Thursday, January 31, 2019

Aesthetics and the Christian Musician—part 6


Aesthetics and the Christian Musician—part 6
          Another philosophical theory that affected composers of the 20th century was existentialism.  This theory was a literary movement rather than an artistic theory like Dadaism and surrealism.  This theory was introduced by Sören Aaby Kierkegaard (1813-1855).  He believed that man was not a part of any metaphysical scheme.  He believed that each person must create (authenticate) his own being in his hostile environment by an act of his free will.
          Composers of the modern era, like the proponents of the “isms” mentioned above, struck out against all tradition, standards of correctness with their new music.
Debussy paved the way to the door of despair and Igor Stravinsky (1882-1971) walked through it with portions of his ballet Petruska composed in bitonality.  His ballet Le sacre du printemps was composed in polytonality with the use of polyrhythms.  His Septet (1953) and his ballet Agon (1957) were composed in Serial (12 tone) technique.  So by the end of his career Stravinsky had moved from conventional diatonic harmonic practice to Schoenberg’s despair of 12 tone technique.
          The ultimate expression of 20th century despair in music composition was developed by Arnold Schoenberg (1874-1951).  Although his earliest works were in post-Romantic style, his compositions became more and more chromatic.  Next, his works became very dissonant and pantonal which defied the rules of traditional harmonic practice.  Next came his 12-tone (dodecaphonic) compositions.  These works were based on a tone row using all twelve tones equally, thereby emancipating dissonance.  This technique was the ultimate 20th century expression of despair in music composition.  It purported that all 12 tones should be used with equal emphasis with no regard to the rules of harmonic practice. 

Thought for the Day
“Here is a definition of religious Existentialism. The reason that it sounds faulty is because it is very faulty. “Statements about God are about your experience and relation to existence (or being). For example, "God exists" means "I experience a depth in my being when I respond to reality with ultimate concern" (Tillich). It says "Religion is man's response to ultimate concerns in terms of the ultimate" (Tillich).”
www.philosophy-dictionary.org/Religious_existentialism



Wednesday, January 30, 2019

Aesthetics and the Christian Musician—part 5



Aesthetics and the Christian Musician—part 5
          The music of Claude Debussy was chromatic, fluid and vague.  Debussy’s opera Pelléas et Mélisande in this symbolist style The opera is an expression of Debussy’s philosophy that music should be a free art, truly representative of the fact that it cannot be contained, but exists in time and is born on air.  That freedom meant a relaxation of restrictions such as those that normally governed form, harmonic progressions, and rhythm.  The Development of Western Music, K. Marie Stolba, p.775.  This vagueness was considered impressionistic and thus the connection was made with the vagueness of the visual art of Edouard Manet (1832-1883), Paul Cézanne (1839-1906), Hilaire Germain Edgar Degas (1834-1917), Claude Monet (1840-1926), and Pierre Auguste Renoir (1841-1919).  The works of these painters are studies in the impression light makes on the subjects of these paintings.  Often, light and subject seem to almost merge. The overall impression takes precedence over clarity, thus vagueness reigns. 
          After French impressionism, came several schools of artistic thought that had an effect on music philosophy and composition.  Dadaism was one of those movements that struck out at traditional aesthetic and moral values.  This school of thought, starting around 1916, used chance techniques and was a very irreverent and often irrational artistic absurdity.  Proponents of Dadaism were Tristan Tzara (1896-1963), Jean Arp (1887-1966) and others.
          This movement gave rise to surrealism which was formulated by André Breton (1896-1966) and made famous by Salvador Dali (1904-??).  The philosophy of surrealism came from Breton’s automatism philosophy that what a person thinks, feels or wills is determined by physical changes in that person’s body.  This philosophy purports that although one is fully conscious, actions come from subconscious images over which that person has no control.

Thought for the Day
Chance music and the claims of the gospel mix like oil and water.  You may mix the two, but they do not make a successful efficacious amalgamation.

Tuesday, January 29, 2019

Aesthetics and the Christian Musician—part 4


Aesthetics and the Christian Musician—part 4
          What does all this mean to church musicians in the 21st century?  Why should we care what “serious academic music” composers do?  The reason we care is that in order for us to know how contemporary Christian music derived its philosophical basis, we must understand the history of music.  With these basic understandings of 20th century philosophical despair in music philosophy, we are able to know how 21st century church musicians derive their synthesis music philosophy.
          Contemporary Christian musicians have accepted many elements of the anti-music despair of the 20th century.  They believe, like Stravinsky, that the music part of music is not efficacious i.e. it is incapable of expressing anything at all.  Furthermore, these Christian musicians believe, like John Cage, that nothing is “sacred” or “profound” about the music part of contemporary Christian music.  Finally, like the religious music of Pierre Henry, these contemporary Christian’s religious music is grotesque and dissonant but the words are clear and clean!  To them this sanctifies the deed!  If the words are clean, nothing else matters.
          Under this lack-luster philosophy religious music no longer has to be aesthetically beautiful.  Although almost all Christian musicians who perform rock-based music would deny it, they don’t believe in a music aesthetic based on any definable traditional standards of beauty.  If they do believe in a Christian music aesthetic, it is most certainly a redefined beauty based on a synthesis somewhere in between beauty and ugliness.  How did music degenerate in its aesthetic beauty from the music of J.S. Bach to the anti-music of composers like John Cage?  I believe that Achille-Claude Debussy (1862-1918) was one of the early composers who started in the direction of despair music.  He became interested in the literary works of the symbolist writers of the 19th century.  These writers addressed their writings to a system of symbols and symbolic meaning as a negative reaction to naturalism and realism in literature.  This school was nonliteral and figurative thus developing a network of vague images.

