Music Philosophy Must Please God

Music Philosophy Must Please God

      How should a Christian musician go about developing a philosophy of music?  The first thing to do, in my judgment, would be to read the more than 600 references to music in the Bible.  The safest place to study music is in the infallible inspired Word of God!  It would seem that Christians would start by reading the Bible and studying its many examples of worship through music.  Studying how music was used for therapy, false and true worship, harlotry, weddings, and funerals and public entertainments, should be the basis for understanding how music was used in public and private worship as well as on secular occasions in the history of ancient Israel and their neighbors.

Read Revelation 19:12-13 and you will see that Christ, our judge, “whose eyes were as a flame of fire”, was called “The Word of God”.  So since we will be judged by the “Word of God”, it behooves us to not only build our music philosophies on it but also follow it in the enactment of our duties as Christian musicians. 

Every honest Christian musician that I have met wants to please the people to whom he or she ministers.  However, music ministry is not ultimately about pleasing the people, but rather pleasing God.  Galatians 1:10 brings us face to face with the dilemma of pleasing men or God.  “For do I now persuade men, or God?  Or do I seek to please men?  For if I yet pleased men, I should not be the servant of Christ?”  No honest church musician would say, “I hope the people hate the music we sing this morning.”  Rather we all hope that our music ministry is accepted by the body of believers as well as by the seekers who attend our church services.  However, even if the crowd believes that we are their enemy when we sing the truth to them, we are not.  Read Galatians 4 and you will see that St. Paul dealt with the importance of telling the people the truth.

Thinking before We Act

Thinking before We Act 

Conservative Christian thinkers need to do just that--think before they speak.  Cutting harsh words are hard to take back.  A conservative musician will never get a second chance to make a first impression.  If conservative musicians want to wrap our musical robes around themselves they can, but if they do, they will never be instrumental in helping musicians who are pluralistic synthesis thinkers, change their thinking.

When I was doing research for my book Church Music Matters, I would read a book by a conservative and immediately think, “This is good, this is exactly what I believe.”  Then I realized that I do not like to read after those who do not agree with me.  Through my reading the Holy Spirit was able to whisper to me, “You are not a good listener.”  As a matter of fact, I have found out that not only was I not a good listener, sometimes I would not listen at all!  I wasn’t the slightest bit interested in knowing exactly how a synthesis thinking musician thinks.

Worship Music as Musical Offerings

            Worship Music as Musical Offerings

The sacrificial system mentioned in the Old Testament was very prescriptive in nature.  For instance, Leviticus 4:2 states, “Speak unto the children of Israel, saying, If a soul shall sin through ignorance against any of the commandments of the LORD concerning things which ought not to be done, and shall do against any of them:  If the priest that is anointed do sin according to the sin of the people; then let him bring for his sin, which he hath sinned, a young bullock without blemish unto the LORD for a sin offering.”  Notice that this offering was prescribed by YHVH to be a lamb “without blemish”.  The sacrificial system instituted in in ancient Israel was quite involved and included various prescribed sacrifices which were acceptable for different occasions and under different circumstances.   A careful study of the requirements for these sacrifices reveals that every sacrifice had the prescriptive requirement of being the best sacrifice the worshiper had to offer. 

            Why all the philosophical fuss over the sacrificial system of the Old Testament?  If a minister of music is going to refer to worship music as musical offerings presented to God, then it stands to reason that that musician should believe in the concept of presenting God the best suited musical offering that he or she and the worshiping body of believers are capable of offering.  Therefore, the notion that since all music is supposedly created equal, it does not matter what kind of musical offering one presents to God is not congruent with the biblical concept of musicing unto God.  Every honest minister of music minister or music educator who is knowledgeable of music composition and music theory will have to admit that all the creative efforts of composers and arrangers are not on the same level of musical quality and profundity and therefore not of the same value as musical offerings.

The Mode Makes the Difference

              The Mode Makes the Difference

From ancient to modern times, music philosophers have believed in general that “the mode made the difference” when it came to musicing and listening.  However, modern, post-modern, and now post-postmodern man has not been unified in his belief about the nature, value and communicating power of music.  Because music philosophers disagreed about how and what music communicates, they are divided into referentialist and non-referentialist camps.

