Developing a Unified Music Philosophy

Developing a Unified Music Philosophy

According to Francis Schaeffer, up to the time of Kierkegaard, philosophers had always hoped " ... that they would be able to construct a unified field of knowledge."[i]There are two ways in which Christian musicians may develop a consistent, congruent, unified system of beliefs concerning the nature and value of the whole of music.  They must utilize Bible based epistemology (theory of and limits of "knowing") and methodology (the method used for coming to a knowledge of truth).
               The first requirement is that the musician must believe that there is objective truth concerning how to music unto God, and that we are able to know and appropriate that truth.  Second, that Bible knowledge concerning music is not dispensational, but is relevant to all generations of musicians. 2 Timothy 3:16-17, "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, throughly furnished [exertizo 1822- equipped fully] unto all good works.” The Bible did not say that the Word was profitable but that it is profitable.
                What does "all Scripture" mean? Does it mean all passages except those mentioning music?  Are these ancient musical writings profitable in the twenty-first century?  Are they inspired or not?  Are they too difficult or too *esoteric for us to understand? The Scriptures on music are there, and since God is there we have objective truth concerning music.  The question is, "What are we going to do with this truth?" James 3:13 asks "Who is a wise (sophos 4680) man and endued with knowledge among you? let him shew out of a good conversation [i.e. lifestyle] his works with meekness and wisdom (sophia 4678)."  The wisdom is there, and the validity is there.  It is our responsibility to use this knowledge to form a congruent music philosophy.

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[i] Schaeffer, Escape From Reason, 35, 42.

The Christian Musician Thinks Differently-part 3

The Christian Musician Thinks Differently-part 3

I have observed that often what musicians say they believe about music and how they actually music are often somewhat different. This disparity is generally caused by the musician’s worldview of music and, based on the reality of that view, what  the musician believes music will or will not do to the whole life of a Christian.  Furthermore, based on the notion many Christians have that music is not capable of harming a Christian spiritually, a Christian musician’s worldview may become clouded by *skewed perception and thereby cause the development of a false view of music’s power to affect the whole life of a Christian.

My brother recently gave a friend a copy of my new book Music Philosophy in Christian Perspective.  His friend asked him for a copy of my college choir.  Since I am retired, I had to look through my CD collection to find a recording of my college teaching days.  The reason he wanted a recording was because he said, “When I read his book I will see what he says he believes, but when I hear his musical performances of sacred music I will find out what he actually believes about sacred music.

The Christian Musician Thinks Differently-part 2

The Christian Musician Thinks Differently-part 2

As a Christian musician reads God’s Word and as the Holy Spirit gives the musician understanding of the many verses concerning music and musicing found in the Bible, a Christocentric music worldview is developed.  St. John 16:13 explains, “Howbeit when he, the Spirit of truth, is come, he will guide you into all truth: for he shall not speak of himself; but whatsoever he shall hear, that shall he speak: and he will shew you things to come.”  I am not claiming that this verse in the Bible has any esoteric meaning that is exclusive to the Christian musician, but I am contending that the truth contained in this verse extends to Christian musicians who are developing that window through which they will view the whole of music and musicing that we call a Christian musical worldview. I also believe that the Holy Spirit and God’s Word will guide the earnest Christian musician into “all truth” (pas aletheia, 3956, 225 thorough truths or verity).

A Christian musician’s worldview and, as a concomitant of this view the musician’s musical worldview, will shape that individual’s music philosophy.  The way that a musician perceives music’s place and importance in education, church, home, and *community will determine what he or she considers the reality of the nature and value of the whole of music. Christian musicians cannot develop their music philosophy beyond how they view music in the larger pictures of church, home, and community.

The Christian Musician Thinks Differently-part 1

The Christian Musician Thinks Differently-part 1

Romans 12:2, “And be not conformed to this world: but be ye transformed by the renewing of your mind, that ye may prove what is that good, and acceptable, and perfect, will of God.”

  The word transformed (metamorphoo 3339) used in the second verse of the twelfth chapter of Romans connotes the complete change that takes place when a Christian presents himself or herself as a living sacrifice to God.  After this transformation, the Christian looks at life and music differently than the world looks at it.  So perhaps the import of not being conformed is resisting the world’s paradigm of life and ipso facto music and musicing.