Thought for the Day
It is a short-sighted and faulty notion that a Christian musician can operate successfully as a ministering musician and make wise music ministry decisions without a long broad study and understanding of the history of music.

Monday, January 28, 2019

Aesthetics and the Christian Musician—part 3


Aesthetics and the Christian Musician—part 3
          Other composers began to use chance operations which have been termed aleatoric i.e. like the throwing of dice.  In 1952, Cage composed his ultimate anti-musical composition, “4 minutes and 33 seconds”.  This piece became the ultimate composition of anti-music since his purpose was to compose music that said absolutely NOTHING!  The performer simply sat at the piano for the designated period of time making absolutely no sounds.
          At this point in the history of music,  so-called serious music composition had philosophically destroyed an aesthetic of beauty and profundity in music.  Cage had philosophically proved Stravinsky’s antithesis philosophical statement, “I consider that music is, by its very nature, essentially powerless to express anything at all...” , Wayne Bowman, Wayne.  Philosophical Perspectives on Music, p.194  So the godless antithesis of depraved man in the 20th century closed the door on a music aesthetic based on beauty and musing with anti-music based on distortion and chance techniques.
These composers opened the door for the lack-luster philosophy that the music part of music is incapable of expressing any effective message or perhaps any message at all.  They also destroyed profundity in music since chance music is just as profound as the most thought out composition by great composers like J. S. Bach.  Now complete musical despair reigns.  To these composers music says nothing is incapable of being profound, and is ultimately incapable of expressing anything at all.

Thought for the Day
Christian musicians who have abandoned the century time-honored concept of a Christian music being based on beauty, need to seriously consider what this change will do to sacred musicing.


Sunday, January 27, 2019

Aesthetics and the Christian Musician—part 2


Aesthetics and the Christian Musician—part 2
          Any philosophical view of aesthetics that admits the grotesque or ugly is faulty.  We know that crude, ugly unmusical compositions do exist, but they are the result of a misarrangement of the building blocks of music.  Never blame God with ugly grotesque unmusical compositions.  The anti-music compositions of the 20th century were not produced by God-fearing Christian composers and arrangers.
          Musique concrète is an example of anti-music music composition.  Pierre Schaeffer (1910--1995) composed music directly on tapes or discs from natural sources.  However, these “natural sounds” were seriously distorted by playing them backward, changing the speed of the sound of by other editing abnormalities.  In 1948, Schaeffer composed his Concert des bruites (Concert of Noises) and other original compositions.  Pierre Schaeffer’s music can be identified with the philosophy of surrealist painters with its juxtaposition and chance techniques.  He often took perfectly natural sounds and scrambled them in an indeterminable manner.  (Surrealism will be considered later in this discussion.) 
          Schaeffer, Henry, Baronnett and Boulez were the early “inventors” of this anti-music distortion.  These compositions included religious pieces like Mass for Liverpool and The Apocalypse of John.  So this distortion found its way into religious genres making subtle mockery of the awesomeness and solemnity of sacred symbols.  One shocking aspect of this distorted religious music is that the narration of the Bible text is clearly understandable.  John Cage (1912--1992) became interested in anti-musical techniques like prepared piano and chance operations.  Cage called his chance music indeterminacy. 

Thought for the Day
Not everything that God created was visually beautiful but it was all very good. 

Saturday, January 26, 2019

Aesthetics and the Christian Musician—part 1


Aesthetics and the Christian Musician—part 1
          Aesthetics is that area of philosophy that considers the perception of the beautiful as distinguished from the moral of the useful except in the case of the decorative arts that are both beautiful and useful.  Christian musicians often wonder just where Christocentric music philosophy fits in to a Christian aesthetic.  One thing is sure, God is interested in beauty.  We know that He is since His creation is not only useful but also very, very beautiful. 
          As always, the Christian is concerned with where to start when building a philosophy of artistic beauty.  One thing we know, that in the beginning God created everything that is beautiful.  Since music was a part of His creation, we know from the Genesis record that the beauty that God created was very good so therefore His creation of beauty was exceedingly beautiful. 

Thought for the Day
God intended for us to enjoy the beautiful.  Therefore, there is no conflict between beauty and worshiping God as long as beautiful art forms are not worshiped.


