian musicians have lost the concept of being musical servants rather than music owners.  They seem to have forgotten that, Proverbs 1:7 teaches us that, “The fear of the LORD is the beginning of knowledge: but fools despise wisdom and instruction.”

Quote for the Day

Quote for the Day

“None of the works dealing with Luther's music can trace a single melody of his back to a drinking song.”  John Barber, http://thirdmill.org/articles/joh_barber/PT.joh_barber.Luther.Calvin.Music.Worship.htm

Did Martin Luther Use Barroom Music with Sacred Music? Part 1

Did Martin Luther Use Barroom Music with Sacred Music? Part 1

            Did Martin Luther use Barroom music with sacred music?  Oddly enough Luther is accused by misguided Christian musicians (similarly to the accusations against the Wesleys) of using “tavern music” with sacred texts. The problem with these accusations is that they are completely without scholarly basis.  ”At its worst this claim is a misrepresentation of fact. At its best, it is a misleading oversimplification of Luther’s intention and his practice of liturgical music.”  (Copyright © 2013 Evangelical Lutheran Church in America.) www.elca.org/worshipfaq 

            In the article quoted above called “Did Martin Luther really use tavern tunes in church?” the author identified and explained the four sources of melodies used during Martin Luther’s lifetime.  My conclusion of the matter of tunes Luther used is that, although Luther did borrow melodies from secular music, they did not represent a contradistinction of style that were inappropriate got use with sacred music..  However, an inspection of the extant melodies that he used reveals that these melodies did not bring to Lutheran church styles of music that were incongruent with the sacredness of his hymns or chorales.  So, again, the myth of “Barroom Tunes” has (like the case of the Wesley’s use of secular melodies) been proven to be without any scholarly basis.

Thought for the Day

Thought for the Day

The fact that there is room for a variety of styles of music that may be appropriately used with sacred lyric poetry does not give a Christian musician license to use every style of music with church music.

What Kind of Music Did Charles and John Wesley Use? Part 3

What Kind of Music Did Charles and John Wesley Use? Part 3

            It should be pointed out that when a composer utilizes fresh new melodies and harmonies with religious music it is not an indication that there is anything inappropriate or incongruent. On the contrary, old melodies do not automatically indicate that they are classic or of a high quality.  New melodies and harmonies do not indicate that this music is inappropriate, incongruent of a poor quality.  The answer is not found philosophically or musically in the “old versus new argument” or the “secular versus sacred” argument but rather in wise usage of both.  It shouldn’t take much discernment or a doctor’s degree in music composition, for a worship leader to come to an understanding that some music does not lend itself to congruent use with music that a congregation of believers is using to bring honor and glory to an awesome triune God. 

            The fact that the Wesleys used new melodies, old melodies or borrowed melodies from previous secular usage is not the issue.  Several things are especially important when one makes use of eclecticism in music.  First, a Christian musician must be aware of a melodies close association with music that was antichrist in its previous enactment. (The philosophical issue is not always how many people in a worshiping congregation know the meaning of this music in its original enactment, but rather an intellectual honesty about  connecting the moral nature of God with former ribald themes.)  Second, a Christian musician must be constantly aware of whether or not this borrowed music is congruent or incongruent with the message of the gospel of our Lord and Savior Jesus Christ.  Third, Christians must be knowledgeable enough of music composition to discern if it does or does not lend itself to being used to represent the moral nature of God. God is high and holy and is worthy of being worshiped with music that will bring honor to His holiness.

Prayer for this Blog in January

Prayer for this Blog in January

            I want to thank You Lord and Father for the 108 countries that are a part of our blog family.  I also want to thank you heavenly Father for helping me to write each daily post during the month of December, and for helping me to prepare the posts for Advent 2015.  It is my sincere and earnest prayer let this blog will go around the world to places where I cannot go.  Lord, thank You that You are answering my prayer by guiding people from 108 countries to find and read my blog posts. Help me in 2016 as I prepare a post for each day to be sensitive to the Holy Spirit.  Only You know Lord who is out there ministering musically that needs a fresh anointing for musical ministry.  Help me to know which philosophical and devotional thoughts will help these busy pastors and musicians.  Lord, you know that I am not sure which aspects of music education and music ministry to write about that will stimulate and encourage the blog family.  Please anoint the blog, the blogger, and the bog readers during 2016. If it is your will I am asking that the number of page views will increase during this month. These things I ask in your great and wise and wonderful name.  Amen.