 The word renewing, used in the same verse, is derived from anakainosis (342) means a complete renovating or reordering of one’s thinking or paradigm (using its current meaning) about the realities of life.  This renewing of one’s worldview is necessary in order to prove (dokimazo 1381) that the Christian musician’s philosophic worldview is amenable to the will of God.

Help Me to Lift up Your Name

Help Me to Lift up Your Name

Proverbs 27:2,  “Let another man praise thee, and not thine own mouth; a stranger, and not thine own lips.”

          Many times the ministering musician works without much or any recognition from others.  We all say , and most of us believe that our ministry if for the glory Jesus Christ and for the edification of those to whom me music.  C.T. Studd wrote a poem that included the words. Only one life, ’twill soon be past, Only what’s done for Christ will last.”  Most Christian musicians that I have been well acquainted with believe that Studd’s statement is true.   We know that it is true but sometimes we forget it for a few brief moments when we are depressed ad lonely.

          When a Christian musician is deep within the Slough of despond mentioned in John Bunyan’s allegory, he or she may be tempted to believe that “He that tooteth not his own horn, the same shall not be tooted.”  At such a time the words of Solomon are still true,  “Let another man praise thee, and not thine own mouth; a stranger, and not thine own lips.”   Isaiah 42:8 reminds us that, “I am the LORD: that is my name: and my glory will I not give to another, neither my praise to graven images.”   So, God will not share the glory that belongs to Him with any church musician or Christian performer.  Even if a Christian musician works hard and does not receive recognition from others, that musician should not ‘toot his own horn’.

Prayer for the Day

Lord, I know that You are worthy of all praise and I really want You to have all the glory that may result from my musicing.  Help me to resist the temptation to become a “glory seeker”.  When I am lonely and believe that I have been forgotten, help me to do what I do for Christ, because I know that “Only what’s done for Christ will last.”  Lord, lift me up above the accusations of Satan and help me lean on You as my strong tower.  Help me to be a good and faithful musical servant.  This I am praying in Your wonderful name.  Amen.

The Purpose of this Blog

The Purpose of this Blog

This Blog is a discussion about music philosophy rather than being about music administration.  To put it simply, this blog is about thinking about music and musicing rather than about the act of doing it.  That is not to say that there is not a continuing need for writing about how a church musician or a music educator should go about doing what he or she does.  Musicians are doers not merely those who think about doing.  However, a musicer should have a solid faith basis, and more specifically a Bible basis, for what he or she intends to do before doing it.

 So, a musicer who is a Christian should not attempt to music unto God without first having a deep faith in God; a personal relationship with God; and a Bible basis that will shape that musician’s understanding of the nature, value, and meaning of the whole of sacred music and musicing.  Only then will a Christian musician be equipped with the tools that are necessary to develop a faith-based music philosophy that will serve to help guide all of that person’s on-purpose musical doing (praxis).  Although this blog does not explain how a Christian musician executes his or her music praxis (the on- purpose way of doing music which we call musicing), praxis cannot be totally  omitted from a discussion of music philosophy.  I like to think of music philosophy as a musician’s faith in what he or she believes about doing music and that music praxis is about works i.e. the on-purpose way that one actually does music. 

The Song of Fools-part 2

The Song of Fools-part 2 

       Although the message of Christ’s suffering and death is a very solemn message, there is another side to this musical coin.  Turn it over and you will see victory through our Lord and Savior Jesus Christ. You will see the joy of the debt of sin being paid by His suffering and death and resurrection.  You will also see that we can have a clean and pure heart through the efficacy of His precious blood that was shed on Calvary.  You will further see freedom from the guilt of sin.  You will also see the joy of having a relationship with our Lord and Savior Jesus Christ in this life and in the life to come.

       Sing, play and tell through your musicing, not only the suffering and death of our Savior but also of the fact that He was victorious over sin, death, hell and the grave.  This message is the antithesis of the “song of fools” which is merely a social gospel.  This message of Christ crucified and resurrected is far better than the foolish, light, chaffy, religious music that contains little eternal value. Church musician look up!  Lift up your head because you are doing the King’s business when you music the deep message of Christ crucified, buried, risen again and seated on the right of the Father praying for us all.

The Song of Fools-part 1

The Song of Fools-part 1 

Ecclesiastes 7:5  It is better to hear the rebuke of the wise, than for a man to hear the song of fools.