Friday, January 25, 2019

Teaching the Next Generation to Music--Part 4


Teaching the Next Generation to Music--Part 4

          An often much overlooked necessity is studying music seriously.  It is no joke that “knowing is doing”.  A Christian cannot teach what he or she does not know.  In our highly educated world today it is ludicrous for one to try to instruct others in how to music and how to develop a music philosophy without as much as knowing the names of the lines and spaces.  Being a music consumer does not qualify one to instruct others in music.
          Christians must consider the whole of music.  This includes a long broad study or music which includes both sacred and secular music.  Everyone should have knowledge of classical, folk, pop, jazz, rock, country and a host of other types of music in order to converse intelligently with the generations to follow us as pastors, parents, and church musicians.  Anything less than music literacy and a general understanding of the performance practice of these styles will dwarf our possibilities of reaching our young people with a logical, reasonable, explainable, discussible, and practical philosophy of music.

Thought for the Day
          Why is it that many Christians both young and old believe that II Timothy 3:16, but have never considered that its truth extends to the whole of music?  It is over simplistic to pick and choose which verses on music to believe.  The fact that the Holy Writ and what it teaches is many times difficult to understand and interpret in the light of modern twenty fist century post-postmodern culture does not give a  musician the right to ignore the Bible’s teachings on music and musicing.  1Cointhians 13:12 explains very vividly, “For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.”  The fact that, as 1Corinthians 13:9, “For we know in part, and we prophesy in part.” does not give us the right to ignore the truths taught in the Holy Writ about music.




Thursday, January 24, 2019

Teaching the Next Generation to Music--Part 3


Teaching the Next Generation to Music--Part 3

          All scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness: That the man of God may be perfect, thoroughly furnished unto all good works.  II Timothy 3:16

          If the Bible is accurate and inspired, and it most certainly is, all of the six hundred plus Scriptures referring to music are profitable to us today. This truth is attested to in II Timothy 3:16.  The problem is gaining a knowledge how they are profitable.  They teach us generally about musicing and especially the doctrine of how to make music unto God.  It will help us to avoid unwise choices in both sacred and secular music by providing us with reproof, correction and instruction.  It is not only negative with definite reproofs and corrections, but also positive with its instructions in righteousness.  No pastor, parent, Christian music minister or music educator is properly equipped to pass on our Christian music values to the next generation without a thorough knowledge of Bible music.

Thought for the Day
I read a book about worship the other day.  As usual, every writer has some opinion about what the Bible says about music and musicing.  This author solved all the problems about what the Bible teaches about music.  He simply stated that when the Bible mentions music that mention is never about the music.  Wow!  He summarily dismissed what the Bible says about the music part of music with one easy statement.  The only problem with what he asserted is that it is just not accurate!  So, if you are having trouble with understanding what the Bible says about music—just deny that any of its statements are meaningful.  You will be wrong, but it will give you an easy way out!


Wednesday, January 23, 2019

Teaching the Next Generation to Music--Part 2


Teaching the Next Generation to Music--Part 2

Unwise choices in music and cultural blind spots in the fine arts should not be equated with a person’s relationship to Christ.  Parents should not make statements like, “If you ever really come to know the Lord, you would not even like that music”.  Knowledge of biblical principles concerning music choices and likes and dislikes of styles of music are acquired skills not instantaneous gifts of the Spirit to the born-again Christian.  Christian purity and maturity are not one in the same.  A Christian musician may make unwise choices concerning music ministry as well as secular music selections and still be honestly trying to bring his or her life under the Lordship of Christ.  It seems that we are much more able to accept the fact that a Christian has made some very unwise credit card decisions than we are able to accept unwise music decisions.
How should Christians catechize young people concerning music?  First of all pastors, parents, music ministers, and Christian music educators should study music in the Bible thoroughly.  Since there are over 600 references to music in the Bible, there is much to be gained from a study of Bible music.  Remember that II Timothy 3:16-18 reminds us that:

All Scripture is given by inspiration of God, and is profitable for doctrine, for reproof, for correction, for instruction in righteousness: That the man of God may be perfect, thoroughly furnished unto all good works.   

Thought for the Day
          A cultural blind spot in music is not being aware of the import one’s own musical behavior and practices. Many Christian musicians so not seem to realize that we all have cultural and spiritual blind spots.  It is not as easy as it may seem for a musician to recognize just what these blind spots are.  They are very similar to spiritual blind spots.  If we knew what they are they would not be blind spots.  For his reason we all need a musical mentor who has a personal relationship with Christ and has had a long broad study of music. 



Tuesday, January 22, 2019

Teaching the Next Generation to Music--Part 1


Teaching the Next Generation to Music--Part 1

 I have often mentioned in my writing that pastors, parents, and music educators have a responsibility to pass our music values on to the next generation.  This process of attempting to instill the conservative music values in the lives of our children is many times a painful and unsuccessful endeavor.  Although we have a responsibility to share our values with the next generation, we must be sure that we do the right thing in the right way.
It is one thing for pastors, parents, music ministers, and Christian music educators to have strong beliefs concerning music but the passing of the baton to the next generation must be a “civil” process.  Long heated discussions ending in anger and tears seldom get the job done successfully.  Name calling and equating a young person’s musical tastes with their relationship to Jesus Christ is most regrettable. 

