Developing a Music Philosophy in Christian Perspective—part 9

  Developing a Music Philosophy in Christian Perspective—part 9

            The Christian who is a strict formalist purports that “music alone” or what some writers refer to as ‘absolute music”  only has meaning that is “musics meaning alone”.  This position denies that the music by itself has any understandable meaning that may relate to real life.  Some of them follow the notion that perhaps instrumental music’s meaning can bring greater insight into understanding the meaning of one’s life.  Music is powerful, and it can have either a positive or negative influence on one’s life.  However, the meaning of life is never found in music or musicing.  The true meaning of life can only be found by being born again, reading God’s word, and by having a real relationship to Jesus Christ our Savior. 

             A musician who musics unto God with this philosophical basis is free to music in any manner that he or she chooses.  Such a musicer is independent of the Lordship of God’s Word because religious musicing has no absolute true understandable meaning beyond the formal properties of the music.  Thus we have come full circle to the philosophical belief in religious musicing is a musical event.  The influence of religious humanists upon millennials who are autonomous musicians has caused much confusion in church music in the past decade.

 

Developing a Music Philosophy in Christian Perspective—part 8

  Developing a Music Philosophy in Christian Perspective—part 8  

            The school of musical philosophy called formalism seems to explain fairly accurately the philosophical dilemma of the misguided Christian musicians mentioned earlier. The strict formalist believes that there is no understandable mean in music and musicing beyond the meaning of the formal properties of the music.  Certainly this would explain religious musicing that has the form of being godly and at the same time denies that there is any understandable meaning, power, or understanding that may be derived as a result of the musicing experience. 

            This formalistic philosophical position denies that in the experience of muscing or hearing another music one is unable to gather any meaning beyond the “musics” meaning that is found in the formal properties of the music itself. Also those who hold to this position hold to the notion that any meaning or understanding is only “meaning” has no relationship to meaning in the hearers actual life because it is the “musics meaning” alone.  This philosophical position is what I call “musicing in a bubble” because the musicer does not bring any understanding or derive any understanding from the musical experience that will help or hinder his or her spiritual life.  The one exception to “musicing in a bubble” is that Christian formalists do believe that the words have meaning and that their meaning does relate to the performer’s and the listener’s spiritual life.

Developing a Music Philosophy in Christian Perspective—part 7

Developing a Music Philosophy in Christian Perspective—part 7

            Again, I ask the question, “how can a post postmodern musician music unto God with truth when his or her truth basis does not value the true truth of what the Bible teaches in 1 Corinthians 14:15 in that musician’s truth basis?  Why should a Christian musician bother to music unto God if there is little or no verity in what the Bible teaches about music and musicing?  In order to do so that musician must erroneously believe that his or her faith in God is beyond Scripture.

             There is no reason to go through the motions of verbally spouting out musical praises to a God whose Word cannot be trusted.  When a musician performs this futile musical exercise, he or she is actually fulfilling what 2Timothy 3:5 explains as, “Having a form of godliness, but denying the power thereof: from such turn away.”  The Christian musician should remember that God’s word declares in St. John 1:1 “In the beginning was the Word, and the Word was with God, and the Word was God.”  Christ is referred to here as the Word.  Since He is the Word Christ and His Word are inseparable.  Therefore, since Jesus declared in St. John 14:6, “…I am the way, the truth, and the life…”   then we know with certainty that His Word embodies true truth.  Therefore, when His Word speaks about music and musicing its message is absolute true truth.  I want to make it very clear that I do not believe that the Bible contains complete truth concerning music and musicing, but the truth that it does contain is true truth.  

Developing a Music Philosophy in Christian Perspective—part 6

     Developing a Music Philosophy in Christian Perspective—part 6

            How is it possible to worship in the manner that John 4:24 teaches, “God is a Spirit: and they that worship him must worship him in spirit and in truth” when a post postmodern musician denies, or perhaps more accurately, dismisses the fact that the Bible teaches true truth about music and musicing?   John 4:24 states, “God is a Spirit: and they that worship him must worship him in spirit and in truth.”  It appears that millennials have been caught up caught up in the enthusiasm of pneuma (4151) and have neglected aletheia (225).  A Christian musician is bound by the true truth that he or she is bound to conform all musicing to the verity of what God’s word teaches.

            1Corinthians 14:15 gives Christian musicians true truth about musicing unto
God when it asks the vital question, “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.”  This Scripture gives two true truths about musicing.  The first truth is spirit (pneuma 4151) which teaches the truth that Christian musicians must have the guidance and anointing of the blessed Holy Spirit on their musicing.  This Bible principle of musicing infers a little musician who has a big God to guide and guard his or her musicing.  The second truth taught in this verse is truth (nous 3563) which teaches that the Christian musician must music unto God with the intellect, meaning and understanding.  All of these implications of what nous means, connote the Bible principle of musicing that there is true truth concerning how one musics unto God.

