ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 5

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 5

            Now let us look at some reasons why women were excluded form music in the Temple.  Although we know that women were involved in non-Temple public religious music, Curt Sachs explains some conservative changes in the music of the Temple.  "Firstly, almost all musical episodes up to the time of the Temple describe choral singing with group dancing and drum beating. . . And secondly, this kind of singing was to a great extent women's music. . ."  Curt Sachs, The Rise of Music in the Ancient World, p. 90. He stated furthermore that, "The essential fact is that such a species of music exists and is strictly separated from men's music both in style and performance."  Ibid. p. 91.  Sachs also quoted Dr. Lachmann, a writer on Jewish cantillation, "The production of the women's songs is dependent on a small store of typical melodic turns; the various songs reproduce these turns - or some of them - time and again."  Ibid. p.91. He also quotes Lachmann as saying, "The women's songs belong to a species, the forms of which are essentially dependent not on the connection with the text, but on processes of movements.  Thus we find here, in place of the free rhythm of cantillation and its very delicate line of melody, a periodical up and down movement.”  Ibid, p. 91.  Finally, he quoted Lachmann as saying, "The women accompany their songs on frame drums or cymbals which they beat with their hands."  Ibid, p. 91.

Thought for the Day

It is a strange and novel thought to many church musicians that men’s and women’s music was essentially different in ancient Israel.

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 4

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 4

            At this point in our discussion it would be helpful to clear up some misconceptions concerning the use of women in the Temple.  They are never mentioned as part of the professional Levite musicians.  I Chronicles 25:5b states, "And God gave to Heman fourteen sons and three daughters."  Many Bible commentators and writers on church music have taken this as evidence that Heman's three daughters were Levite musicians.  They were, of course, Levites, but they were not used in the Temple as musicians.  Verse 7 gives the total number of Levite musicians as 288 and verses 8-31 give the twenty-four divisions of musicians, each under the direction of a man, his sons, and his brethren.  None of the three daughters of Heman are mentioned.

            Statements in Ezra 2:64-65 and Nehemiah 7:66-67 refer to the number of those who returned from Babylon - 42,360 of the congrega­tion and an additional 7,337 servants.  Out of this group of servants there were from 200 to 245 singing men and singing women.  They were all servants, not Levites.  Likewise, the musicians mentioned in II Samuel 19:35 and II Chronicles 35:25 were public professional singers and mourners, not Levite musicians who performed a part of Temple worship.

            The use of the Hebrew word alamoth (5961) in I Chronicles 15:20 and in the title of Psalm 46 is often mistaken for the use of women in Temple music.  The word alamoth (5961) is the plural form of almah (5959), which is always, translated virgin, maid, damsels, and virgins.  A correct rendering of 5961 is probably soprano-like, in the range of maidens, soprano, or falsetto like.  The word probably should be rendered an octave higher that the voice of a man.  The subject of the use of a seven or eight note scale has been discussed more thoroughly in Chapter VIII of my book Music of the Bible in Christian Perspective.

Though for the Day

It is surprising that for centuries so many scholars of ancient music stubbornly resisted the thought that ancient music utilized octaves.

Thank you for a Great Month of March 2019

Thank you for a Great Month of March 2019      

            This month was the 72nd month of my blog which contained devotional and philosophical thoughts for Christian musicians. I have written over 3,468 posts since this blog was started in January of 2013. There have been several times this year when I have experienced a certain amount of writer’s burnout.  However, I am praying that my posts in 2019 will stimulate both the regular and new blog members to remain faithful to their musical ministries.  The over 3,327 page views of my blog this month were experienced by people who read a mixture of philosophical and devotional thoughts.  We have had over 140,697 page-views since the blog was started in January of 2013.  Since I started this blog the page views have come from 132 different countries. It is interesting to note that a little over one half of the total page views since we began in January 2013 have come from the United States and the other one half have come from a varied combination of 131 countries scattered around the world.

            These views have come from Afghanistan, Albania, Algeria, American Samoa, Argentina, Armenia, Angola,  Aruba, Austria, Australia, Azerbaijan, Barbados, Bahrain, Bangladesh, Belarus, Belgium, Bolivia, Bosnia, Botswana, Brazil, Bulgaria, Cambodia, Canada, Cayman Islands, Chile, China, Czechia , Czech Republic,  Colombia, Congo [DRC], Costa Rica, Croatia, Denmark, Dominican Republic, Ecuador, Egypt, Estonia, Ethiopia, Fiji, France, Finland, Georgia, Germany, Ghana, Greece, Guatemala, Guyana, Herzegovina, Honduras, Hong Kong,  Iceland, India, Indonesia, Iraq, Ireland (Republic of),  Iran, Israel, Italy, Japan, Jordon, Kazakhstan, Kenya, Kosovo, Kuwait, Lebanon, Latvia, Lithuania, Luxembourg, Macedonia (FYROM) Macau, Madagascar, Malaysia, Mauritius, Malta Mexico, Moldova, Mongolia,  Morocco, Mozambique, Myanmar (Burma), Nepal, Netherlands, (Antilles) New Zealand, Nigeria, Northern Ireland, Oman, Palestine, Paraguay, Pakistan, Papua New Guinea, Peru. Philippines, Poland, Portugal, Porto Rico, Qatar, Réunion, Romania, Russia, Saudi Arabia, Serbia, Sierra Leone, Singapore, Slovakia, Slovenia, South Africa, South Korea, Spain, Sweden, Switzerland, Syria, Taiwan, Tanzania, Thailand,  Tunisia, Turkey, Turkmenistan, Turks & Caicos Islands, Uganda, Ukraine, United Arab Emirates, United Kingdom, Unknown Region, Uruguay, Venezuela, Vietnam, USA, Zambia and Zimbabwe.

