There Is No Substitute for Knowing How To Music part 2

 

There Is No Substitute for Knowing How To Music part 2

Careful and thorough musical study make it possible to present the God that we love and serve a quality musical offering.  God is not impressed with our musical talent, because He gave every musician the measure of musical ability with which that musician presents his or her musical offerings to God.  That being said, God is pleased when we present to Him the best musical offering that we are capable of giving.  

 If a Christian musician considers his or her musicing to be truly a “musical offering”, it will help the student of music philosophy to study the sacrificial system as it is explained in the Old Testament.  When one studies the sacrificial system of the Bible, it is clear He was pleased when He was presented with the best offering that the worshiper was capable of giving.

Although the Christian musician should always present the blessed trinity his or her best offering, musical offerings are not exclusively about quality performance. Philosophically, Christian musicians either believe that their musicing in the context of worship is about performance or that it is about an offering made unto a high and holy God.  It is either an opportunity to display one’s musical ability or it is an opportunity express lavish praise and worship unto the God that he or she loves and worships. 

 

There Is No Substitute for Knowing How To Music part 1

 

There Is No Substitute for Knowing How To Music part 1

It is wonderful when the Sunday morning vocalist sings on pitch with correct tone.  It is also wonderful when the vocalist utilizes good diction making it possible to understand all the words.  There is no spiritual virtue in singing with a tight throat. The same may be said for instrumentalists.  Musical skill and aesthetic musical performance are not at loggerheads with Christian humility.  Playing a little off pitch when performing a familiar hymn or praise song is not an indication that the musician values the spiritual meaning of the song more than aesthetic musical performance.  It probably simply means that he or she did not spend enough time in the practice room before presenting the musical offering.

So, I have no argument against an emphasis on the importance of the use musical skill and aesthetic performance techniques as they relate to  “how” worshipers should music  unto a high and holy God. Neither do I place undo emphasis on high quality musical performance although many evangelical churches need to consider a renewal of the use of the fine musical arts in the context of the worship experience. Dumbing down the quality of music utilized in the context of corporate worship only impoverishes the quality of evangelical worship.

Music Begins and Ends with God-part 3

 

Music Begins and Ends with God-part 3

 Post Postmodern musicians are now so squeezed into the world’s mold that they do not seem to realize that the whole belief-system that music is amoral is the result of autonomous music philosophy.  It is no wonder that you can trust a humanist to conclude that all music endeavor begins and ends with man.  The philosophical bias of a humanist will always be that all meaning in life (if there is meaning in life) will be the result of self-actualization and the act of a person’s free will.

This musical mind believes wholeheartedly that in the beginning was “ameba” or worse yet in the beginning was “nothing”.  This musician believes within himself that man came from nowhere and is ultimately going nowhere.  It is not hard for him to believe that man exists in a purposeless universe and that he is “caught in the wheel of time”.  This musician also believes that music came from nowhere and is ultimately going nowhere.  To this humanistic musician the only thing that really matters is “me”.  This type of thinker concludes that music is amoral since man is god and god is man therefore god is in man because man created god.  So, man is god of his music.  

 Any music that a humanist composes or performs is god’s music i.e., all man’s music is created in god’s image since God is created in man’s image.  Any music that pleases man will also please God and conversely no music that displeases man is pleasing to God.  So, if you can wade through all the previous mumbo-jumbo, you will be able to understand why a synthesis thinking religious humanist, who is autonomous, believes that all musical roads lead to heaven – why there is no profundity in music – why all music is appropriate for public worship and ultimately why music is all a matter of taste.

 

Music Begins and Ends with God-part 2

 

Music Begins and Ends with God-part 2

 One thing for sure, public education will not directly teach the next generation of church musicians’ wrong things about God because they are not allowed to teach God in their music knowledge.  Although federal law has mandated that public education can no longer retain God in our educational knowledge, the fact that they will not directly teach false concepts of God does not indicate that no “God-education” will take place in public schools and universities.  By eliminating God as the Creator and Lord of music education, public education relays strong false messages about the nature and value of music to our young people.