Developing a Music Philosophy in Christian Perspective—part 5

      Developing a Music Philosophy in Christian Perspective—part 5

            You may wonder how this new epistemology will play out in these millennials music philosophy and music praxis.  They will consider religious musicing as an event rather than an opportunity humbly come into God’s presence with singing and musicing.  The concept of the Chief musician musicing has morphed into a musician who is chief of his religious musicing.  The Bible principle of a skilled musician worshiping YHVH in the spirit of sharath (8334) i.e. one who worships in the spirit of a menial, has been lost in the plethora of confusion that now surrounds public worship.

            It appears that these post postmodern millennials do not resist worshiping the Creator of music, but they have been filled so full of religious musical humanism that the creature i.e. the created thing which is music gets lost in the fog of personal aggrandizement.  They have been mentored by Christian and secular musicians who believe that all musicing begins and ends with self.  They have ben mentored by those who believe that the highest goal of a musician is to develop his or her talents and display these talents before an audience—in this case a congregation of believers and seekers that many times are not knowledgeable of what they are worshiping.  The Bible In Basic English translates John 4:22A, “You give worship, but without knowledge of what you are worshipping…”  Such is the case of music ministers who are post postmoderns who have been lost in the trappings that now surround worship. 

Developing a Music Philosophy in Christian Perspective—part 4

Developing a Music Philosophy in Christian Perspective—part 4

            It is no surprise to me that secular music philosophers almost always exclude what the Bible teaches as viable information for a young musician to use in building a music philosophy.  Music philosophers are now acknowledging that postmodernism is no longer in vogue as a thought basis for building a philosophy.  I agree that postmodernism is “dead” and that millennials are looking beyond postmodernism for philosophical basis.  I call this new look at philosophy post postmodernism. 

            An understanding of postmodernism is important because this philosophical viewpoint has not considered what the Bible teaches about the nature and value music and musicing in the process of establishing a philosophical truth basis.  Remember that modernists considered that the Bible contains both truth and error so their truth basis was flawed.  Post postmodernism is experiencing further philosophical mutations in epistemology.  Therefore, it is not completely clear what truth basis, if any, they will espouse.  Since millennials are growing up with parents who do not consider Bible truths as the supreme authority, or to have any authority over their truth basis, these young musicians will most likely not be consider what the Bible teaches as a part of the establishment of this new epistemology.

Developing a Music Philosophy in Christian Perspective—part 3

Developing a Music Philosophy in Christian Perspective—part 3

              Some of my work in Church Music Matters may be utilized by an elementary music specialist who is teaching in a Christian school, but since it was largely a church music philosophy in Christian perspective, there were important aspects of the nature and value of teaching music and musicing that were not discussed.  Thus, I became aware of the need for a text that would be highly relevant to Christian music education philosophy

            Both Church Music Matters and the forthcoming Music Philosophy in Christian
Perspective will be useful to guide Bible College music majors who will teach music in Christian schools, and pastors who are or will be in charge of Christian schools in the development of a Bible based music education philosophy.   Hopefully, some Bible College music majors will eventually teach music in Bible colleges and Christian Universities.  It is my wish that these two companion philosophy books will serve as College music philosophy texts.

Developing a Music Philosophy in Christian Perspective—part 2

       Developing a Music Philosophy in Christian Perspective—part 2

             So, somewhat reluctantly I began to gather material about music and musicing that considered current concerns of music philosophy.  It wasn’t very long until the outline for the book seemed to fall into place and my excitement with how to deal with these philosophical concerns began to build.  My burden was to consider the various concerns which secular music philosophers were writing about, and discuss them from a Christian perspective.  The reason I decided to discuss these issues and concerns of music philosophy from a Christian perspective was that, are almost universally they are not considered from a “faith basis” and most certainly not from a Bible basis.  Thus philosophical material was gathered that formed my new book Music Philosophy in Christian Perspective which is forthcoming later this year.

            The few Bible quotes or paraphrases given in scattered secular music philosophy books have, most of the time, not been specific enough to make them worth quoting.  Certainly, they have not, for the most part, considered what the Bible teaches about music and musicing to be authoritative truth, or what Francis Schafer has called “true truth” and what I term “true musical truth”.  Almost without exception secular music philosophers in the last 20^th century and now in this century have not considered what the Bible teaches to be an accurate source of information on which one could build a music philosophy. 

            Another concern that I have had for some time is that there is next to nothing published that will assist Bible college music majors and Christian music educators in developing a Bible based music education philosophy.  Christian musicians often not only think different things about music philosophy than secular music philosophers who do not love and serve Our Savior Jesus Christ, but they but also think differently about the nature and value of music education.