       Church musicians sometimes get a little worried that their musicing unto God is too serious, because all of us want people to like our music ministry.  What does the writer of the book of Ecclesiastes mean by “the song of fools”?  Is he suggesting that the content of the song is foolish or that those who are singing the songs are actually fools?  He probably means all of the above. 

       Never be afraid of the seriousness of the musical message of Christ crucified.  The awesome depth of this message is the very thing that makes it worthwhile.  The message of Christ being obedient to the will of His Father: which included being reviled, rebuked, rejected, misunderstood, abused and tortured physically and mentally is a very solemn and worthwhile message.  Never be ashamed of the awesome and solemn truth about Christ’s suffering and death. The Christian musician should never water it down or fail to sing about the precious blood that Christ shed for the sins of the whole world.

Writing with Carefulness

Writing with Carefulness

When I commit my beliefs to pen and ink, it is possible that I spend more time with the English dictionary, Bible language dictionaries, and lexicons than I do writing my own thoughts.  My writings are far from inspired, but that does not mean that I do not labor over each word, phrase and sentence. I would be greatly offended if my readers were to suppose that I had intended to write the opposite meaning of my intent.

So, if a writer expects readers to trust his supposed meanings of the original Bible words in his writings, that author must treat the ancient inspired writings of the Old and New Testaments with much respect.  Changing the Holy Writ to merely fit modern thinking is a very dangerous writing technique.  As Revelation 22:18-19 warns, “For I testify unto every man that heareth the words of the prophecy of this book, If any man shall add unto these things, God shall add unto him the plagues that are written in this book: And if any man shall take away from the words of the book of this prophecy, God shall take away his part out of the book of life, and out of the holy city, and from the things which are written in this book.” Therefore, a writer has an obligation to the original meaning of the inspired words that were used in the Bible.  When I am exposing and defining original passages of the Bible that are thousands of years old, I endeavor to always identify the original words as well as give keyed numbers so that the reader may do personal language studies to establish if my interpretations are valid or not.

How I Began This Philosophical Journey

How I Began This Philosophical Journey

              In July of the summer of 1967 I attended the Eastern Kansas Camp with my mother Anna Mayme Wolf, who has now gone to heaven. The evangelist was Dr. C.E. Cowen who preached a very powerful lucid gospel message. As I mentioned earlier, Dr. John I. Page came to me and invited me to step forward and give my heart to the Lord. I came forward that Sunday evening and bowed at an old wooden altar at the front of that open air tabernacle. I was tired of trying to control my life.  I confessed my sins with much godly sorrow; gave my heart to the Lord Jesus Christ and, and by faith in the merits of Christ, received the Lord Jesus Christ as my personal Savior. I began a spiritual journey that evening that has made all the difference in my life!
             I later graduated from Pittsburg State University in Pittsburg, Kansas and accepted a teaching position at Kansas City College and Bible School in Overland Park, Kansas. I believe it was during my first year of teaching that I attended a music seminar by Dr. Frank Garlock that took place at a Christian School in Merriam, Kansas.
             During Dr. Garlock’s seminar the Lord impressed upon my heart to engage in serious study of music found in the Bible and to develop a coherent and congruent Christ centered music philosophy.  The Holy Spirit used Dr. Garlock’s firm regard for what the Bible has to say about music to cause me to start the twenty-five year study that resulted in the book Music of the Bible, and later Church Music Matters.   I will forever be indebted to Dr. Garlock for his faithfulness to the Lord during that seminar. Without his faithfulness to deliver the message of Christ centered musicing I might not have started on this marvelous musical part of my spiritual journey.

Aesthetic Experience and the Christian Musician-part 2

Aesthetic Experience and the Christian Musician-part 2

There is general agreement among music philosophers that some people who are knowledgeable concerning music and musicing who perform it or experience musicing are capable of having aesthetic experiences at least part of the time.  Therefore, the Christian musician cannot ignore the philosophical issues that surround aesthetic experiences.  So, all Christian musicians need to consider if and how aesthetic experiences with music do or do not affect sacred musicing.  Christians must also consider whether aesthetic experiences with music should be a regular concomitant of public worship.

Some Christian philosophers have loosely co-enjoined “holy day” and “holiday” when considering the experiences that surround both.  I object to the notion that religious experiences which are indeed joyful, and other non-religious joyful experiences are one and the same or even remotely the same.  What happens when the Holy Spirit assists the Christian musician when he or she is musicing should not be considered to be synonymous with what happens when a performer has aesthetic musical experiences during a secular performance.  However, that being said, I have no objection to a Christian having an aesthetic experience when he or she performs or hears sacred music.  Aesthetic experiences with musicing or listing to music may very well be a concomitant and an aid to worship—but never worship in and of itself.  Certainly, the worshiper does not have to have an aesthetic experience with the music that is used in the context of worship in order to have effectively worshiped God.