Thought for the Day
What is the cause of a lack of communication about music between one generation and another?  Why do young people and their parents often experience a musical generation gap which is often brought about by differences in musical tastes, values, and outlook?   Those of you who are ministering with the great art of sacred music today must remember that the greatest way to bridge the music gap is with genuine heart-felt musicing.  Every generation engages more quickly when they can see and feel that you care deeply about the music.


Monday, January 21, 2019

Musicing—The Gospel part 5


Musicing—The Gospel part 5

Romans 1:6, “For I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to everyone that believeth; to the Jew first, and also to the Greek.”

I am no sure that St. Paul was a musician—at least he never mentioned that he personally musiced unto God.  However, he mentioned musicing unto God in his Epistles.  As a matter of fact what he had to say about music and musicing unto God was very pungent.  He may or may not have musiced unto God but one thing I believe—if he did I am sure that his musicing  was “gospel” musicing and it was done without fear or favor because he definitely was not ashamed of the gospel of Christ. 
Paul showed time and time again during his life and ministry that, as he said in his Epistle to the church at Rome, he was “not ashamed of the gospel of Christ:”  I wish that all Christian musicians understood that sacred musicing is not primarily about music as an art form but rather about musicing the gospel of Jesus Christ that makes it the power of God. The Bible never says that music is itself the power of God.
  David, who was a psalmist and a great Old Testament musician said in Psalm 40:9, “I have preached righteousness in the great congregation: lo, I have not refrained my lips, O LORD, thou knowest.”  David understood, even in the Old Testament dispensation  long before Christ came to earth, that he needed to music righteousness to  the congregation.  So, it is not about a Christian musician’s musical ability or his or her performance skills, but rather about musicing the Gospel of our Lord and Savior Jesus Christ that makes a Christian’s musicing efficacious.



Thought for the Day
Sacred musicing should always be from a ministry and a referential standpoint.  The music part of music is vitally important, but the gospel of Jesus Christ is brought to the experience of musicing from outside of the formal properties of the music.



Sunday, January 20, 2019

Musicing—Is it Foolishness? part 4


Musicing—Is it Foolishness? part 4
1Corintians 2:14, “But the natural man receiveth not the things of the Spirit of God: for they are foolishness unto him: neither can he know them, because they are spiritually discerned.”

Ancient philosophers believed that music could have a profound moral effect on the hearer.  “All ancient peoples of whom we have knowledge gave music a place of honor, they considered it a potent religious and moral force, intimately related to the most formal, as well as the most informal aspects of life.”1 It has only been the product of modern man’s mind that music is amoral.  Although philosophers and musicians have argued for centuries about how music affects us or exactly what moral effect music had on the auditor and the performer, they have always believed that music had a message.            Philosophers have always believed that music had great power over everyone.  It has only been since the 20th century that some Christian philosophers have come to the conclusion that style in music is neutral and therefore amoral.  Under this new “liberated” philosophy anything goes in church music.  To them, church music exists in an absurd universe and is a standardless art.  Since church music is without absolutes or any standard of correctness it is merely a matter of personal taste.  These modern church music philosophers quote St. Matthew 7:1, “Judge not, that ye be not judged.”  They purport that Jesus put an end to judgement when it comes to Christian living.


Scripture for the Day
1Corinthians 1:21, “For after that in the wisdom of God the world by wisdom knew not God, it pleased God by the foolishness of preaching to save them that believe”.





Saturday, January 19, 2019

Musicing—Christ Crucified—part 3


Musicing—Christ Crucified—part 3

1Corinthians 1:18, “For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God.”

          The sophists were ancient Greek philosophers notorious for their specious arguments.  Their arguments sounded logical and good but often were far from being correct.  The disputers were philosophers who were debaters involved in controversial discussions.  Paul declared here that God has shown how insipid their arguments were.  The arguments of the sophists were as verse twenty tells us, based on the wisdom of the aion or the present system of the age.  It was wisdom based on the matrix of Satan. 
          What does the Scripture lesson in 1 Corinthians 1:18 that we mentioned yesterday mean to the 21st century church?  First of all, there is and always has been a war going on between the wisdom of God and the specious arguments of the present age.  Every Christian musician should be sure that he or she is following biblical wisdom when developing a music ministry philosophy.  Second, there are very logical sounding arguments that are prevalent today that simply do not line up with Scripture.  Beware that you are not led astray by what seems to make sense at least by the world’s standards.  If your philosophy has caused you to not keep the main thing then it is faulty. 

Scripture for the Day
1Corinthians 1:20, “Where is the wise? where is the scribe? where is the disputer of this world? hath not God made foolish the wisdom of this world?”

Friday, January 18, 2019

Musicing—Spiritual Things—part 2


 Musicing—Spiritual Things—part 2

1Corinthins 2:13, “Which things also we speak, not in the words which man's wisdom teacheth, but which the Holy Ghost teacheth; comparing spiritual things with spiritual.”