Developing a Music Philosophy in Christian Perspective—part 1

Developing a Music Philosophy in Christian Perspective—part 1

            Donald Hodges recently stated in his Book A Concise Survey of Music Philosophy, “Most Philosophy books omit the topic of religion.”(p, 17)   I have found his observation to be true over the half century since 1067 that I have seriously studied Music in the Bible and music philosophy.  After I wrote Music of the Bible in Christian Perspective in 1995, I realized even more fully that there was little written material on the subject of a Biblically based music philosophy.  I decided that my next writing task should be a church music book that would consider music philosophy for churches in this century.  So, I set about to prepare Church Music Matters, A Music Philosophy in Christian Perspective which was published in 2005. 

            I thought that this project would probably be my “Swan Song” since I was nearing retirement from Bible College music administration, classroom teaching, and choral and instrumental conducting.  However, after retirement I could not get away from the awesome reality that I had not covered several of the major issues of music philosophy that secular music philosophy books were and are considering.   Also, I had not specifically prepared material that directly concerned music education philosophy.  So the task before me began to take form.

Musicing about God, for God with God’s Grace-part 2

Musicing about God, for God with God’s Grace-part 2

            There is also another companion passage found in Ephesians 5:19-21, “Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ; Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ; Submitting yourselves one to another in the fear of God.”

            I would like to take a brief moment to remind Christian musicians of the main reasons for our musicing.  First, we must always music “in the name of our Lord Jesus Christ”.  The Greek word used here is kurios (2962) which connotes supreme authority, or the one who is the Christian’s Savior, Lord and Master.  Christian musicians often tend to get lost in the fact that they are giving a music performance or that they work for and represent a particular church or Christian organization. All of the above may be true, but a Christian musician’s supreme authority is God the Father, God the Son and God the Holy Spirit.  Second, the Christian musician who is performing the psalms, hymns, and spiritual songs does so as a vehicle for giving thanks to God the Father by the mediatorial agency of God the Son. Third, our performances are “submitted” (hupotasso 523), performances unto God and His people.  These performances are not event opportunities for a musician to hock his or her musical wares. Forth, (Colossians 3:16) a musician who performs or leads others in sacred music must have the grace (charis 5485) God in his or her heart.  This Scripture is not referring to man’s charisma or the joy of performance but rather God’s grace.

Thought for the Day

As I have often said that the church musician must not only know about musicing unto God but also must know God by having his or sins forgiven and having passed from death unto life by God’s saving power.

Musicing about God, for God with God’s Grace-part 1

                 Musicing about God, for God with God’s Grace-part 1

            Colossians 3:16-17 teaches, “Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.  And whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and the Father by him.”  Many speakers and writers miss the lessons taught in these verses because many skip these verses in their comments or at least they make little or no mention of the music lessons taught here.  I suspect they were so intent on getting to the eighteenth verse so that they could once again tell women to submit that they miss the musical import of these verses in Colossians chapter three.

            Men are normally the ones who have trouble submitting.  Everyone who musics unto God must submit his or her musicing unto God.  I have often considered the topic of the problem of Christian musicians maintaining ownership of their music and musicing.  Without going to hat topic deeply today let me simply remind us all that we, as Christian musicians, are not owners of the great art of music but rather ministering servants.  Furthermore, “…whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God.”  It is shocking to many Christian musician that all of a Christian’s musicing, both secular and sacred, must come under the Lordship of Christ. 

Thought for the Day

How can a Christian musician get around the Bible mandate of “whatsoever” when he or she performs secular music that by its enactment brings reproach on what the Bible teaches about changed life principles?  Risqué art that glorifies loose living is wrong even though the performer is acting.

The Permanency of God’s Plantings—part 2

The Permanency of God’s Plantings—part 2

            Yesterday we began a discussion of God’s planting of the Righteous man.  Today we will continue with more reasons why God’s planted trees have permanency.  Fourth, the first part of Psalm 1:6 states, “For the LORD knoweth the way of the righteous…” which intimates that this  spiritually healthy tree is under the ward and watch of YAHV the self-existent, eternal, independent God who is alive and is I Am That I Am.  I have often told the college students who traveled in the college music organizations that I directed that serving Jesus Christ is not always “Hippity hop, over the top”  However, God is watching us and he is watching us very closely—not “from a distance” as some suppose.

            Fifth, God’s planted trees, as we have stated before, are planted by divine purpose exactly where they receive the living water necessary to sustain spiritual life and spiritual fruit.  Psalm 1:4 explains that, “The ungodly are not so: but are like the chaff which the wind driveth away.”  The ungodly (rasha 7563) are morally wrong or wicked and are like chaff which the wind blows away.  Conversely, the godly are planted, rooted, grounded, established people which shows that they have permanency.