Thought for the Day

I think of the use of music in the context of worship much like a praxialist rather than as a aesthetician.  The reason for this philosophical position is that I consider musicing in the context of worship to be an on-purpose concomitant of worship—a means to an end rather than an end.

Aesthetic Experience and the Christian Musician-part 1

Aesthetic Experience and the Christian Musician-part 1 

There are many definitions and opinions about what aesthetic experiences actually are.  “John Dewey (1958), for example, argued that aesthetic experiences are the most complete, the richest, and the highest experiences possible. One is actively engaged and conscious of the world's effect on one but at the same time appreciative of one's possibilities for acting on the world. One senses an organization, coherence, and satisfaction as well as an integration of the past, present, and future that ordinary non-aesthetic experiences lack.”  http://www.encyclopedia.com/humanities/encyclopedias-almanacs-transcripts-and-maps/aesthetic-experience 

 An aesthetic experience is a deep encounter with music that is beyond musical enjoyment, pleasure or mere knowledgeable awareness of the nuts and bolts of the music.  It is a private experience that a knowledgeable listener or performer has when performing or experiencing a musical performance that reveals import that is deeply revealing and satisfying to the performer or auditor.  Since this experience is personal and private many writers have found it difficult to explain it with specificity.  They also find it even more difficult to even suggest how often a listener or performer has one of these elusive experiences.  It is also argued whether or not a neophyte is capable of having such an experience with music since it is generally believed that one must be knowledgeable of music in order experience musical import at this deep level. 

Thought for the Day

There does not need to be a conflict between a knowledgeable worshiping through the use of music and at the same time having an aesthetic experience as long as that person worships God instead of the music.

Worship the Creator Not the Created—part 7

Worship the Creator Not the Created—part 7

With the information discussed in the previous seven posts in this series, we can now discuss why this discourse in Nehemiah is so often left out of commentators and modern day writers. First, many Bible scholars have glossed over these verses because they have hot had sufficient knowledge of the Levite musicians (and all Jews who “read” the Torah) intoned, cantillated or, if you will, sang the entire Old Testament during public reading in ancient worship in Israel.  The precisely accurate intoning of Scripture by the Levite musicians was accomplished by cheironomers using hand signs which provided the musical notes (te’amim) to the Levite instrumentalist(s) and vocalist(s) who played and sang the Old Testament Scriptures.

Second, a great host of Bible scholars in the19th, 20^th and now, 21^st. century have not been aware that the entire Old Testament Scripture was intoned (sung) by those who “read” it in public in ancient Israel. Third, Bible scholars have not had knowledge of the fact the te’amim represent a musical notation or that they represent a precisely accurate musical notation.  The te’amim are the ancient symbols above and below the entire Old testament texts.  The symbols below the texts are a precise musical scale system and the symbols above the sacred texts are deviations in the note movement mush like the musical embellishments that are used in music today. 

Many scholars have considered music to be an aid to memory and a means of facilitating didactic poetry with emotion and meaning (a far to detailed discussion to discuss here).  May it suffice to say that it is by no means farfetched to consider that the intoning of the texts here mentioned in Nehemiah could and, as the discourse in chapter eight attests, “gave the sense, and caused them to understand the reading”. Although the meaning of the music part of the discourse in Nehemiah chapter eight has become more and more esoteric over the many centuries since it was written, it is still, as 2Timothy 3:16 teaches, “…profitable for doctrine, for reproof, for correction, for instruction in righteousness”. We must again be reminded that the distinction and understanding that was made possible by this ancient musicing of The HOLY WRIT was for worshiping YHVH rather than artistic musical performance. Its ultimate purpose was worshiping the Creator rather than the created thing—music.

Worship the Creator Not the Created—part 6

Worship the Creator Not the Created—part 6

In verses six and seven the explanation of “worshiping with understanding” is further explained.  “And Ezra blessed the LORD, the great God. And all the people answered, Amen, Amen, with lifting up their hands: and they bowed their heads, and worshipped the LORD with their faces to the ground.  Also, Jeshua, and Bani, and Sherebiah, Jamin, Akkub, Shabbethai, Hodijah, Maaseiah, Kelita, Azariah, Jozabad, Hanan, Pelaiah, and the Levites, caused the people to understand the law: and the people stood in their place.”