            Music often takes preeminence over preaching in many post-modern and post postmodern churches.  When it does, that assembly of believers is following a philosophy based on the wisdom of the matrix of this present world rather than the wisdom which the Holy Spirit teaches.  Postmodern and post postmodern church philosophy considers a longer sermon and a shorter period of singing to be “weak” and therefore unwise.  I Corinthians 1:25 reminds us that, “...the foolishness of God is wiser than men; and the weakness of God is stronger than men.”
          Corporate worship through singing is a valuable means of grace to the believer.  Singing can be a valuable teaching tool.  Singing can be used by the Holy Spirit to convict and convert sinners.  However, verse 18 above states that preaching is “the power of God.”  Music, although it has power and charm is never spoken of in the Bible as the “power of God”.  Verse twenty of chapter one of I Corinthians says, “Where is the wise (sophos 4680) Where is the scribe?  Where is the disputer (suzetetes 4804) of this world (aion 165) Hath not God made foolish (moraino 3471) the wisdom (sophia 4678) of this world (kosmos 2889)

Scripture for the Day
1Corinthians 1:19, “For it is written, I will destroy the wisdom of the wise, and will bring to nothing the understanding of the prudent.”



Thursday, January 17, 2019

Musicing--to God and People—part 1


Musicing--to God and People—part 1

Eph 5:19-20, “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.”

          Although worship music should be to “one another” and “to yourselves” it should always function as a musical offering to God and not a musical entertainment for the people.  Since worship music should cause the people to “muse” or think it should never be an amusement.  It should edify (draw the people closer to God) rather than to entertain the congregation.  So, the fact that church music is not the primary communicator of grace does not mean that it is not very important or that it does not matter.  On the contrary, Church Music Matters very much when it comes to the matter of communicating grace.
            Since worship music should cause the people to “muse” or think it should never be an amusement.  It should edify (draw the people closer to God) rather than to entertain the congregation.  So, the fact that church music is not the primary communicator of grace does not mean that it is not very important or that it doesn’t matter.  On the contrary, Church music matters very much when it comes to the matter of communicating grace.

Scripture for the Day
1Corinthians 1:18, “For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God.”



Wednesday, January 16, 2019

Bach’s Philosophy of Musicing


Bach’s Philosophy of Musicing
          J. S. Bach is often quoted as saying, “The aim and final reason of all music should be none else but the glory of God and refreshing the soul. Where this is not observed there will be no music, but only a devilish hubbub.  If he lived today he would certainly not be considered politically correct.  His first and last aim for all music and musicing was the glory of God.  Evidently Bach made no distinction between the ultimate purposes of religious or secular music. 
          Bach evidently believed philosophically in a prescriptive approach to church music. He once said, “I have always kept one end in view, namely ... to conduct a well-regulated church music to the honour of God.”  Although we do not precisely what Bach meant by “well-regulated church music”, we at least know that he believed in regulating what he musiced unto God.  I’m sure that he was constantly aware that some music styles and some music content was God honoring and that conversely, some music did not bring honor to God.  We would do well to be aware of what the religious music we perform does to the listener.




Tuesday, January 15, 2019

A Christian Musician’s Attitude


A Christian Musician’s Attitude
Psalm 94:1,  O LORD God, to whom vengeance belongeth; O God, to whom vengeance belongeth, shew thyself.
          Sometimes Christian a musician has been done wrong, and especially when he or she has been offended by the way that another Christian, the natural reaction is to retaliate with words.  A Christian musician may also be tempted to get even with the wrong doer.  At such a time, it is often to turn the other cheek.  If you do, he offender will most hit you on the other cheek.  Since that is no fun, the offended may be tempted to think, “Just you wait Henry Higgins…”  and think of ways that you may return the “favor”.          We know what the Bible teaches about such situations.  Verses like Matthew 5:44 “But I say unto you, Love your enemies, bless them that curse you, do good to them that hate you, and pray for them which despitefully use you, and persecute you…” often come to the offended Musician’s mind.  Praying for the offender may seem extreme, but that is what Jesus taught us to do!  1Peter 3:14 states, “But and if ye suffer for righteousness' sake, happy are ye: and be not afraid of their terror, neither be troubled; But sanctify the Lord God in your hearts: and be ready always to give an answer to every man that asketh you a reason of the hope that is in you with meekness and fear: Having a good conscience; that, whereas they speak evil of you, as of evildoers, they may be ashamed that falsely accuse your good conversation in Christ.”
          To all of this I often have to say “ouch”.  I am not going to sit here at my computer, and give the impression that it is easy for me to do what the Bible teaches after I have been wronged.  However, this is what the Bible teaches .  So, I am preaching to myself!  I suppose that the only Christian musicians who are not misunderstood about music and musicing are those who never music unto God.  So, get prepared to be misunderstood ever now and then.   

Prayer for the Day
O, Lord You are perfect and wonderful. You are all wise and therefore without offense.  Lord, I am far from perfect, but I am trying to follow what Your Word teaches.  I am praying that You will give Your musical servant an understanding heart.   Please help me to always be kind and longsuffering with others when they disagree with how I music unto You.  This I am asking in Your wise name.  Amen.