Everyone that is interested in making a difference in this life desires to “put down roots”.  Christian musicians must be sure to put down roots in the field of the LORD that is close to His source of living water.   

Scripture Thought for the Day

Jeremiah 17:8, “For he shall be as a tree planted by the waters, and that spreadeth out her roots by the river, and shall not see when heat cometh, but her leaf shall be green; and shall not be careful in the year of drought, neither shall cease from yielding fruit.”

The Permanency of God’s Plantings—part 1

The Permanency of God’s Plantings—part 1

Psalm 1:3, “And he shall be like a tree planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he doeth shall prosper.”

            I have no idea how many times I have read this verse in the first Psalm.  When I read this verse this morning, immediately the thought came to me, I wonder what God would say that I am like if He was writing this post?”  In this portrait of the godly man in the first Psalm, God paints the mental picture of this man as a tree.  The tree that God has painted shows the godly man as not only a tree but also a spiritually healthy one.

            There are several reasons that we know that this tree is healthy.  First, it is a planted tree instead of a seedling that exists merely because the wind blew it to where it fell on the ground and sprouted.  Second, this tree shows the handy work of a wise God who planted it on purpose where it would receive the life giving water that sustains spiritual life.  Third, the place where God planted it suggests that it was planted in good soil because the Scripture attests to the fact that the tree brings forth fruit in its season. 

Scripture Thought for the Day

Psalm 96:12, “Let the field be joyful, and all that is therein: then shall all the trees of the wood rejoice.”

ANCIENT MINISTERS OF MUSIC

ANCIENT MINISTERS OF MUSIC

            Sometimes we think of the concept of a minister of music as being a modern invention.  However, if one aspect of Levite Music Administration could be pointed out as most important it would be the office of the "chief musician."  In the Bible the minister of music is called by several names.

            The Book of Psalms refers to the chief musician fifty-four times.  The words chief and musician are translated from the Hebrew word natsach (5329) and mean to be eminent, to glitter from a distance and to be superintendent.  These musicians were chosen to supervise the business of music making in the Temple.  Other names for these musicians were:  chief singer (natsach 5329) in Habakkuk 3:19; overseer (paqiyd 6496) in Nehemiah 12:42; principal (rosh 7218) in Nehemiah 11:17, meaning to be first, in rank or to be captain; chief (sar 8269) of the Levites in I Chronicles 15:22, meaning 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 person in charge that is a leader and has skill and one who is a responsible person.

Thought for the Day

It is a foreign concept to many sincere Christians that God wants His chief musicians to stand out as leaders so much so that they would be very charismatic or “glitter from afar”.  The fact that a Christian musician  has submitted his or her life to the authority of God does not mean that this music leader should stoop his or her shoulders and act the part of a lowly bashful introvert.

A Righteous Musical Offering

A Righteous Musical Offering
 Malachi 3:1-3 “Behold, I will send my messenger, and he shall prepare the way before me: and the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the LORD of hosts. But who may abide the day of his coming and who shall stand when he appeareth? for he is like a refiner's fire, and like fullers' soap: And he shall sit as a refiner and purifier of silver: and he shall purify the sons of Levi, and purge them as gold and silver, that they may offer unto the LORD an offering in righteousness.” 
As Christian musicians we have been saved to serve through our musicing.

We have been pardoned so that we may produce righteous musical fruit.

We have been sought out to seek others.

We have been blessed musically so that our musicing may bless others.

We have been brought out to bring others in.

We have been blessed to be a blessing through our musicing.

We have been purified to give a righteous musical offering.

We have been enlightened so that our musicing we may help others to see.

We have been comforted so that that our musicing may comfort the needy.

We have been given much musically so that our musicing may give to others.

We have been given knowledge so that we may help others to know.

We have been given wisdom so that we may help others to understand.  

Thought for the Day

Ephesians 5:17-19, “Wherefore be ye not unwise, but understanding what the will of the Lord is.  And be not drunk with wine, wherein is excess; but be filled with the Spirit; Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord; Giving thanks always for all things unto God and the Father in the name of our Lord Jesus Christ…”

Song for the Day “And He Shall Purify by G. F. Handel

Prayer for the Day

I want to thank You LORD for making it possible for Christian musicians to be able to give You a musical offering which is “in righteousness”.  Lord I am asking you to help Your musicians to purpose in their hearts to present to You a musical offering which is a purified righteous musical offering.  Lord I know that Isaiah 64:6 reminds us that our righteousness is as filthy rags before You.  So, I am asking You to help me to, not only once be filled with the Holy Spirit, but to continually be filled so that I may make melody in my heart to the Lord.  These petitions I am praying in your Holy Name.  Amen

Can Music Transform the Musician? Part 3

Can Music Transform the Musician? Part 3   

            When music educators and music philosophers only address music and music education as a fine art, I understand that they would not necessarily address the music student’s spiritual condition.  However, when they speak of people experiencing transformation, empowerment, and service and fail to mention the transforming work of Christ I have to part philosophical company with such an incomplete hypothesis.   The only thing that will change a music student’s empowerment and essential inner condition is for that student to be born again and experience the empowerment of the Holy Spirit.  Any praxis or philosophy that addresses personal human transformation without salvation is denying the power of God and therefore is faulty.