…”  Furthermore, Nehemiah 8:8, explain, “So they read in the book in the law of God distinctly, and gave the sense, and caused them to understand the reading. The Levite musicians were involved with Nehemiah’s “reading” of the Torah.  Nehemiah 8:9, “And Nehemiah, which is the Tirshatha [the governor], and Ezra the priest the scribe, and the Levites that taught the people, said unto all the people…”  Knowledge of how the Levite musicians “read distinctly” has become very esoteric in the centuries that have led up to the 21^st. century.  Think about what was happening in this public worship of YHVH in ancient Israel.  The Word declares that the Levites “read” distinctly.  What was the nature of this “reading”?  The word used in the AV is distinctly (parash 6567) means to separate[GW1]  mentally or to give specificity.  So, we can hypothesize reasonably that the intoning of the Torah helped the people to understand it more perfectly.

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 [GW1]

Worship the Creator Not the Created—part 5

Worship the Creator Not the Created—part 5

In the eighth chapter of the Book of Nehemiah there is an account of ancient Jewish public worship.  Ne 8:1-3, “And all the people gathered themselves together as one man into the street that was before the water gate; and they spake unto Ezra the scribe to bring the book of the law of Moses, which the LORD had commanded to Israel.  And Ezra the priest brought the law before the congregation both of men and women, and all that could hear with understanding, upon the first day of the seventh month.  And he read therein before the street that was before the water gate from the morning until midday, before the men and the women, and those that could understand; and the ears of all the people were attentive unto the book of the law.”  The reason that understanding was so important was because it is understanding that enables people to worship the creator rather than the created thing---music.  It was the created thing—music—that facilitated understanding of the Torah which was God breathed.

Worship the Creator Not the Created—part 4

Worship the Creator Not the Created—part 4

The worshipper must know the fundamental truths about God and His nature before musical worship can be authentic or real. Furthermore, the worshipper must be living in fellowship and relationship with God before musical worship can be authentic and real. Jesus told the Samaritan woman that “Ye worship ye know not what.” Jesus said in St. John 4:24, “God is a Spirit: and they that worship him must worship him in spirit and in truth.” Paul told the Corinthian church in I Corinthians 14:15b “I will sing with the spirit (4151 pneuma - spirit, Holy Spirit), and I will sing with the understanding (Greek 3563 nous – intellect, i.e. mind either divine or human) also.”  Psalm 47:6-7 states, “Sing praises to God, sing praises: sing praises unto our King, sing praises. ⁷For God is the King of all the earth: sing ye praises with understanding.” (Hebrew 7919 sakal – to be circumspect, with prudence, skill, wisdom, or intelligence).

If you have an Oxford KJV, look at the center reference and you will see that the Oxford scholars rendered “with understanding” as “every one that hath understanding.” If our praise singing is to be efficacious or effective, it must be done by a congregation of people who have spiritual understanding. What this means in Kentucky Greek is “how can you have ‘spiritual understanding’ if you don’t know God?” Above all else our musicing unto God must be done by a congregation of people who are walking in the light of the truth of their knowledge and understanding of God and His will for their life.

Worship the Creator Not the Created—part 3

Worship the Creator Not the Created—part 3

Verses 16-18 of the second chapter of Hebrews continues, “For verily he took not on him the nature of angels; but he took on him the seed of Abraham. Wherefore in all things it behooved him to be made like unto his brethren, that he might be a merciful and faithful high priest in things pertaining to God, to make reconciliation for the sins of the people. For in that he himself hath suffered being tempted, he is able to succor them that are tempted.” Hebrews 4:14-16 caps it all off with these words, “Seeing then that we have a great high priest, that is passed into the heavens, Jesus the Son of God, let us hold fast our profession. For we have not an high priest which cannot be touched with the feeling of our infirmities; but was in all points tempted like as we are, yet without sin. Let us therefore come boldly unto the throne of grace, that we may obtain mercy, and find grace to help in time of need.” 