       The communication matter was further complicated by the advent of the symbolist philosophers who basically believe that music’s symbols communicate in their own little “bubble” which does not relate to life outside of music’s little world.  Although it is evident that I do not buy this philosophical theory, I do admit that they are possibly right in their belief that music does have the potential, at least in some situations, to communicate symbols to the performer and the auditor.  However, I do not concur with the mainstream symbolists in their belief that music’s symbols do not relate to life outside of music’s little bubble which they refer to as a closed system.  Jimi Hendrix once said, “Atmospheres are going to come through music, because the music is a spiritual thing of its own… you can hypnotize people… and when you get them at them at their weakest point  you can preach into the subconscious what you want to say.”3   Life, Oct. 3, 1969, p. 74) 

Does Music Communicate in an Effective Way?

Does Music Communicate in an Effective Way?

We know with certainty that the music part of music is capable of communicating because Psalm 49:4 states emphatically, “I will incline mine ear to a parable: I will open my dark saying upon the harp.” In the context of this Bible teaching there is no mention of words alone although exegetes assume that the word chiydah (2420) which connotes puzzles indicates that text was included.  Certainly if text was involved the music part of the harp music made communication and understanding of these dark sayings possible. 

 Earlier I mentioned that when a Christian musician wrongly assumes that the music part of music is unable to communicate, he or she will also wrongly assume that the music part of music does not matter because it is benign and is incapable of resulting in any moral implications.  This erroneous assumption seems to be most often purported by Christian musicians.  Perhaps they make this assumption in a feeble attempt to make the end justify the means in their philosophy and praxis.

Does It Matter Whether Music is a Language or Not?

Does It Matter Whether Music is a Language or Not?

       At this point in our discussion one may legitimately ask, “Why does it matter if music is or is not a language?”  Certainly all serious music philosophers are greatly concerned about whether music is a language, a meta-language, or no language at all.  Depending on whether a music philosopher is a formalist, referentialist, or symbolist, different conclusions will be drawn, but they are all deeply concerned about whether or not music has meaning and  how and what, if anything, it communicates in either a closed, symbolic or referential manner. 

        It seems that it is mostly contemporary Christian musicians who do not seem to struggle with music’s meaning.  Many of them seem to be able to function without a clear understanding of the nature of the music part of music in relationship to what it is or is not capable of communicating.  When one does not have a clear understanding of the nature of music, the simplest philosophical praxis is to ignore music’s power to communicate anything at all.  So they choose to blindly ignore the efficacy of the music part of music by denying that it is a language, a meta-language, or that it has any power to communicate meaning and understanding. If it does communicate what that communication does to the whole-life of the perform and listener?

Faith Basis and Musical Understanding

                          Faith Basis and Musical Understanding

        Hebrews11:1 gives an explanation of what faith basis is, “Now faith is the substance of things hoped for, the evidence of things not seen.”  2Corinthians 4:18 further explains the essence of faith basis, “While we look not at the things which are seen, but at the things which are not seen: for the things which are seen are temporal; but the things which are not seen are eternal.” The use of the term faith connotes trust as opposed to doubt. 

          2 Corinthians 5:5-8, “Now he that hath wrought us for the selfsame thing is God, who also hath given unto us the earnest of the Spirit. Therefore we are always confident, knowing that, whilst we are at home in the body, we are absent from the Lord: (For we walk by faith, not by sight:) We are confident, I say, and willing rather to be absent from the body, and to be present with the Lord.”  So, first and foremost, faith based music philosophy finds its significance in a faith in God and His inspired Word. 

Philosophical Justifications for “Doing”

Philosophical Justifications for “Doing”

          A Christian musician often musics in a certain manner simply

because of personal musical and spiritual instincts or because of musical

traditions established by others. However, musicing by accident

can be a risky policy. A worship leader and a music educator must be

able to articulate reasons for performance and teaching choices. It is

better for one not to teach others than to teach them in a willy-nilly

manner because the *onus probandi falls on the one who attempts

to teach (Matthew 18:6, Mark 9:42, Luke 17:2).

          Although the Bible gives us principles of musicing unto God, it

does not cover every aspect of music that concerns the twenty-first

century Christian musician. So, every performer, music director, and

music educator must, in the fear of God, interpret and apply principles

taught in Scripture. Furthermore, performers, directors, worship leaders,

and music educators must also come to philosophical conclusions

about aspects of music that do not appear to be covered by Scripture.