            So, I am once again brought face to face with the philosophic differences between secular music education philosophy and Christian music education philosophy.  The separation of church and state in the USA requires a philosopher who deals with human condition to deny, by omission, the power of God.  For this reason, among many others, I am drawn to the strong conclusion that for the Christian, A Christian music education under godly music instructors is a must.  

Thought for the Day   

Acts 1:8, “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.”  True empowerment of the Christian musician for service comes from the enduement of the Holy Spirit.

Can Music Transform the Musician? Part 2

Can Music Transform the Musician? Part 2   

            The place that I began to part philosophic agreement with Elliott’s answers to human need is his fourth point “the positive empowerment and transformation of people and their everyday lives.”  My thoughts were immediately drawn to St Paul’s statement in Romans 12:1 and 2, “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.  And be not conformed to this world: but be ye transformed (metamorphoo 3339) by the renewing (anakainosis 342) of your mind, that ye may prove what is that good, and acceptable, and perfect, will of God.” 

            I find no place in the Bible where it teaches that people will experience a metamorphoo through community efforts with music.  Although I have no quarrel with Elliott’s belief that musicians can serve positive causes with their musicing student’s lives will never be transformed by musicing.  Human need and condition can only be transformed by a metamorphoo by the mercy and grace of God being applied to a person’s heart.   

Thought for the Day  

Romans 1:28, “And even as they did not like to retain God in their knowledge, God gave them over to a reprobate mind, to do those things which are not convenient.”  Ro 1:28 And even as they did not like to retain God in their knowledge, God gave them over to a reprobate (Adokimos 96) mind, to do those things which are not convenient.”  Adokimos means an unapproved mind set.

Can Music Transform the Musician? Part 1

Can Music Transform the Musician? Part 1 

            “Fully understood, praxis combines several integrated themes: (1) active reflection and critically reflective action dedicated to (2) human well-being and flourishing, (3) the ethical care of others, and (4) the positive empowerment and transformation of people and their everyday lives.”  “Music education as/for Artistic Citizenship”,  Music Educator’s Journal, Vol. 99, No. 1,Sept. 2012, by  David Elliott  This pungent article is a plea to music educators to expand their music praxis beyond mere performance for enjoyment.  This expansion included the four areas mentioned above.   After decades of humanistic music education music philosophers are searching for ways to transform student’s lives through musicing and the praxis of doing music.

            Humanism as a philosophic foundation and humanistic music education as praxis have never been satisfactory answers to the needs of depraved men and women.  As I read this well-written article on what Elliott called “artistic citizenship” I found myself agreeing with music of what he was saying.  However, I was strengthened in my conviction that Christian music education is not merely a preference but rather a necessity. 

Thought for the Day   

Christian and secular music philosophy have essential differences that make Christian music education necessary.

Did Ancient Music Utilize Harmony? Part 6

Did Ancient Music Utilize Harmony? Part 6

So, what does all this previous discussion of music history, theory and ancient musical harmonic practice mean to a twenty first century Christian musician?  First of all, Christian musicians of all people should be aware of current knowledge of ancient Bible music.  Ignorance of ancient music is certainly not “a state of bliss” for the Christian musician who is either an educator or a minister of music.

 As we all know knowledge in the late twentieth and early twenty first century has increased exponentially and because it has we all have a responsibility to have at least some knowledge of this   information.  In an age when musicians make subtle fun of the Bible’s authenticity and relevance, I believe that it is absolutely necessary for Christian musicians to understand why one can have legitimate respect for what the Bible teaches about music.  Recent historical knowledge of the structure of the formal properties of Bible music and the structure of the music of other cultures that were near Israel has strengthened musician’s respect for the music of the Bible. 

Thought for the Day  

Many serious students of the Old Testament refuse to believe that the te’amim of the OT represents a precise musical notation because they believe that if it was such a notation it would have been deciphered centuries ago.  I would like to ask these scholars, “Why were the Dead Sea Scrolls not found until 1948?”