The ancient Jews who were musicians did not think of music as a “fine art” or an artistic medium.  It is common knowledge among Jewish musicologists that the ancient Hebrews thought of music as the “handmaiden of the Word of YHVH” and as a means of worshiping God and responding to who He is and does for His people.  Although music was a fine art in ancient times which was performed by skillful musicians, it seems from Scripture that they did not have the problem of worshiping the “created” instead of the “Creator”.  It is worth noting very briefly some Scriptures that attest to the fact that these worshiping musicians musiced skillfully.  1Chronicles 15:22 states, “And Chenaniah, chief of the Levites, was over the song: he instructed about the song, because he was skillful.”  Later in 1Chronicles 15:27 it states, “And David was clothed with a robe of fine linen, and all the Levites that bare the ark, and the singers, and Chenaniah the master of the song with the singers: and David had upon him an ephod of linen.”

Worship the Creator Not the Created—part 2

Worship the Creator Not the Created—part 2

Genesis 1:1 states that “In the beginning God created the heaven and the earth.” Colossians 1:16 tells us “For by him were all things created, that are in heaven, and that are in earth, visible and invisible, whether they be thrones, or dominions, or principalities, or powers: all things were created by him, and for him:” Hebrews 2:10-12 further explains why we music unto God when it says, “For it became him, for whom are all things, and by whom are all things, in bringing many sons unto glory, to make the captain of their salvation perfect through sufferings. For both he that sanctifieth and they who are sanctified are all of one: for which cause he is not ashamed to call them brethren, Saying, I will declare thy name unto my brethren, in the midst of the church will I sing praise unto thee.”

The Scriptures above establish the Lordship of Christ over all music and musicing.  The reason that it is so important philosophically to acknowledge this Lordship is that since God created music He owns it.  Since He has rightful ownership to music, He should receive all the worship that surrounds it and its performance. Thus we are logically drawn to the conclusion that we must worship the God of music (the Creator) rather than the music (the created thing).

Worship the Creator Not the Created—part 1

Worship the Creator Not the Created—part 1

 It is dangerous to worship music. As a matter of fact, it is idolatrous to worship music. Worshipping musical performance is the result of a fundamental misunderstanding of the purpose of Church music in worship. The listener-performer phenomenon is a misuse of music in worship. 

Have you ever pondered on the thought of why we include music in our public and private worship of God? Why don’t we just speak all our worship to God? Why do we music unto Him? Musicing unto God helps us to understand and express effectively who God is and what He does. In the act of musicing, we are able to express our response to the claims of God upon our lives. Sometimes words alone cannot fully express the depth of our response to God. So, we music unto Him.

The Importance of Communication

The Importance of Communication

Communication must start long before the teen years. I think God created music to be efficacious, but of course then Satan also uses this to his own advantage. Teens in their turbulent years get attached to this song or that song which helps to shape their identity. The effect of music that God created to be very good is now used by Satan to pull young people away from truth and their authority structure. As teens become attached to music that is ungodly, the wedge between them and their parents is driven deeper teens becomes more shaped by their music than by the Godly influence that could be in their lives. Of course, parents often do not respond in love which only drives the wedge deeper and makes the separation greater.

I wonder if music hasn’t been used as kind of a smokescreen by Christian parents to hide the real problem. Parents lose the hearts of their children and music looks like the culprit. True, music may have helped fuel the separation and rebellion, but the real battle is often lost before their children’s addiction to harmful styles of music. If parents could keep the hearts of their children during the pre-teen years and as they enter and go through their teen years, they could help steer them away from ungodly music before the children get caught up in it.

The Glory of the LORD

The Glory of the LORD

II Chronicles 5:13b-14   …then the house was filled with a cloud, even the house of the LORD.  So that the priests could not stand to minister by reason of the cloud: for the glory of the LORD filled the House of God.

       The Levites ministered on this occasion and while they were musicing unto God, the glory of God filled the Temple.  The priest could not carry out their duties and their sacrificial offerings.  The musicing and the priests’ offerings gave way to a Divine visitation.

       As the trumpeters and the singers thanked and praised Jehovah for His goodness and His mercy, all of a sudden God’s presence swept over the temple.  All those who were there knew that YHVH was tabernacling or inhabiting their musical and sacrificial worship.

       Do you long for God’s presence to fill the church when you have the responsibility and privilege to music unto Him?  God will meet with us and will inhabit our praise musicing unto Him, if we will seek Him with all our heart (Psalm 22:3 But thou art holy, O thou that inhabitest the praises of Israel).  The most important part of our worship is turning our hearts toward God.  Christian musicians have the responsibility to lead other Christians in taking the journey from the natural to the supernatural and experiencing communion with the blessed Trinity. 