With this in mind, I have covered several aspects of music which are

vital to a Christian’s musicing in the twenty-first century. The NIV

translates Isaiah 28:10 as, “For it is: Do and do, do and do, rule on rule,

a little here, a little there.” The translation above makes sense in the

context of understanding how we music. We “do” over and over

again until we are conditioned to do what we do musically. As a result,

we develop musical tastes—likes and dislikes— from what we

listen to and perform.

Giving Thanks on Thanksgiving

Giving Thanks on Thanksgiving

           In the US we celebrate on a special day which has been designated as Thanksgiving.  On this day colonial Americans and Native Americans got together for a time of feasting and thanksgiving to God who was responsible for making for the bountiful harvest possible.  This time of giving thanks was later made an official holiday in the USA.

           My family always celebrated this holiday.  I remember so distinctly those thanksgiving weekends when the whole family would gather at mom and dad’s place.  If it was not snowing we would go quail hunting and if it was snowing or had snowed the day or two before, we would go rabbit hunting.  I think the best part of rabbit hunting was walking through the snow covered fields taking in all the beauty that God had provided by the pure white covering he had painted over all the areas that our eyes could take in.  For as far as we could see observing those Kansas rolling pastures and fields that had been harvested earlier in the fall.

            We took this Kansas utopia for granted as though those hunts on Thanksgiving Day would go on forever.  In the earlier days dad would hunt with us but in the years that followed he would only go as far as the barn yard and then he would disappear in the distance as we got farther and farther away.  Those were wonderful times, but of course they did not last.  Like a vapor those times of hunting have disappeared.  Dad and mom are both gone.  He farm has been divided into three different tracts of land with three different owners.  The smokehouse, chicken house and all the pigeon pens are gone.

            As I look back on those Thanksgiving days, I would like to say to all of you out there who are meeting together at your mom and dad’s house, don’t take these times for granted.  Hug your mom and dad and tell them how much you love them.  If you are now “grandpa and grandma” and the married children and your grandchildren are gathered around your table, be sure that you include Christ our blessed savior in your festivities.

Come, Ye Thankful People

Come, Ye Thankful People

            This hymn was written by a minister named Henry Alford and first published in his Psalms and Hymns [1844].   It is often sung in churches during worship during the Thanksgiving season in the United States.  It begins with the words “Come, ye thankful people, come”.  The admonition that it gives is certainly appropriate for Sunday worship during the Thanksgiving season, but it should be sung often to express Christians’ thankfulness for God’s goodness. Fall is a time of harvest in many countries around the world.  Those of us who are so blessed should remember that God inhabits praise.  He is pleased when we bring Him the sacrifice of musical praise.  Below are the words of the hymn.  Try reading this hymn during your devotions today.

Come, ye thankful people, come,

raise the song of harvest home;

all is safely gathered in,

ere the winter storms begin.

God our Maker doth provide

for our wants to be supplied;

come to God's own temple, come,

raise the song of harvest home.

All the world is God's own field,

fruit as praise to God we yield;

wheat and tares together sown

are to joy or sorrow grown.

First the blade and then the ear,

then the full corn shall appear;

Lord of harvest, grant that we

wholesome grain and pure may be.

For the Lord our God shall come,

and shall take the harvest home;

from the field shall in that day

all offenses purge away,

give his angels charge at last

in the fire the tares to cast;

but the fruitful ears to store

in the garner evermore.

Then, thou Church triumphant, come,

raise the song of harvest-home,

all be safely gathered in,

free from sorrow, free from sin,

there, forever purified,

in God’s garner to abide;

come, ten thousand angels, come,

raise the glorious harvest home!

Your Spiritual Harvest

Your Spiritual Harvest

John 4:35 Say not ye, There are yet four months, and then cometh harvest? Behold, I say unto you, Lift up your eyes, and look on the fields; for they are white already to harvest.

                I grew up in Kansas where I have observed the wonder and beauty of many wheat fields. There is nothing more beautiful than seeing a well prepared wheat field that has just been planted.  To a person that is not a farmer, it probably just looks like so much dirt.  However, I know what is about to happen.  In a few weeks that field will be a beautiful carpet of green.  All through the cold winter when most fields remain brown the wheat fields remain green.  In the spring the wheat fields become a verdant mass of green as they grow.  Later in the early summer it begins to turn to a wonderful golden color as it gently waves in the summer Kansas breezes.   Seemingly overnight each wheat stock bows its head with the weight of its precious content.