Did Ancient Music Utilize Harmony? Part 5

Did Ancient Music Utilize Harmony? Part 5

The possibility that Bible accompaniments were improvised does not lessen their musical and artistic value. There is the possibility that not only one instrument improvised an accompaniment based on a written Bible melody, but there is also the possibility that several instruments improvised at the same time.  Why would one dream up such an exotic hypothesis?  Just what did all these instrumental players mentioned in 1Chronicles 23:5 do? “Moreover four thousand were porters; and four thousand praised the LORD with the instruments which I made, said David, to praise therewith.”  It seems doubtful that they played in unison all the time.  Although they, no doubt, did not know of harmony or counterpoint like that of the occident, one should not conclude that they were not capable of creating of vertical or even horizontal harmonies in keeping with the artistic taste and knowledge of antiquity. Perhaps the reason is that harmony happened as a result of natural music making and not as a result or rules and regulations.  ”Harmony” was not discussed in Scripture or the dead Sea Scroll Commentary on the psalms or in the Talmud for that matter. 
Modern writers are admitting that other cultures that surrounded ancient Israel utilized both melody and harmony.  Hershel Shanks, speaking of the Ugaritic music deciphered by Dr. Kilmer, stated, “This Hurrian music does not indicate rhythm, tempo, or musical ornamentation.  But it does indicate both melody and harmony.  The upper note of the interval represents the melody and the lower note contains the harmony.  In other words, we have both melody and accompaniment written simultaneously, an advancement previously thought to have not been accomplished no earlier than the European Middle Ages.”  Biblical Archaeology Review, Hershel Shanks Ed. [Ann Kilmer, collaborator], Vol. 6, No. 5, Sept-Oct., 1980, pp. 14-25.  Carl Engel also wrote, “Respecting the instrumental accompaniment employed by the Assyrians, it may be concluded that it was certainly not always in unison with the voice, but frequently in harmony.”  The Music of the Most Ancient Nations by Carl Engel, p. 116.   

Thought for the Day   

Recent musicological evidence about ancient music has caused modern musicologists to retain God and the Bible in their musical knowledge. 

Did Ancient Music Utilize Harmony? Part 4

Did Ancient Music Utilize Harmony? Part 4

It seems, from what is currently known about the psalmodic and prosodic systems, that both systems possibly utilized instrumental accompaniments at least part of the time since these ancient musicians were often referred to in the Bible as singer-players.  Since the deciphering of the te’amim revealed only melodies without written harmony, (although harmony may be in some way be implicated), we cannot say with certainty how much of the OT was accompanied.  However, it should be pointed out that instruments were mentioned in conjunction with singing in the OT.  It seems to be reasonable to conclude that the mention of musical instruments with singing indicates musical accompaniment and also connotes some form of harmonic usage.

The fact is that we do not know with certainty how the psalms were accompanied or if the prosody of the OT was not accompanied at times.  It is highly possible that the accompaniments of bible music were never written down.  It is possible that they were improvised or perhaps realized from the melody line provided by the te’amim.  Some musicians who specialize in the performance of Western music of the classic, romantic, and contemporary periods do not highly regard improvisation or realization, but there is no doubt that various forms of improvisation are just as demanding and just as much an art form as playing a written out sonata or playing symphonic  literature for that matter. 

Thought for the Day

The ancient music system referred to in the previous posts was a precise system that did not encumber the ancient biblical scrolls because of its economy of musical signs.  If the ancient biblical scrolls had have utilized our system of modern notation, the Scriptures would have been greatly encumbered with a tremendous bulk of musical notation. 

Did Ancient Music Utilize Harmony? Part 3

Did Ancient Music Utilize Harmony? Part 3

We have record of the fact that the ancient Hebrew nation used instrumental   accompaniments with their songs because they were referred to as singer-players.  We have record of this practice as far back as the Genesis record. However, the prosodic system of the te’amim was used to notate these songs instead of the psalmodic system of the te’amim which was used in the book of Psalms, Proverbs, and part of Job.  Therefore, there are some questions concerning whether or not the prosodic system was truly monodic music.

Susanne Haik-Vantoura, who successfully deciphered the biblical te’amim and established that the notation of the entire OT text consisted of two notational systems, believed that the psalmodic music was choral music.  Although this is true concerning many of the psalms, it is doubtful of others since some of them were intimate prayers like the fifty first Psalm.  It would seem that, although this Psalm was delivered to the Chief musician, it would have best been performed as a solo rather than as a choral work. However, at this point in time we do not know for sure. There is also serious question as to whether the fifty first Psalm was ever intended to be performed publically at all since its intimate nature could indicate that it was left to posterity to be sung privately to God as a penitent prayer. 

Thought for the Day 

The prosodic system of the te’amim was a seven note diatonic scale and the psalmodic system was a six note diatonic scale.  Now we know where Western music received its heptatonic diatonic scale.

