How Ecclesiology Affects Sacred Musicing—part 6

How Ecclesiology Affects Sacred Musicing—part 6

            The word translated ministered was sharath (8334).  Strong’s Dictionary defines sharath as means “to attend as a menial or worshipper”. This definition causes us to understand that their musicing was considered to be a ministry accomplished in humility given in the spirit of a menial worshiper.  These Levite musicians were by no means menials but we are made to understand their musical offerings were not the result of a heady high minded musician whose praxis was artistic personal performance.

            Lest I be misunderstood, I do not mean that sacred music and musicing should not be artistic.  That is far from my belief.  However, we have no evidence that the ancient Levite musicians considered their music and musicing to be an artistic endeavor.  On the contrary they were muscing God’s Word and the purpose of their intoning of the Scriptures by the use of the te’amim was to make the Holy Writ more understandable to the hearer.  From all the Bible evidence and extra biblical ancient writings that are extant today, we understand that they considered music in worship to be an opportunity to cause the hearer to be drawn nearer to YAHV.  They considered their musicing to be for educational and spiritual purposes.  Sometime over the centuries Christians have lost the concept of their musicing “building a wall around the Torah”.  Instead, Post postmodern musicians are building a “bill of rights” for their music and musicing.