 

Thank you for a Great Month of December

       Thank you for a Great Month of December

            Last month was the 36^th month of my blog which contained devotional and philosophical thoughts for Christian musicians. I have written over 2,203 posts since this blog was started. There have been several times this year when I have experienced a certain amount of writer’s burnout.  However, I prayed all year that my posts in 2015 would stimulate both the regular and new blog members to remain faithful to their musical Ministeries. It is my continued prayer that each new post will bring honor to our heavenly  Father in 2016.  My posts in the month of December were a mixture of philosophical and devotional topics.  However, most of them were discussions of the Advent season. 

       Since we began on January 2 of 2013 we have received a total of over 63,500 page views with over 1,650 views in December which is about  than we had in November of 2015.  Since I started this blog the page views have come from 108 different countries.              These views have come from Afghanistan, Albania, Algeria, American Samoa, Argentina, Armenia,  Aruba, Austria, Australia, Azerbaijan, Bahrain, Bangladesh, Belarus, Belgium, Bolivia, Brazil, Bulgaria, Cambodia, Canada, Cayman Islands, Chile, China, Czech Republic, Colombia, Congo [DRC], Costa Rica, Croatia, Denmark, Dominican Republic, Ecuador, Egypt, Ethiopia, Fiji, France, Finland, Georgia, Germany, Ghana, Greece, Guatemala, Honduras, Hong Kong,  Iceland, India, Indonesia, Iraq, Ireland (Republic of),  Iran, Israel, Italy, Japan, Kazakhstan, Kenya, Kuwait, Latvia, Lithuania, Luxembourg, Macau, Madagascar, Malaysia, Mexico, Moldova, Mongolia,  Morocco, Myanmar (Burma), Nepal, Netherlands, Netherlands (Antilles) New Zealand, Nigeria, Northern Ireland, Oman, Pakistan, Papua New Guinea, Peru. Philippines, Poland, Portugal, Porto Rico, Qatar, Réunion, Romania, Russia, Saudi Arabia, Serbia, Sierra Leone, Singapore, Slovenia, South Africa, South Korea, Spain, Sweden, Switzerland, Taiwan, Tanzania, Thailand, Turkey, Turks & Caicos Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, Uruguay, Venezuela, Vietnam, USA and Zimbabwe.

             The ten countries with the most page views in June were: USA, Russia, Germany, Portugal, Ukraine, China, France, Poland, Netherlands, and the United Kingdom.

          If you are from a country that has had page views in the past 35 months and has been omitted from the 108 countries listed above, please email me your country’s name.  Please continue to pray with me that God will allow this Music Philosophy Blog to continue to go places where I will never have the opportunity to minister musically in person. Please pray for me, as I have mentioned before, I am in the process of writing a general music philosophy book and a devotional book for musicians. My philosophy book is now in the hands of the content editor. I would like to report that while I was in Ireland the editor and I were able to make some progress on the devotional book. So, thank you for praying for her as she works on it. Also, please pray for me as I am trying to prepare blog material for the Advent season. 

        I want to thank all of you who have taken the time to view my music philosophy blog during the month of December and a special thanks is in order to those countries that faithfully view this blog month after month.  Please continue to pray that God will guide each post and allow it to reach those who need encouragement to keep ministering for our Lord and Saviour Jesus Christ.  

The main reason that I started this Music Philosophy blog is that, although there is much music philosophy information on the net, not very much of it is from a biblical perspective.  Please share the blog address with your friends.   If you have an area of music or fine arts philosophy that troubles you, please feel free to let me know and I will include it in our discussions.  My email address is Garenlwolf@gmail.com.