             The ten countries with the most page views this month were: United States, France, Unknown region, Germany, Ukraine, Russia, Poland , Portugal, South Korea, and the  United Kingdom. 

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 3

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 3

            So the question is not whether women were involved in religious and secular music in the Bible, but whether or not they were used as practicing Temple musicians.  Rothmuller quoted Ambros as saying that "This temple music differs from its contempo­rary Egyptian counterpart by the essential circumstance that Egypt music was already entirely the women's function, whereas in Jerusalem only men were appointed to its performance."    Aaron Rothmuller, The Music of the Jews p.44, (quoting August Wilhelm Ambrose)

   Idelsohn agreed with Rothmuller when he stated that "Participation of women in the temple choir is nowhere traceable."  A. Z.  Idelsohn, Jewish Music in Its Historical Development, p. 16.  

                    Sendrey, who did not have a high regard for the authenticity of the Biblical Record, believed that "In their purificatory zeal, the priestly chroniclers tried particularly to eliminate anything that might have alluded to, or recalled, the primitive pagan, pre-Yahvistic rites of the Hebrews, when women participated regularly in them."  Alfred Sendrey, Music in the Social and Religious Life of Antiquity, p. 251. However, Sendrey did not attempt to document his notion of women participating in pagan pre-Yahvistic religious music in ancient Israel.  Sendrey does concede that, "The Biblical account contains no direct references to the participation of female singers in the Temple choir."  Ibid, p. 251.

Thought for the Day

It amazes me to read the works of authors who respect the Biblical Record but entertain the notion that the authors of Scripture would alter the Record because of personal prejudice.

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 2

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 2

            As we mentioned in yesterday’s post, the examples of women's involvement in music mentioned in the Old Testament were not a part of Temple worship.  Yesterday we quoted Exodus 15:20-21 which mentioned women’s involvement in music. I Samuel 18:6-7 also considers women being involved as musicians when it states,

            And it came to pass as they came, when David was returned from the slaughter of the Philis­tine, that the women came out of all cities of Israel, singing (7891) and dancing, to meet king Saul, with tabrets, with joy, and with instruments of music.

            And the women answered (6030) one (NIO) another (NIO) as they played, and said, Saul hath slain his thousands, and David his ten thousands.

On this secular occasion the women (no men involved) played, sang, danced, and anah (6030) sang together by course.

            It is commonly believed that music and especially singing was universal in the ancient Hebrew culture.  "Everyone in Israel sang, and playing the lyre and the timbrel was a common achievement, at least among women."  Curt Sachs, The Rise of Music in the Ancient World p. 90.    Also, "Written records as well as pictorial displays testify to the various activities of women as dancers, singers, and instrumentalists."  Alfred Sendrey, Music in the Social and Religious Life of Antiquity, p. 2.

Thought for the Day

It is a common misconception that the Old Testament mention of women’s involvement as musicians should be considered as Bible principles of musicing in public worship.

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 1

ARE WOMEN MUSICIANS MENTIONED IN THE BIBLE? Part 1

            Along with the age old argument as to whether instruments should be used in the church, is the argument of the use or disuse of women in the music of the ancient Jewish Temple and its relationship to the use of women in church music today.  A review of Scripture does not reveal that women were used as musicians in either the first or the second Temple.  Also, Jewish history or rabbinical literature does not clearly substantiate their involve­ment as professional musicians in the Temple.  Research of other ancient cultures such as that of Egypt has shown that women were used extensively in public worship.  However, the culture and circumstances of ancient Israel precluded the use of women in Temple music.

            We know that it was common practice for women to sing and play instruments in ancient Israel since there are numerous Biblical references to their involvement in music.  Exodus 15:20-21 states, And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after he with timbrels and with dances.  And Miriam answered them, Sing (7891) ye to the LORD, for he hath triumphed gloriously; the horse and his rider hath he thrown into the sea.”  Here we see a public rendering of praise to God in the performance of the "song of Moses."  Moses, the children of Israel (vs. 1) and Miriam and the women (vs. 20) sang the song.  Notice the separation of "Moses and the children of Israel" from the singing, playing and dancing of the women (vs. 20-21).  This example of women's involvement in music was not, of course, a part of Temple worship.