 Public education can no longer recognize God in the development of a philosophical basis for music education.  As a matter of fact, teaching God as the basis of all philosophical thought is forbidden.  The only safe path in public education is to omit the authority of God in any philosophical discussion of music.  In public education, no sacred music concerts are legal, and the sacred classics may only be taught or performed as music literature.  It is often mandated that there be no Christmas or Easter concerts.  The only time that it is totally legal to mention God in the music classroom is when the music instructor stubs his toe on the desk leg.

 

Music Begins and Ends with God-part 1

 

Music Begins and Ends with God-part 1

For the committed Christian, music begins and ends with God.  To the humanist, music begins and ends with self.  The musician who has submitted his or her music to the Lordship of Christ believes that all church music is sung and played to glorify God since God owns music.  Conversely, the secular humanists (and the religious humanist) believes that music belongs to man’s true humanness since all music is about self-actualization.  This type of thinker owns his or her music.

 We cannot trust public education to produce Christ-centered musicians who have a Christocentric music philosophy.  Christians never should have trusted the world to formulate music philosophy for Christian young people.  It has always been the responsibility of Christians to train their own. Although many Christian parents have ignored it, the world has never been a friend of grace.  Could you imagine the ancient Hebrews calling in the Philistines to train their Levite sons?  The 20^th century church did just that--they called in the worldly musicians who outwardly profaned the name of Christ to train church musicians.  The result was generation after generation of Christian musicians filled with Philistine philosophy. 

 

Interpreting True Truth

 

Interpreting True Truth

“True truth” is found in God’s Word which reveals His will for mankind.  All other ‘truth’ is a presumed ‘truth’ and should not be compared to inspired  God breathed true truth which is found in His Word.  1Corinthians 13:9 explains, “For we know in part, and we prophesy in part.  But when that which is perfect is come, then that which is in part shall be done away.”  1Cointhians 13:12  also explains, “For now we see through a glass, darkly [through a mirror, dimly] but then face to face: now I know in part; but then shall I know [understand fully] even as also I am known.” However, even though we often only have partial knowledge, God intended that we subdue (kabash 3533)  all things that are around us (See Genesis 1:28).

So, in the process of establishing a justified belief, Bible principles become foundational.  The musician, who is a Christian and a worshiper, must come to an understanding of how the truth and verity of what the Bible states about music and musicing should be interpreted. When a justified belief is established, the Christian musician utilizes this belief about music and musicing in the context of how he or she musics.[GW1]   Justified theological beliefs about music and musicing which are formed from what the Bible teaches guide how a Christian musician musics unto one another and unto God.

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 [GW1]Sentence too long

Merely Sounding Brass—part 3

 

Merely Sounding Brass—part 3  

            The Christian musician must be sure that he or she musics with love for others.  When a very gifted performer stands before a congregation of worshipers, it is easy to center all attention on the performance rather than on ministry.  Some Christian musician performers have a tendency to worship the created thing (music) rather than the creator (God).  Romans 1:25 refers to those, “Who changed the truth of God into a lie, and worshipped and served the creature (2937) more than the Creator (2936), who is blessed forever. Amen.” Strong’s Concordance states that ktisis (2937) refers to original formation (properly, the act; by implication, the thing, (literally or figuratively).  Strong also states that ktizo (2936) means the one who created.

            So, with this knowledge we deduce that the Bible condemns worshiping music rather than the God who is the creator of music.  A common error of church music performers is worshiping worship.  It is also wrong for the musicer to worship music.  A Christian musician must love the God who created the art form of music rather than the music itself.  Although there is nothing wrong with a Christian performer enjoying performing sacred music, but if the love of music or performance becomes the main thing, it will become an idol rather than a vehicle of praise to God.

Merely Sounding Brass—part 2

 

Merely Sounding Brass—part 2 

            There are a host of opinions about what the Greek words echo chalkos (2278 5475) which were translated sounding brass mean. The best explanation that I have found of the Greek words <echeo> <chalkos>, (sounding brass) comes from the writings of Marcus Vitruvius Pollio who lived in the 1st century b. c.  He was a Roman architect, engineer, and author of the celebrated treatise De architectura (On Architecture), a handbook for Roman architects.