Prayer for the day

Lord, like the priests and the Levites in the ancient Jewish temple, we want to thank you and praise you with our musical offerings.  We are asking you to inhabit our praise and manifest your presence in our musical worship.  Lord, we confess that we do not know how to come in and go out before you.  We want to please you with our worship, but we confess that we do not always know how to worship you.  We want to thank you for the times that we feel your presence as we music unto you.  Help us to music in a way that will bring honor and glory to your wonderful name.  This we pray in your holy name,  Amen.

Defending Philosophy Biblically-part 3

Defending Philosophy Biblically-part 3

There are many other sources of knowledge that also help the Christian musician develop a congruent music philosophy. I am often reminded of Jesus’ parable of the steward in Luke16:8 which states, “And the lord commended the unjust steward, because he had done wisely: for the children of this world are in their generation wiser than the children of light”.  Although this parable had absolutely nothing to say about music, there is a principle in Jesus’ parable that applies to us all.  Stewardship requires getting the job done with the help of others.

I do not believe that Jesus was commending the unjust steward for his unjustness.  Jesus said in Luke 16:9, “And I say unto you, Make to yourselves friends of the mammon of unrighteousness; that, when ye fail, they may receive you into everlasting habitations.”  It is difficult to know all that Jesus was teaching in this statement, but it appears that He was saying that we can gather wisdom from people who are not Christians. However, Christians are warned in Colossians 2:8 “Beware lest any man spoil you [i.e. lead you astray] through philosophy (philosophia 5385) and vain deceit (kenos apate 2756 539 i.e. empty delusion), after the tradition of men, after the rudiments of the world, and not after Christ.” 

Thought for the Day

The meaning of Christocentric philosophic congruency is  the compatibility, consistency and conformity of a Christian musician’s beliefs about the nature, value and meaning of the whole of music as it relates to that musician’s musicing.  Since all musicing must come under the lordship of Christ, it must all be compatible, consistent and in conformity to the life and actions of the changed life of a follower of Christ.

Defending Philosophy Biblically-part 2

Defending Philosophy Biblically-part 2

Let us consider philosophy’s mention in the Bible.   Philosophia is used only once in the New Testament in Colossians 2:8 and is translated philosophy in the AV; philosophos is also only used once in acts 17:18 and is translated philosophers in the AV; sophos is used 23 times and is translated wise, wiser, wise men, and wise man in the AV. The word wise (sophos), as it is used in the Bible, means having knowledge, and good judgment, and wisdom when it is referring to men and all wise when it refers to God.  The English word wisdom is used about 55 times in the AV New Testament.  The word wisdom is found in 266 verses in the AV Old and New Testaments combined.  The exact number of references is not important, but it is important that the Bible speaks so often of wisdom. 

It seems logical to deduce that there is much support in the Bible for a Christian musician basing his or her systematic beliefs about the nature, value and meaning of the whole of music on wisdom found both in and out of the Bible.  Much of the wisdom concerning music and musicing may be found in the Bible.  However, I do not claim to believe in *sola scriptura as the only source of wisdom concerning music philosophy.  I do however believe in sola scriptura in the sense that Scripture alone is the authoritative rule of faith and practice and  that what the Bible does teach us about music is authoritative.

Thought for the Day

It is important to study the nature, value and meaning of the whole of music by studying music both in and out of the Bible record.

Defending Philosophy Biblically-part 1

Defending Philosophy Biblically-part 1

Philosophy is generally understood to be the pursuit of wisdom which is realized through logical reasoning. It is employed to critically analyze one’s fundamental presuppositions and beliefs about some area of life.  Philosophy investigates the nature, value, principles, knowledge, and causes of that discipline.  After logically and critically analyzing one’s systematic beliefs, hopefully a unified field of wisely developed knowledge is established that becomes a system of values and beliefs by which one operates within that discipline.  To the Christian this pursuit is always deeply grounded in Bible principles.

It seems only logical to not only find out what the word philosophy means but also if it is ever mentioned in the Bible, before one attempts to write a book about music philosophy. The English word philosophy is only used once in the AV in St. Paul’s first epistle to the Colossians where he warns in chapter two, verse eight, “Beware lest any man spoil you through philosophy (philosophia 5385) and vain deceit, after the tradition of men, after the rudiments of the world, and not after Christ.”  The word philosophia is derived from philosophos (5386) which is a word that comes from the two Greek words philos (5384) and sophos (4680) which mean one who is fond of wise things i.e. loves wisdom. 