Did Ancient Music Utilize Harmony? Part 2

Did Ancient Music Utilize Harmony? Part 2   

II Chronicles 5:13 states, “It came even to pass, as the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the LORD; and when they lifted up their voice with the trumpets and cymbals and instruments of musick, and praised the LORD, saying, For he is good; for his mercy endureth for ever: that then the house was filled with a cloud, even the house of the LORD; So that the priests could not stand to minister by reason of the cloud: for the glory of the LORD had filled the house of God.” The words “were as one” are of particular interest in this passage of Scripture.  They were derived from the word echad (259) which means, among other things, one or united.  It has generally been believed by writers that this connotes biblical evidence that the musical instruments and the human voices were performing in union.  Those who have come to this conclusion have done so because of the unfounded belief that any form of musical harmony was completely unknown in ancient Israel or in the music of Israel’s neighbors or in any ancient culture for that matter.

Modern musicology has proven that At least some of Israel’s neighbors did in fact utilize ancient forms of musical harmony (see the discussion of Ugaritic music in chapter eight of Music of the Bible in Christian Perspective, by Garen Wolf, p. 345).  We do not have written biblical music evidence (from the deciphering of the te’amim) or extra biblical evidence from ancient or modern musical writings that the ancient Hebrews understood or that they utilized harmony like that of the Occident.  However, it does seem plausible from modern knowledge of the te’amim that these melodies would have had some harmonic implications. 

Thought for the Day  

Both Ezra 2:65 and Nehemiah 7:67 stated that there were at least 200 or more singers (shiyr or shuwr 7891) at different times in the history of ancient Israel. Since this Hebrew word connoted a singer player, I wonder what all those musicians sang and played.  I can’t believe that they always sang and played in unison.

Did Ancient Music Utilize Harmony? Part 1

Did Ancient Music Utilize Harmony? Part 1

There have been many writers in the last two hundred years that have believed that the music of ancient Israel during the time that the Old Testament was very primitive.  One of these arguments has been that it was impossible for the music of Bible times to have utilized any type of harmony.  Until the 1970’s many writers and musicologists were still denying that ancient Israel even utilized octaves let alone any type of harmonic practice.  During the 1970’s the deciphering of the te’amim of the Bible by Susanne Haik-Vantoura and the deciphering of the Hurrian cuneiform tablets by Dr. Anne Kilmer et al  have revolutionized modern thinking about ancient music.

It may seem strange that I would include the following few posts about the possibility that ancient Bible music and the music of other ancient cultures utilized harmony in their musicing in this philosophical blog.  The reason that I have included this discussion is simply that a Christian musician who believes faulty notions such as:  Bible music was probably very simple and unartistic by modern standards, and that it was so very simple and under developed that it could not have possibly utilized octaves or any type of harmony, will probably not have much musical respect for it. I believe that one has to have correct knowledge and respect for ancient Bible music in order to have philosophical respect for it. I encourage my blog readers who are totally unaware of the fact that the ancient music of the bible was highly developed and that the entire OT was notated to read The Music of the Bible Revealed, by Susanne Haik-Vantoura and Music of the Bible in Christian Perspective by Garen Wolf.  

Thought for the Day   

We now have much more knowledge of the formal properties of the ancient music of the Bible and some other ancient cultures than most Christian musicians believe that is known.

Gideon Blew a Trumpet

Gideon Blew a Trumpet

            Gideon blew a trumpet and Abiezer followed him.  Gideon’s blowing of the shofar taqa caused Abiezer to follow Gideon because the blowing caused Abiezer understand the message being proclaimed.  This verse supports the thesis that there is meaning in the music part of the music.  The word taqa has no doubt much more meaning than we understand in the translation.  The Encyclopedia Judaica gives some explanation of the meanings of the various types of blowing of the Shofar.

            However, the most striking meaning of this passage of Scripture is “the Spirit of the LORD came upon (labash 3847) Gideon”.  Labash means that the self-existent eternal God who is sent the Holy Spirit who wrapped himself or clothed Gideon with His power and blessing.  I am strengthened and encouraged when I read that the Holy Spirit wrapped an Old Testament trumpet layer with His power. That power made Gideon’s trumpet playing efficacious

            I am convinced that the Holy Spirit will enshroud a Christian musician’s musicing with His power.  I am reminded that Acts 1:8 states, “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.” Praise God we have His promise that as He “came upon Gideon” as he pronounced God’s message with his trumpeting, the Holy Ghost will “come upon you” as you music His message of good news in this century.

Song for the Day Spirit of God, Descend upon My Heart by George Croly

Thought for the Day

A life in the Holy Spirit will do more than anything else to make a Christian’s music ministry efficacious.

Prayer for the Day

Holy Spirit my door is open wide to your leadership in all my sacred musicing.  I am asking You to “come upon me” as I music unto you and for you.  Please help my music witness to be efficacious.  I want You to know Lord that I do not want to music in my own power but rather I want you to give me that daily dunamis of the Spirit that will enshroud my music ministry.  This I am asking in Your powerful name.  Amen.