                Now it is harvest time!  I used to love to watch the golden wheat gush into the hopper of the combine as it moved slowly up and down the wheat field.  When the hopper was heaped up with wheat, dad would pull the truck up beside the combine and begin to auger the wheat into the truck as my brother and I would let the wheat pour over our bare feet.

                I know that God is watching your spiritual musical harvest and, if He has feet, He is letting the results of that harvest pour over them, as He looks upon the spiritual harvest that you have been responsible for, pour into His great harvest storehouse.  Zephaniah 3:17 reminds us as His servants, “The LORD thy God in the midst of thee is mighty; he will save, he will rejoice over thee with joy; he will rest in his love, he will joy over thee with singing.”

Teaching Our Own to Minister Musically—part 8

Teaching Our Own to Minister Musically—part 8

In this dispensation, the church musician should present the message that God wants delivered through the medium of music.  This kind of sensitivity to the Holy Spirit is far different than the musicing of a self-centered musician who selects music on the basis of how it displays his or her talent.  Prophetic music making requires a human sensitivity to the Holy Spirit who guides the work of the musician until it is effectual music making rather than pompous performance by a heady, high-minded musician trying out his wares on the worshipping body of Christ.  You may ask, what would lead us to believe that music in the New Testament dispensation should still be God’s message to the people?  Ephesians 5:15-19 states:

v. 15     See that ye walk circumspectly not as fools, but as wise, redeeming the time, because the days are evil.

v. 16     Wherefore, be ye not unwise, but understanding what the will of the Lord is.

v. 18     And be not drunk with wine, wherein is excess; but be filled with the Spirit;

v. 19     Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord;

In verse sixteen, church musicians are warned not to be foolish but rather to “understand what the will to the Lord is”.  How are musicians to come to a knowledge of God’s message of music for the people?  Church musicians are admonished not only to be filled with the Spirit once but too also be continually filled with the Spirit by maintaining a life in the Spirit.  Colossians 3:16-17 states:

v. 16     Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms, hymns and spiritual songs, singing with grace in your hearts to the Lord.

v. 17     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.

Notice that the church musician is admonished in verse sixteen to let the Logos Christos dwell (enoikeo 1774) to inhabit this or her heart richly (plousious 4146) which means abundantly or copiously.  In order to find the will of the Lord Jesus concerning the message of music, the word of Christ must inhabit the thought life of the ministering musician in all wisdom.  The whole life of the musician must be a life in the Spirit, i.e. it must be a spirit controlled life.  This Scripture explains that the word of Christ must abundantly inhabit all forms of wisdom both higher and lower.  The Spirit-filled life results in an abundant Holy Spirit controlled whole life wisdom.  This wisdom or sophia (4680) is brought about by the Christian musician developing a philosophy based on the “Word of Christ”.

Teaching Our Own to Minister Musically—part 7

Teaching Our Own to Minister Musically—part 7

Verse 18 in chapter 5 of the Ephesians letter instructs musicians to “be filled with the Spirit”.  The Spirit filled musician is not filled with self but rather the Holy Spirit.  This filling allows the Holy Spirit to control the musician.  The drunkard is controlled by drink.  He is filled with strong drink and it affects whatever he does.  The Spirit-filled musician is just that-he or she is completely filled with the Holy Spirit.  Everything he or she does musically should be Spirit controlled.  Colossians 3:16 states, “Let the word of Christ dwell (inhabit) in you richly (plousios 4146-abundantly, completely, to the fullest extent) in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace (charis 5485) in your hearts to the Lord.

In the Scripture lesson of Colossians 3:16, the church musician is admonished to let the word of Christ dwell (stay or live regularly) in the heart and mind of the musician.  How much of the Logos Christos should constantly stay in the heart and mind of the church musician?  The church musician should have as much of the Word of Christ as the drunkard has of wine.  He or she should be filled richly (abundantly or completely).  It should be pointed out that the language and message of this music was easily understood by the people who worshipped.  We have no scriptural reason to believe that it is any way esoteric.  The message from God was for all and was understood by all who worshipped.  It was not glossalic i.e. in an unknown tongue.  It did not need to be interpreted.  God wanted His musical messenger to make the message very clear to the congregation.  The Spirit-filled musician prays and allows the Holy Spirit to direct his music selection and his musicing.