Monday, January 14, 2019

Keeping Music Education Christian


Keeping Music Education Christian

Christian educational institutions have an obligation to keep music education Christian education.  If they do not, they cannot fulfill their mission.  If Christian elementary, secondary, and post-secondary educational institutions are only different from secular institutions in that they sing and play religious music, or because they  use God or Christian in their name, they are not essentially  different from secular schools, colleges and universities. 

          A congruent understanding of the nature and value of music education at its deepest levels can do more than anything else to keep CME (Christian music education) essentially Christian.  As was said before, a series of systematic written beliefs concerning the nature and value of music that is truly Christian and is carefully applied to an educational institution’s music praxis is necessary if music education is to become and remain Christian.

          All one has to do is to search for Christian Music Education Philosophy on the World Wide Web to understand that many Christian educational institutions do not publicize their CMEP (Christian music education philosophy) up front on their websites.  It is possible that many of them do have written statements of music philosophy.  However, for some reason they do not consider it important to make these statements easily available.  If a Christian institution is going to be intellectually honest it should make it completely clear to prospective music students that the quality of music education is different than the main stream of public higher education.  For more on this topic see my new book Music Philosophy in Christian Perspective, by Garen Wolf.   Schmul publishing Co, Nicholasville, Ky. 2018.



Sunday, January 13, 2019

Music’s Functionality


Music’s Functionality
               “Value may be assigned to music on the basis of its functionality, that is, on the basis of how well it fits a particular situation .  Certain musical styles function best in certain situations.  Thus, a Bartok string quartet does not function well in a dance club and a Chopin waltz  is not useful for helping a band march down the street.” A Concise Survey of Music Philosophy, Donald Hodges. NY, Routledge, 2017, p. 70.    Many Christian music leaders have made the duck run the hundred-yard dash and have entered the chicken in the swimming contest.  Some music ministers have  incongruently juxtaposed styles of music that are drastically different—to the end that the music styles fight each other.   Hodges was correct in saying that music is able to function in a more valuable way if it is used in the right situation. 
               Great composers have used various styles of music in their compositions advisedly.  When a Christian musician uses a style of music inadvisably, the result is an incongruent musical whole.  The question often at hand is not whether a style of music is an art form, a quality art form but rather will the way I use it and where I use it cause it to be efficacious.  The Bible teaches that everything that has breath should praise the Lord, but it never states that we should use everything to praise the Lord.  Good common musical sense is always proper when a Christian is selecting music for worship.


Saturday, January 12, 2019

Sacred Music and Behavior

Sacred Music and Behavior
Students of music history and music philosophy are aware that as far back as the writings of Plato there is evidence that music philosophers often believed that music had the propensity to influence moral character.  This belief often led to the natural conclusion that music’s influence on character would affect the listener’s behavior.  Although psychology, sociology, social anthropology and ethology are generally considered to be the disciplines that study behavior, the study of the nature, value and meaning of a Christian’s musicing should be added to that list.

I am concerned that if children grow up on dry processed cereal in a box and boiled (or microwaved) hot dogs, they will consider processed cereal and hot dogs to be the best foods.  I am convinced that if our children grow up listening to Psychology, sociology, social anthropology, ethology,  
they will be convinced that these styles are the best and perhaps the only beautiful styles of music.  A culture and a community tends to follow the familiar and reject what they d not know and understand.  So, it is the responsibility of the church and the Christian school to provide children with opportunities to perform quality gospel music and the sacred classics.  If the church fails in this area, the proceeding generations of church goers will have a skewed understanding of the nature , value and meaning of sacred music and musicing.


Friday, January 11, 2019

Is Music a Language?—part 5


Is Music a Language?—part 5
          With this in mind one can more easily come to the hypothesis that the music part of music is either more valuable or more dangerous to the whole-life of the individual who is encountering it in direct relationship to that person’s understanding of the music genre being listened to or performed.  So, the more understanding one receives from the music part of the music, the more effect the encounter with the music will have on the individual.
          Earlier I made reference to music as a metalanguage.  (This consideration of what music “is” is, like the other categorizations, not without complication,)  There are several definitions of metalanguage one of them is that it is any symbolic system used to discuss, describe, or analyze another language or symbolic system. Viewing the formal properties of music as metalanguage allows one to consider it to be another “language” that is, if you please, “meta” or self-referential in the aspect that the way the building blocks of music are artistically arranged communicates meaning and that this meaning can more or less effectively become “symbols” that are capable of, as Bloomberg would perhaps say, “decode” information.
Thought for the Day
1Corinthians 10:12 reminds Christians, “Wherefore let him that thinketh he standeth take heed lest he fall.”  I believe that this admonition extends to the effect that music has on all of us. The person who denies that music has the power to be valuable or dangerous to the whole-life of the individual should at least consider this admonition from the writer of the first  letter to the Christians at Corinth.