Saying No to Ono

Saying No to Ono

Nehemiah 6:2-3, “That Sanballat and Geshem sent unto me, saying, Come, let us meet together in some one of the villages in the plain of Ono. But they thought to do me mischief.  And I sent messengers unto them, saying, I am doing a great work, so that I cannot come down: why should the work cease, whilst I leave it, and come down to you?”

            I believe that almost every Christian musician who is involved in public ministry will sooner or later get a call or a text from “Sanballat and Geshem”.  Although they may not be aware of it, Satan will influence “Sanballat and Geshem” to do you mischief.   When a Chief musician is weary and has experienced either a little or a lot of misunderstanding it is easy for Satan to try to get that musician to either quit ore make a wrong move. 

            Thank God, Nehemiah did not listen to those who would have caused him to quit the work that God had sent him to do.  What about you?  Are you prepared to resist the wiles of the devil?  Ephesians 6:11 teaches Christian to, “Put on the whole armour of God, that ye may be able to stand against the wiles of the devil.”   Ephesians 6:12 further warns us that every Christian must put on God’s armor because “… we wrestle not against flesh and blood, but against principalities, against powers, against the rulers of the darkness of this world, against spiritual wickedness in high places. “  If you are going to be able to say no to “Ono”, you will have to put on the whole armor of God.            Ephesians 6:14 tells us to “Stand therefore, having your loins girt about with truth, and having on the breastplate of righteousness; And your feet shod with the preparation of the gospel of peace; Above all, taking the shield of faith, wherewith ye shall be able to quench all the fiery darts of the wicked.”  It is not easy to resist the accusations of Satan and the misguided advice of others, but God has a plan for your success.

Thought for the Day

The only way for the ministering musician to stay out of  one of the villages in the plain of Ono is to only listen to God’s advice when it comes to staying with your music ministry.

Reassuring the Faithful and Convincing the Unbelieving

Reassuring the Faithful and Convincing the Unbelieving

“Over the ages, kings and princesses, revolutionaries and priests, peasants and slaves, have expressed their hopes and fears through music.  While aiming to convince, they have used music to reassure the faithful as much as to persuade the unbelieving” The Sounds of Social Change, by R. Serge Denisoff and Richard A. Peterson, p 13.  We know that this is true of ancient civilizations including ancient Israel.  Music Was used in the time Job lived, It was use in the battle of Jericho and in in the First Temple.

            As we are now in the second decade of the twenty-first century music is still being used to express emotions and beliefs of peoples of all cultures.  More particularly, we are concerned with the music of the social and religious life of Christians.  When I read the above quote I immediately asked the question, “How are we as Christians doing when it comes to reassuring the faithful and convincing the unbelieving?” 

            I am sobered by the reality of the fact that our sacred and secular musicing all must come under the Lordship of Jesus Christ the righteous one.  It is the truth that no Christian musician lives to himself or herself and that neither will die to himself or herself.  When I face Him whose eyes are as a flame of fire at the judgment, I will give an account of my sacred and secular musicing.  Therefore I must be careful of how my musicing will affect  both the faithful and the unbeliever.

Prayer for the Day

Oh, Thou mighty God of Heaven and Earth I am sobered before You this afternoon as I commit these thoughts to pen and ink.  Lord only You know what affect my music and my musicing is having on Your children and to those who do not know You in Saving faith.  I am asking you to be my avant garde and my rearward as I music for Your glory.  Lord I do not want to fail You with my feeble musical efforts, so I am asking You to make my musicing efficacious.  This I am praying in Your wise and wonderful Name.  Amen.

A Song of Higher Renovated Character

A Song of Higher Renovated Character

Revelation 5:9-10, “And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation; And hast made us unto our God kings and priests: and we shall reign on the earth.”

            It is interesting to note that the saints gathered around God’s throne in heaven sang.  They did not pray because there was no longer a need for prayer because as Revelation 7:17b explains, “God shall wipe away all tears from their eyes.”  As Revelation 21:4 further explains, “And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.”

            When I was a college choir director I often reminded the students that serving Jesus Christ is not always “hippity-hop over the top”.  We have tears, disappointments and sorrows in this life but the saints around the throne will not have these sadness’s—so they sing “a new song”.  Although we sing “new song” in this life, this song (kainos 2537) which is a song or renovated character, the new song of these saints whose names are found in the Book of Life is sung most triumphantly because God has made them “kings and priests: and we shall reign on the earth.”  I want to sing the new song which is of a higher renovated character in this life and I want to sing it most triumphantly with the saints arounf god’s throne.

Thought for the Day

Those who pattern their religious music after the manner of those in this world who do not love the Lord will have to learn a new song when they get to heaven.  I want to get my practicing all done before I get to heaven.