Teaching Our Own to Minister Musically—part 6

Teaching Our Own to Minister Musically—part 6

            Verse 5 of I Chronicles 25 states that Heman was the Kings seer in the words (dabar 1697) of God.  The Hebrew word dabar was used in the Old Testament with some latitude.  Its meaning included: words, matters, advise, business, language, promise, and message.  So we may conclude that Heman was a seer of the message of God through music.  We know that a seer was a beholder of visions of God.  Heman, the chief musician, was therefore a spiritual musical messenger.  He came with a distinct message from God for the people.  In II Chronicles 35:15, Jeduthun was mentioned as a seer (2734) and in II Chronicles 29:30, Asaph was said to be a seer.  All three of these Chief Musicians who were the teachers of the young Levite musicians understood that they were to present God’s musical message to the congregation.  They were seers or beholders of the vision of God in music.

The Chief Musicians taught their sons and brethren, the young Levite music students, the importance of being aware of God’s message and presenting this message to the congregation.  The music of the Temple was not merely performance, but performance with an ethical and moral force behind it.  Temple music was prophetic performance.  What is the significance of all this talk about prophetic music performance?  I believe that the importance of this Scripture passage is that Church Music really Matters.  It mattered in ancient Israel and it matters today.  Form and style or genre (a category of artistic and musical composition characterized by a particular style, form or content) matter, but they are not the paramount purpose of church music.  The artistic musical aspect of church music matters, but it is not the zenith (high point) of church music.  The idioms (the language peculiar to a people or community) we use do matter, but they are not what’s most important about church music.  The moods and atmosphere that music sets are important, but they are not what matters most about church music.  What matters MOST is the ethical and moral meaning that underpins all spiritual musical performance in church.  This moral and ethical foundation should create a conservative conscience on the part of the Spirit-filled musician.

Teaching Our Own to Minister Musically—part 6

Teaching Our Own to Minister Musically—part 6

            Verse 5 of I Chronicles 25 states that Heman was the Kings seer in the words (dabar 1697) of God.  The Hebrew word dabar was used in the Old Testament with some latitude.  Its meaning included: words, matters, advise, business, language, promise, and message.  So we may conclude that Heman was a seer of the message of God through music.  We know that a seer was a beholder of visions of God.  Heman, the chief musician, was therefore a spiritual musical messenger.  He came with a distinct message from God for the people.  In II Chronicles 35:15, Jeduthun was mentioned as a seer (2734) and in II Chronicles 29:30, Asaph was said to be a seer.  All three of these Chief Musicians who were the teachers of the young Levite musicians understood that they were to present God’s musical message to the congregation.  They were seers or beholders of the vision of God in music.

The Chief Musicians taught their sons and brethren, the young Levite music students, the importance of being aware of God’s message and presenting this message to the congregation.  The music of the Temple was not merely performance, but performance with an ethical and moral force behind it.  Temple music was prophetic performance.  What is the significance of all this talk about prophetic music performance?  I believe that the importance of this Scripture passage is that Church Music really Matters.  It mattered in ancient Israel and it matters today.  Form and style or genre (a category of artistic and musical composition characterized by a particular style, form or content) matter, but they are not the paramount purpose of church music.  The artistic musical aspect of church music matters, but it is not the zenith (high point) of church music.  The idioms (the language peculiar to a people or community) we use do matter, but they are not what’s most important about church music.  The moods and atmosphere that music sets are important, but they are not what matters most about church music.  What matters MOST is the ethical and moral meaning that underpins all spiritual musical performance in church.  This moral and ethical foundation should create a conservative conscience on the part of the Spirit-filled musician.

Teaching Our Own to Minister Musically—part 5

Teaching Our Own to Minister Musically—part 5

            As church leaders we must continuously encourage, admonish, and instruct our church musicians to “prophesy” with music.  Now in order to prophesy, the man of God had to discern the mind of God.  It should be pointed out that by the term “prophesy”, I only mean our music should be God’s message to the people.  I do not mean that our music ministry should be divinely inspired or that church musicians in this dispensation receive divinely inspired messages from God.   Note that these musicians were not only seers but also tellers.  These musicians were trained by the fathers of the Levite musicians to seek and find the will and word of Jehovah and tell it to the people through the medium of music. 