            Vitruvius explained that the echo chalkos were tuned acoustic brass or bronze vases that were strategically placed around the Roman out-door theaters.  Each vase was tuned chromatically and when a particular pitch was produced by the human voice, that particular vase would amplify the actor’s voice.  However, these metal sounding vases produced a hollow sound that was not a true representation of the actor’s voice quality.           

          So, when one reads “Though I speak with the tongues of men and of angels, and have not charity i.e. love that acts, I am become as sounding brass” with the knowledge of what we learned from Vitruvius, we understand that if a person says that he loves his or her neighbor but does not really care for them—this person’s speech is hollow like the sound produced by the Roman hollow sounding vases that amplified sound in the roman theaters.

 

Merely Sounding Brass—part 1

 

Merely Sounding Brass—part 1

            1 Corinthians 13:1, “Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.”  There are a couple of thoughts that I would like to leave with you today.  The word charity which is used repeatedly in this chapter is translated from the Greek word agape (26). Albert Barnes, in his Commentary on the New Testament gives the following comments: “The words ‘And have not charity’ mean and have not love. This is the proper and usual meaning of the Greek word. The English word charity that is used in many translations of this passage of the New Testament, has, according to how it is used I a great variety of meanings; and some of them cannot be included in the meaning of the word here.”    It is believed by many Bible exegetes that agape connotes love in action or love that acts.

          Those who truly love someone act when they see that person in need.  So, conversely, failing to act is a pretty sure sign that one does not love deeply.  We all know that the just live by faith, but we also know that as James 2:26 teaches, “For as the body without the spirit is dead, so faith without works is dead also.”  What a Christian musician says matters, but the test of love is action.  

 

The Stinging Reproach of the People

 

The Stinging Reproach of the People

 

Lamentations 3:14 I was a derision to all my people; and their song all the day. Lamentations 3:59-63, O Jehovah, thou hast seen my wrong; judge thou my cause. Thou hast seen all their vengeance and all their devices against me. Thou hast heard their reproach, O Jehovah, and all their devices against me, The lips of those that rose up against me, and their device against me all the day. Behold thou their sitting down, and their rising up; I am their song.

       The Lamentations of the prophet Jeremiah recorded in  chapter three that God’s seer experienced the stinging reproach of the people around him.  If you are a part or full-time practicing musician, you may sometimes experience the jest and derision of others.  If you are truly a musical “seer” and if you follow biblical principles of musicing even though they are many times not popular, you will no doubt find yourself the subject of much criticism.

       There is no doubt about it; there is a battle for Christian music taking place in the twenty-first century.  If you operate from a conservative Bible-based music praxis, you will sooner or later, find yourself in the religious “fiery furnace”.  Like Jeremiah of the Old Testament, you will be misunderstood. 

       The thing that matters is how you react to misunderstanding.  If you get bitter and angry, you will be the one who suffers.  Jeremiah prayed in verse twenty-one of chapter five, “Turn us back to You, O LORD, and we will be restored, Renew our days as of old (NKJV)”.

       Getting even or lashing out with words is never the right answer.  The answer is turning back to God which will bring about unity and restoration.  The right thing to do is to bring our lamentations to the LORD.  My former pastor R.E. Carroll told me once, “When I am misunderstood and when I am criticized I pray, O Lord handle me.  O Lord take care of me and O Lord take care of my attitude.” 

 

 

Beliefs about Music Matter

 

Beliefs about Music Matter

          Every parent and every music teacher must develop a series of systematic beliefs about the nature, value, meaning, and over-arching of music and musicing. There are a number of things     that affect music and musicing. The more than 600 references to music in the Bible are given by inspiration of God and are profitable for doctrine, reproof, correction, and instruction. These things affect the music and musicing* of a Christian today. The Bible provides us with timeless, relevant, usable, practical and spiritual guidance for twenty-first century musicians.  The principles of musicing set forth in the Bible are relevant for developing a music education philosophy and praxis* in the twenty first century. 