Thought for the day

The reason scholars are so interested in worship in the first and second Temples is that they show us the Old Testament pattern for public worship.

Unifying Knowledge –part 5

Unifying Knowledge –part 5

Since they believe, like Thomas Aquinas (1225-1274), that music is a part of nature it is not under the Lordship of Christ.  These synthesis thinkers are not responsible to Christ for their actions concerning the style of music they perform in church.  Therefore, they certainly are not responsible to give anyone an answer concerning the style of music they sing or play.  Remember that these autonomous Christian musicians are free to proceed on a musical course completely independent of Scripture, theology, suitability, appropriateness and certainly any rules set forth by any church, Christian school, Bible College, or any church musician.

          No one is allowed to criticize, scrutinize or question anything that these liberated Christian musicians do musically.  As a matter of fact their actions are a result of a non-rational, non-logical faith in Christ that brings them to non-rational, non-logical conclusions that are non-discussible.  There is no room for discussion when it comes to THEIR music since it is THEIR offering that may be presented to THEIR God and the helpless audience has to put up with it because “that’s just how things are”, in this present world.

Thought for the Day

As I have said so many times, Christian musicians should get rid of the sense of musical ownership.  You are not the boss of music if you do not own it.

Unifying Knowledge –part 6

Unifying Knowledge –part 6

          Christian musicians who are pluralists constantly remind the thesis thinker that we are in the 21^st century and “this is just how it is”.  Remember that this synthesis thinker is by no means a hypocrite since he believes with all his heart that one of the most important aspects of Christianity is to “fit in”.  This person does not believe in bearing the reproach that comes from taking a stand against the things of the world.  He seems to have forgotten I Peter 4:14, “If ye be reproached for the name of Christ, happy are ye; for the spirit of the glory of God resteth upon you: on their part he is evil spoken of, but on your part, he is glorified”.

           Since the world does not agree with a Christian musician for his or her careful conservative stand on music, worldly church musicians fear that these sinners will be alienated musically and will not be able to be reached with the gospel.  So, the postmodern and post postmodern church reacts in a semi-panic, gives in to what they believe will please the worldly church attender, and by default the world prescribes what is best for church music instead of the church.

Thought for the Day

Many millennials have been raised by permissive parents who have given them their way since they were tiny Children.  So, when it comes to sacred music and musicians getting their way is simply a way of life.

Unifying Knowledge –part 4

Unifying Knowledge –part 4

Ingenious isn’t it?  Now Satan has successfully squeezed church music into the world’s mold.  The result is religious rock music which is the perfect style for them to use to trick the world into becoming lovers of Christ.  Before sinners know it the church will deceive them into becoming Christians.  Of course, synthesis thinkers want them to be saved in their sins, not from their sins, so this autonomous music doesn’t have to preach a life changing relationship with Christ.  Rather, this autonomous non-rational, non-logical, leap of faith will bring a non-rational faith to these new autonomous worldly Christians.  Sounds dangerous, doesn’t it?  The reason it sounds dangerous is that it is the result of synthesis musical thinking. 

With this Jesuit thinking, musically speaking, the end always justifies the means. Under this synthesis system, Christian musicians are not concerned with giving answers to why they do what they do musically.  They are free to proceed without any traditional thesis that is discussible since they operate under the Hegelian system that has established a new thesis based on synthesis.  This non-discussible synthesis thought allows these church musicians the freedom to proceed without the encumbrance of the biblical principle of I Peter 3:15, “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”.

Thought for the Day

You should be skeptical of your music philosophy and praxis if you can’t or won’t defend it both musically and with what the Bible teaches about music, musicing and the changed life of a Christian.

Unifying Knowledge –part 3

 Unifying Knowledge –part 3

Synthesis thinking church musicians, who were in many instances, graduates of Christian colleges and seminaries began to think that if it was okay to love the world system then it was okay to love the world’s music.  Philosophically they believed that the answer could no more be based on good music and bad music, music appropriate for worship, or music which is not appropriate for worship.  The philosophical notion that all styles are equal gave rise to the belief that the musical answer must always be somewhere between truth and error.  As this synthesis philosophical thinking began to develop these musicians became full-ledged pluralists.

Now in the twenty-first century, somewhere between music that is best suited to fit the awesomeness and solemnity of public worship of the high and holy Trinity and music that is not suited for Christian worship are styles of music that are now inappropriately appropriate.  Since the answer must be a synthesis answer, the answer must be taking music that was created to fulfill the lust of the flesh and squeezing this music into a worship mode.  To accomplish this, synthesis thinking Christian musicians have to find  styles of music that are basically created anti-Christ, anti-worship (of God), anti-trust, anti-purity, anti-beauty, anti-rest, anti-authority, anti-family, and amalgamate it with the gospel message and when this is accomplished, “presto-chango” they have the perfect worship style.

Thought for the Day

One way that you can get your way musically is  to claim that there is no such thing as difference between the sacred and the profane as long as you have squeaky clean lyrics