            When we look at music ministry from this perspective, we understand that in ancient Israel CHURCH MUSIC MATTERED.  It is my belief that in the 21^st century, CHURCH MUSIC MATTERS.  The reason it matters is that church musicians are still commanded to find the will and mind of the Holy Spirit and then deliver (tell) this message to the church through the medium of music.  Unless our church music presents the Logos Christos (Word 3056 of Christ 5547), it really doesn’t matter very much.  Church music is hollow unless it is a vehicle upon which the Word of Christ rides into the hearts of men and women.

Teaching Our Own to Minister Musically—part 4

Teaching Our Own to Minister Musically—part 4

            How did the Chief Musicians train these musicians correctly?  Verse 5 says that the Chief Musician, Heman, was the Kings seer (chozeh 2374).  Heman taught his sons his vision of the Word of God in song.  Because Heman was saturated with the message of God, he taught these musicians the message of God through the medium of music.

            The temple musicians mentioned in I Chronicles 25 were separated to the service.  They were set apart.  They were called and this calling was to serve Jehovah with music.  They were not merely performers, they were ministering servants.  There was a moral purpose for their music making.  They were making music unto God and for God’s glory.  There was a deep moral force behind their music, for as we will see in verse seven they were NOT performing their music, but rather GOD’S music.  This was God’s music performed by God’s musicians, presented as an offering to God for God’s glory alone.  It was not mere religious performance, but rather it was prophetic music making.  Verse 2 of Chapter 25 states that these musicians prophesied.  Verse one tells us that they were separated to prophesy with lyres, harps, and cymbals.  The next verse proclaims that they accomplished their mission when it asserts that these musicians actually prophesied with music.

Teaching Our Own to Minister Musically—part 3

Teaching Our Own to Minister Musically—part 3

Now let’s look specifically at what the Chief Levite musician considered important in preparing their sons and brethren for music ministry.  They were separated to serve.  Each was a workman who ministered according to his talent and ability to serve.  Furthermore, they were all under the leadership or hands of their father.  They had a mentor, someone who was carrying out the order of the King who was a spiritual leader.  They were separated (consecrated) to prophesy.  This Hebrew word naba (5012) was translated prophesy in the K.J.V., means to speak or sing by inspiration.  It is the same word used of the Major Prophets of the Bible (see Jeremiah 25:30 and Ezekiel 21:24).  These men were prophesying  i.e. they were carrying the message of the King.  They were not entertaining, they were prophesying.  They were mentored to prophesy.  However, that was not enough.  They were successful because the sons actually prophesied.  They sang and played under the inspiration of Jehovah. 

Teaching Our Own to Minister Musically—part 2

Teaching Our Own to Minister Musically—part 2

            The Twenty-fifth chapter of I Chronicles is a musical discourse on ancient Levite musical training.  This wonderful chapter gives us vivid insights into the philosophical musical practice of the Chief Levite musicians.  Verse one states:

Moreover David and the captains of the host separated to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals...

Notice that the King and his captains decreed that the sons of the three Chief Levite musicians should be separated (badal 914-to divide or select) to serve Jehovah through music making.  They were separated to prophesy or deliver God’s message to the congregation through music performance. 

Teaching Our Own to Minister Musically—part 1

Teaching Our Own to Minister Musically—part 1

            A portion of 2Chronicles 23:13  makes a statement that recently caught my attention as I was reading the twenty third chapter.  A particular distinction of Levite teachers was pointed out as “…such as taught to sing praise”.  I am intrigued by these teachers who yada halal (3045,1984).  There are almost as many opinions about the correct rendering of yada halal as there are translators.  Although some translators render this as leaders of praise, I see no reason to rule out the concept of instructors or teachers of praise.  Hence, it appears that the AV translators were accurate in their rendering this classification of Levite musicians as “such as taught to sing praise”. 

            I am particularly interested with this rendering because it is in line with what other passages in the OT that state that The Levite musicians were sacred music teachers.  In ancient Israel the Levite musicians did not leave sacred musicing to random chance.  They were proactive by teaching the people (and particularly the young Levite musicians) how to music unto the LORD.  The Chief Levite musicians recognized that if music in public worship was going to be accomplished properly instruction was necessary.  They were expert in doing what many church fellowships have failed to do.  1Chronicles 25:7 states very clearly, “So the number of them, with their brethren that were instructed in the songs of the LORD, even all that were cunning, was two hundred fourscore and eight.”  These astute Levite musicians were aware that although performing the songs of the LORD was important, so was instructing the next generation of musicians how to perform the songs of the LORD.