The only completely safe teacher of Christian music education and music philosophy is the Holy Spirit who is capable and willing to guide Christian musicians into all truth concerning music education in this century. Although a Christian may make appropriate personal choices and personal preferences concerning music, there are absolutes concerning music and its place in a Christian’s life. Therefore, a prescriptive Christian music education philosophy must be   built on Bible principles of musicing, profundity, appropriateness and standards of correctness. There is room for taste in music in the life of a Christian, but the use of music  is not all a matter of personal taste since it must be guided by Bible principles of musicing and must be congruent with the principles of the changed life of a Christian.

Christian Musicing Responsibility

 

Christian Musicing Responsibility

Part of a Christian’s presenting his or her body “as a living sacrifice” that is taught in Romans chapter 12 is letting that person’s musical behavior be a part of the sacrificial process.  It may not seem reasonable for a Christian musician to refrain from musicing exactly or similarly to the way the world musics when it is antagonistic to living out the changed life of a Christian-- but it is.

 Having so much reverential respect for God that a musician refuses to music in a manner that will connect his or her ministry with the musical crowd that does not love and serve Jesus Christ, is never easy or popular, but it is a part of the behavior involved in living out a separated life of a Christian that is truly a “living sacrifice” (Romans 12:1).  In this verse the Christian is admonished to present “reasonable” service to God.  The English word reasonable in the AV is translated from logikos (3050) which means rational, logical, or reasonable service.  Christian performers must not get so enveloped with the art form aspects of their musicing that they forget that sacred musicing must always be rationally Christian.  If one’s sacred musicing is not Christian in the way that it is enacted, the responses to our musicing will most likely not  be in congruence with Bible teachings about music and musicing.

 

Music Theology and the Divine Will

 

Music Theology and the Divine Will

A Bible based theology of music must be the study of music and musicing in relationship to the ‘divine will’ of God, as revealed in His WORD concerning music and musicing.  This theological study of music is predicated on the belief that there is a divine will concerning how we should music.  A theology of music must be founded on the authenticity and verity of what God’s Word teaches about music and musicing. For instance, application is made as is explained Ephesians 5:17, “Wherefore be ye not unwise, but understanding what the will of the Lord is.”  This verse is part of the introduction to the famous mention of music and musicing fond in Ephesians 5:19-21, “Speaking to [among] 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; Submitting yourselves one to another in the fear of God.”

 Historic, anthropological, strictly musical, and sociological studies about music and musicing are valuable, but these are not the source of the central true truths upon which one builds a foundation for a Bible based music theology.  As a Christian musician  develops a music theology, he or she must be cognizant of the fact that God has a will concerning music and musicing, and that God’s will is revealed in His inspired Word.  So, a Bible based music theology should primarily be the result of studying Bible references to music and musicing that reveal the will of God for how a Christian musician should music unto God and unto (or among) others. In the process of developing a Bible based music theology, one must identify the foundational Bible principles of music and musicing that give insight into both sacred and secular music.

 

 

The Most Important Thing for a Musician to Hide

 

The Most Important Thing for a Musician to Hide

“Psalm 119:11-12, “Thy word have I hid in my heart, that I might not sin against thee.  Blessed art thou O lord, teach me thy statutes.

Musicians who are too busy to read God’s Word regularly seem to suppose that God will pour knowledge into their brain like oil through a funnel.  How can a musician honestly ask God to teach him or her His statutes if that Christian has not read them, studied them, and hence, has hidden them in his or her heart? 

          The Hebrew word translated statutes is derived from chaqaq (2710) which means to engrave something.  So, the psalmist is stating that he has engraved god’s statutes deep on his heart.  This connotes deep study, care and respect for what God’s word teaches.  The word teach lamad (3925) means to goad.  Are we as Christian musicians willing to submit our minds to the rod of the Lord?  Many, many times in my life I have found myself saying “ouch” when the Lord has finally awakened my mind with the goading of His instructive rod.  I read God’s word but failed to understand what it was teaching.  Only after the rod of correction was I able to get it through my head that God was trying to teach me something important.