Aesthetics and Knowing


Aesthetics and Knowing
Donald Hodges said, “Aesthetics, sometimes called the study of beauty, is more fully concerned with the nature, value, and meaning of art. … Can art (music) reveal truth or help us to lead a moral life?”  A Concise Survey of Music Philosophy, by Donald Hodges: Routledge, NY, 2017, p. 4.  Certainly, every Christian musician should be concerned with the nature, value and meaning of the whole of music and musicing.  The musicer is responsible to understand what he or she is musicing.  Without this knowledge and understanding of that knowledge, one’s musicing has the ability to do more harm than good to all those who experience it.
How should we then music?  First of all, the musicer must have a thorough understanding of the essential nature  of what is being musiced in the context of worship.  Surely, it doesn’t take a PHD in music philosophy to recognize that the nature of some genres of music, make them  aesthetically incompatible with the purposes of worship.  Second, if music is going to have aesthetic value to the hearer it must have the propensity to be considered beautiful in the culture and community in which it is performed.  Third, the Christian musicer needs to understand that music does have the ability to communicate meaning to all who experience it in the context of worship.  Furthermore, at least part the meaning that music communicates in understandable meaning.  It is naive to believe that music has its own little world and space that is “music’s alone” and therefore what a musicer musics is benign without cause and effect.

Thursday, January 10, 2019

Emotional States Aroused by Music


Emotional States Aroused by Music
              I am also concerned about the emotional states of mind that can be aroused by the music part of music.  Every Christian musician should be greatly concerned about the fact that the music he or she performs can affect the whole life of the listening audience (both saint and seeker).  As I have often told my music philosophy classes that no one musics in a “bubble” i.e. in a closed system that does not have a positive or negative effect on the performer and listener.  The emotions that are aroused in public (or private) musicing are important.  For instance, the arousals of the complex emotions that cause sexual stimulation have absolutely no place in Christian worship.  If a worship leader uses music styles that arouse sexual passion on a dance floor, it stands to reason these aroused emotions will have the potential to have the same effect on the listener in the context of public worship.
              Part of this emotional arousal comes from the music part of the music and some of this emotion is representational or referential simply because it reminds (association theory) the hearer of the emotions he or she had when dancing on a club floor.  The objection may be that some or all the people who are assembled in the worship service may not frequent dance clubs.  However, unless they all have been hiding under a rock, they will have mental images from movies or even TV ads that may be aroused somewhere just past the neurological synapses of the brain that has stored them chemically.  These emotions can be aroused by the music part of the music and or by association etc.  So, to ignore the fact that style does matter is a faulty praxis that leads to naive musicing practices.
              Religious musical formalists often believe that when emotions are aroused they are not related to real life understanding.  This theory renders the emotional states that are aroused when one musics or listens to a musical performance ineffectual in relationship to real life.  This lets the Christian performer of the hook.  What this means is that regardless of the emotional states that his or her religious musicing evokes, the music has no cause and effect that will have a negative or positive on the seekers and worshipers. The only problem with this notion is that it is too good to be true because it is an unfounded belief.

Wednesday, January 9, 2019

Understanding the Music Genres, We Perform

 Understanding the Music Genres, We Perform
Remember that a worship music philosophy should be a series of systematic statements (beliefs) concerning the nature and value of the whole of the music. These systematic beliefs must include a thorough understanding of the music’s essential nature, i.e., what makes the music part of the music what it is. This underlying set of beliefs must also include an understanding of the formal properties of the music and how they influence the meaning and message of the music, i.e., what it actually does or says or how it influences the performer and auditor.
 A worship music philosophy must also very clearly provide a systematic understanding of the value of this music to the worship experience and what it can do to the whole-life of the performer and worshiper. To deny that religious music does something to the worshiper is naïve and short-sighted. Any style of music should be carefully scrutinized for its ability to affect the whole-life of the performer and auditor in a positive or negative spiritual manner. All musics have the ability to affect change in the whole-life of the worshiper. The amount and quality of the positive influence of the music part of the music will determine whether it is a poor, mediocre or quality vehicle and concomitant of a sacred text.
Thought for the Day
Christian Musicians who are worship leaders must accept the responsibility to study music seriously.  The fact that worship leaders are busy and are many times only part time church musicians is not an excuse for

A Music Aesthetic Must Retain God in its Basis-part-2


A Music Aesthetic Must Retain God in its Basis-part-2
 In Donald Grout’s treatise A History of Western Music he quoted Aristotle as saying: “…when one listens to music that imitates a certain passion, one becomes imbued with the same passion, and if over a long time one habitually listens to the kind of music that rouses ignoble passions one’s whole character will be shaped to an ignoble form.” Donald Grout and Palisca, A History of Western Music, p.8.  Aristotle was saying that the continued influence of ignoble music would affect its message so thoroughly on the listener that it would influence the actual character of the auditor. Plato was famous for his classic philosophical statement, “Let me make the songs of a nation and I care not who makes its laws.”  Robert Berglund, A Philosophy of Church Music, p.18.
  Ancient Greek philosophers evidently believed that music could communicate not only beauty to the auditor, but also the message of the moral intent of the composer or performer, not merely by words, but also by the music part of the music. No one ever quotes Plato or Aristotle as believing that only words communicate. Both of these philosophers mention the effect of modes on the auditor. They mention emotions like anger, gentleness, calmness, anxiety and personal restraint, and how the character of the various modes conveys these messages to the hearer.