ANCIENT MINISTERS OF MUSIC—part 3

                         ANCIENT MINISTERS OF MUSIC—part 3

            It appears that these chief Levite musicians were chosen by a committee including musicians and non-musician much like ministers of music are chosen today.  However, the chief Levite musicians were "set" or chosen by a very authoritative "committee."  II Chronicles 29:25 states, "And he set Levites in the house of the LORD with cymbals, with psalteries, and with harps, according to the commandment of David, and of Gad the king's seer, and Nathan the prophet:  for so was the commandment of the LORD by his prophets.  Note that the A.V. margin says, "by the hand of the LORD, by the hand of his prophets."  So, the appointment of these chief musicians was so important that they were selected by:

                        1.         David who was God's anointed King.

                        2.         Gad the king's seer who was a chozeh or a beholder of                                                          visions of God.

                        3.         Nathan who was a naba or inspired prophet.

                        4.         The hand of Jehovah the self-existent eternal God.

Perhaps this august "committee" was necessary since these Levite musicians were separated to be naba or prophets who would prophesy with music.

ANCIENT MINISTERS OF MUSIC—part 2

ANCIENT MINISTERS OF MUSIC—part 2

            Special note should be made of the word natsach (5329).  This term used in the title of fifty-four of the Psalms connotes a person with great charisma.  This musician was to glitter from afar.  This person was to be a powerful leader and an accomplished musician.  So, we can see that the chief musician was an eminent leader of music in the Temple.

            The Levite musicians were called or separated for a particular service--that service was leading music worship in the Temple.  I Chronicles 15:16 states, "And David spake to the chief of the Levites to appoint their brethren to be singers with instruments of music, psalteries, and harps and cymbals, sounding, by lifting up the voice with joy."  Verse seventeen goes on to mention the names of Heman, Asaph, and Ethan (Jeduthun) who were chief musicians.

ANCIENT MINISTERS OF MUSIC---part 1

ANCIENT MINISTERS OF MUSIC---part 1

            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 (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 (rosh7218) of the fathers of the Levites in I Chronicles 9:33.  All of these names carry the meaning of a person who was in charge who is was leader and had skill, and one who is a responsible person.

I Will Declare Your Name

I Will Declare Your Name    

Hebrews 2:12 I will declare your name unto my brethren, in the midst of the church will I sing praise unto thee. 

       The Scripture in Paul’s letter to the Hebrews is a bit difficult to understand.   Clarke, Whedon and Barnes say that this direct quote of Psalm 22:22 is messianic and therefore referring to Christ in the Hebrew letter.  If this is correct exegesis, then Christ is not ashamed to call us brethren.  With this in mind we can deduce that Christ is approving and participating in singing God’s praises in public worship.

       No wonder that the child of God claims Jesus as our elder brother.  What an encouragement it is to the Christian musician to realize that Jesus, who sits at the right hand of the Father, is not ashamed to call us “brethren”.

       Next is the statement that in the midst of the church (ekklesia 1577) Jesus will sing God’s praises.  I must admit that again this statement is very difficult to interpret.  Either Christ is saying that He will sing the Father’s praises or our praises.  I choose to believe He is referring to praising the Father.  If this is so, then Christ meets with us on Sunday morning and sings God’s praises in the midst of the ekklesia i.e. the congregation of saints. 

Prayer for the Day 

Heavenly Father, I approach Your throne today through our mediator Jesus Christ who is my savior, sanctifier, and elder brother.  Thank you for giving Your Son to suffer and die on a cruel cross to pay the price for my awful sins.  Thank You Jesus for declaring my name in the midst of the congregation and for musicing with me to my heavenly Father.  I love You Lord and wish to serve you throughout this life and eternal life to come.  These things I am praying in The name of the Father.  Amen.  

Thought for the Day 

My two older brothers David and Nathan Wolf were always willing to help me when I needed help.  I think Jesus is like my two older brothers in that He is always willing to help me.  

Lead or Be Led

Lead or Be Led

Psalm 59:2 Deliver me from the workers of iniquity, and save me from bloody men.  For, lo, they lie in wait for my soul: the mighty are gathered against me; not for my transgression, nor for my sin, O LORD.