Thought for the Day

To many church musicians, tradition is more important than truth.

Are Popular Styles Appropriate Contrafacta? Part 2

Are Popular Styles Appropriate Contrafacta? Part 2

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

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

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

Quote for the Day

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

Are Popular Styles Appropriate Contrafacta? Part 1

Are Popular Styles Appropriate Contrafacta? Part 1

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

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

Quote for the Day

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

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

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

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

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

Thought for the Day

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

What Kind of Music Did Charles and John Wesley Use? Part 2

What Kind of Music Did Charles and John Wesley Use? Part 2

          The Wesleys did use secular music with their hymns on some occasions.  However, there is not a shred of evidence that they used melodies that had been created as concomitants to sensual songs used in the taverns in England.  By the term “secular” I simply mean that this music was not originally composed as a concomitant to a sacred text. I do not mean that the Wesley’s used music that was originally “anti- Christ” in its original enactment.  Surely twenty first century Christian musicians should understand that the Wesleys were very aware of some secular music’s association with bawdy themes and the ribald manner in which they were often used in taverns in England.

          There is absolutely no scholarly basis for the notion that they used such music with the hymns they used in public worship. I would also like to point out at this point in this short discussion that, bases on what is now known about the secular music they used, there was absolutely no contradistinction of style between the secular melodies that the Wesleys used and other melodies that were written especially for use with their hymns.  This certainly could not be said of many of the tunes and the styles of music that was often used in the late twentieth century and now in this century to accompany religious music.

Quote for the Day

“Whether Wesley did or didn't use drinking songs is not really the issue. Rather, the issue is why Wesley did or didn't use them. Wesley found the close association of hymn text and tune (even commonly referred to as a "wedding") to be of such importance that the use of tavern songs was beneath consideration. It was never a possibility.”  http://www.umcdiscipleship.org

What Kind of Music Did Charles and John Wesley Use? Part 1

What Kind of Music Did Charles and John Wesley Use? Part 1

          What kind of melodies, rhythms and harmonies did Charles and John Wesley use to accompany their hymns?  A multitude of twentieth century authors who were Christians and others who were non-believers jumped to conclusions about the use of drinking and barroom music by the Wesley’s.  In an article titled Debunking the Wesley Tavern Song Myth Dean McIntyre very succinctly, in six short explanations, puts to rest that silliness that the Wesleys used tavern or saloon song tunes with their hymns. (See:http://www.umcdiscipleship.org/resources/debunking-the-wesley-tavern-song-myth)

          In Mclntyre’s article he also quells another myth about the Wesley’s music.  “The oft-repeated legend results from some poor, misinformed person who confused the medieval literary bar form, also sometimes known as “bar tune”, with songs commonly used in taverns in England.  “Once spoken out of ignorance, the confused version took on a life of its own and seemingly grows with each repetition.” (ibid.)  An explanation of Bar Form is as follows:  Bar “In music, the structural pattern aab as used by the medieval German minnesingers and meistersingers, who were poet-composers of secular monophonic songs (i.e., those having a single line of melody). The modern term Bar form derives from a medieval verse form, the Bar, consisting of three stanzas, each having the form aab. The musical term thus refers to the melody of a single stanza, the a sections (called Stollen) having the same melody, and the b section (Abgesang) having a different melody.”  (http://www.britannica.com/art/Bar-form)

          I am amazed that in this century Christian writers continue to make unfounded assertions such as the erroneous “Bar Tune” notion.  Surely a writer should think twice before jumping to conclusions based on a misguided musician’s notions, if he or she has any desire to be credible.  There is a vast difference between “Bar Form” and “Bar Tune”.  Frankly, this type of musical ignorance is perpetuated most often by church musicians who do not have an understanding of the history of Western music or the history of church music.  In their misguided, misinformed zeal they grasp at false notions and half-truths when they are trying to justify some particular style or styles of music in public worship musicing.  Intellectual honesty in the writings of Christian musicians is an absolute must if a Christian’s music philosophy is going to be credible in this enlightened century.

Quote for the Day

“Wesley's aesthetic to "above all sing spiritually" simply would not allow drinking songs to accompany hymn texts.” http://www.umcdiscipleship.org