Tuesday, January 8, 2019

A Music Aesthetic Must Retain God in its Basis-part 1


A Music Aesthetic Must Retain God in its Basis-part 1
It stands to reason that the only immutable truth about aesthetics is found in God’s perfect understanding, will, and knowledge. Outside of our knowledge of God’s Word, everything Christian musicians postulate or perform in music comes from imperfect and partial knowledge. We know from 1 Corinthians 13:9-10 that “…we know in part and we prophesy in part, but when perfection comes, the imperfect disappears” (NIV). Paul went on to say in verse 12, “Now we see but a poor reflection in a mirror, then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known” (NIV).
Based on this truth, no one individual has the final answer when it comes to “knowing” or developing a philosophy of music aesthetics. With this in mind, the Christian musician, although aware of the inability to be all knowing, must not fall into the twenty-first century trap of believing that there is no objective true truth concerning music aesthetics. Those who believe that music has great power over the auditor and the performer are not the creators of some conservative far-fetched notion that only relates to a fight against rock-based contemporary Christian music. On the contrary, this argument has existed for centuries.

Monday, January 7, 2019

Being a Conservative Christian Musician- part 4


Being a Conservative Christian Musician- part 4

Some Christian musicians have failed to recognize that when music has been set into motion, it does its own communicating because the music part of music has great power to influence the listener for either for good or evil.  Therefore, Christians need to realize that the concept that music has great power is not a novel notion hatched up by conservative Christian musicians who are over protective of traditional church music.  Musicologists are aware that as far back as Plato and Aristotle music philosophers have believed that the musical mode makes a difference because it communicates meaning to the listener.  Furthermore, no music philosopher ancient or modern has made any sensible hypothesis or musical evidence that would discredit these ancient musical observations that resulted in the theory that music does have power.
For centuries music philosophers have written about their convictions that music has power to communicate moral values to the auditor.  They have over the centuries elaborated on how music goes about strengthening or weakening these moral values.  Philosophers have not always agreed about the way music communicates its power to the listener, but historically, until the twentieth century, they have almost universally believed that music does have great power to communicate. 
So, when a musician connects music’s power to God by marrying it to the worship of a holy triune God, that power definitely makes a reflection on the auditor’s perception of who God is, what He is like, and what He is capable of doing.  Although music cannot change God’s moral nature, it can change the listener’s perception of His moral nature when a musician, in a willy-nilly manner, connects a music style to worship music that represents anything but wholesome moral or Christian values.  What is often done in jest by a composer, an arranger, or a performer can become a tool for Satan to distort the auditor’s view of who God is.


Sunday, January 6, 2019

Being a Conservative Christian Musician- part 3


Being a Conservative Christian Musician- part 3
 Christian musicians must constantly reevaluate what it means to truly be conservative Christian musicians.  Christian musicians who call themselves conservative musicians must realize that one of the most important things about following a conservative philosophy is being consistent about life-style and that this congruency most certainly must include the way Christians music unto God.
I am  puzzled that  so many Christian musicians in the last quarter of the twentieth century and now in the twenty-first century have believed, and now still believe, that the formal properties of music have absolutely no power or ability to communicate anything at all.  By accepting this erroneous notion, in their minds they have reduced music’s power to the potency of diluted vanilla extract.  Furthermore, they have done so without a shred of musical or philosophical logic.  Why can’t Christian musicians observe obvious actions, reactions, and outcomes that are triggered by music’s power?  I have found after studying music philosophy seriously since 1967 that the age-old quip is true, ”there is none so blind a he who will not see.”

Saturday, January 5, 2019

Being a Conservative Christian Musician- part 2



Being a Conservative Christian Musician- part 2

           There are several questions that perplex me about what is currently happening in the realm of church music. How can a musician in good conscience believe 2 Corinthians 6:17 which very clearly commands, “Wherefore come out from among them, and be ye separate, saith the Lord, and touch not the unclean thing; and I will receive you,” and make no definite  separation in the way he or she musics unto God? Is separation from the world a misnomer (a wrong or inaccurate use of a name or term) when it come to a Christian’s musicing?  How can Christian musicians ignore over a half century of serious concern by a host of careful believers who have observed  the alarming changes that have been made and are currently being made in church music?  Why do so many musicians take their musical cues from liberal church musicians and worse yet—nonbelievers who write and perform religious music are not concerned in the slightest bit about spiritual things or the direction of church music?
          I am concerned about the writings of Christian musicians who consider themselves to be conservatives and at the same time are supporting massive musical style change. They claim that these huge changes are necessary because   church music and the musicians who perform this music are: out of touch with reality, not seeker sensitive, and that traditional sacred music is outdated and incapable of being an efficacious means of musicing unto God.  Although there is much evidence that the musicing of many church musicians is no longer efficacious, there is no body of evidence that the culprit is the music itself.   Although there is much “death” in the musical city, this death is not caused by traditional sacred music but rather by the spiritually dead musicians who are doing the musicing.