                Although we do not like to dwell on anything negative the world is not, and has never been, a friend of grace.  Every Christian musician must be aware that he or she will either be a leader or they will by default become the victim of some other leadership.  

                My wife and I were walking the other day at Northgate Mall and a lady started walking with us.  After some small talk my wife immediately began to thank the Lord for His goodness to us.  The lady said that she had been raised a Baptist, but she was now a “pagan”.  I think she was without doubt mixed up on her terminology, but I was impressed that my wife did not let her dominate the conversation when it came to spiritual matters.

                 A Christian has the choice to let non-Christians control the conversation or to lead by proclaiming the name of Jesus even when it is not popular to take a stand.  If a Christian continually keeps silent when the name of God is reviled or made light of, that Christian’s faith becomes damaged.  So, stand up for Jesus, and Satan will have to withdraw and Jesus your advocate will stand up for you!

Religion or Relationship?

Religion or Relationship?      

            It is one thing to be involved in a religion that believes in and is centered on God, but it is another to have a relationship with God.  It is one thing to say prayers to God, but it is another to commune with God.  It is one thing to believe in God, but it is another to believe God.  Being associated with a religion that recognizes God as one to whom one can say prayers is not the same as having a real relationship with God the father, Son and the Holy Spirit. 

            Second Timothy 3:5 talks of the spiritual condition of “Having a form of godliness, but denying the power thereof: from such turn away”.  Certainly it is possible for a musician to go through all the formalities of worshiping god and at the same time not really believing what god has said in His Word.  So, we are brought directly to the question, are you, as a church musician involved in a religion or a relationship?   

Prayer for the Day    

Heavenly Father, search my heart and see if there is any wicked way in me.  Purify my heart of anything that would offend you.  Help me to give You musical offerings in righteousness.  Lord, I do not want my musical ministry to be wood, hay, and stubble in your sight.  Help my heart to be hot toward you.  Please do not let my ministry not be about religion only, but about the outpourings of relationship with You.  These things I pray in Your holy name.  Amen.   

Song for the Day Purify My Heart by Jeff Nelson   

Thought for the Day   

Why do so many musicians resist the belief that God can and will purify our hearts in this life?

Musical Sound Communicates Meaning Part 20

Musical Sound Communicates Meaning Part 20

            Before we finish this discussion on musical sounds, we must consider 1Corinthians 14:15-16 “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. Else when thou shalt bless with the spirit, how shall he that occupieth the room of the unlearned say Amen at thy giving of thanks, seeing he understandeth not what thou sayest?”  The word understanding is translated from the Greek word nous (3563) which means with the intellect or mind.  The writer of the first letter to the Corinthian Christens was careful to include pneuma (4151) and nous as essential when musicing unto God.

           Although musicing under the divine influence of the Holy Spirit was and still is the sine qua non of musicing unto God, musical understanding is also a vital part of sacred music.  Without belaboring the point further, I believe that this musical reference to musical understanding is a Bible principle of musicing unto God.  Why would St. Paul instruct the Corinthian Christians to music with understanding if he knew that it incapable of communicating any meaning whatsoever?

            We should also be reminded that although this part of his letter was a discussion of clear speech in a language; he used a musical reference to explain his point. I see absolutely no reason to believe that his reference was restricted exclusively to singing alone.  I base my belief on his choice of Greek words.  The word used in this verse is psallo (5567) not ode (103).  Psallo means literally to touch the strings of a musical instrument which connotes the production of instrumental musical sounds.  Ado refers to singing.  If he had not intended to refer to singing and instrumental sound he would no doubt have used the word ado. Again I am drawn by this Bible principle of musicing to conclude that St. Paul was saying, under the inspiration of the Holy Spirit, that music communicates meaning which is absolutely essential to having musical understanding.

            So, in conclusion we are brought back to the thought that every Christian musician has the responsibility to “know” what the “joyful sound’ is and to make continuing distinctions between sacred and profane religious music.  Also, every Christian musician must music unto one another and unto God with only non-carnal sounds...  I will bring this discussion to an end with the admonitions found in Ephesians 5:15-19,  "See then that ye walk circumspectly, not as fools, but as wise, redeeming the time, because the days are evil.  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."  

Thought for the Day-    

The musical discourse in Ephesians 5:15-19 admonishes Christian musicians to walk circumspectly, be wise, gain musical understanding, be filled with the Spirit, and to only music unto God with non-carnal music.