Christian Musicing is like a Light

 

                                                 Christian Musicing is like a Light

 Matthew 5:16 states, “Let your light so shine before men, that they may see your good works, and glorify your Father which is in heaven.”

       Why do you suppose that Jesus has commanded Christian musicians to let their light shine?  I believe it is because our world is a very dark place to live in the twenty-first century.  Sin has made this world dark place with a very dark atmosphere at times.  Jesus knew that Christian musicians are prone to let Satan come by and cover it with a bushel basket.  So, Jesus reminded us all, in the Sermon on the Mount, to be absolutely sure that we keep our light shining very brightly.

       The light of Christ placed in us is so powerful that Satan needs a bushel basket to completely hide it from those who see it and will receive its light in their lives.  Satan knows that, without this light of Christ, people will continue to live in darkness.  Jesus instructed us to put our powerful light on a candle stick so that it will give the light of salvation to all people.

       One of the ways that a Christian can show the light of Christ is through his or her musicing.  Jesus explained, in this sermon, that “you” are the light of the world.  This means that there is much value in people seeing the Christian musician music unto God.  As I play exegetical gymnastics with this verse of Scripture, I have the notion that maybe Jesus includes our musicing unto Him as a part of what people need to “see”.  As I just said, it is just a notion, but I think it is a valuable notion.  If so, musicians need to let their musical light shine in such a way that all who are in the “house” will see it and glorify our Father who is in heaven.  Therefore, we need to be very careful of what people “see’ as well as what they hear when we music unto God.

                                                Thought for the day--Musicing is a Light

If musicing unto God is a part of our good works, and it is, then Christian musicians need to be sure that people see and hear good quality music when we sing and play in and out of church.

 

 

Utilizing Great Music in Worship

 

Utilizing Great Music in Worship  

               More and more Christian musicians seem to not make much distinction between mediocre and great religious music.  Although a Christian does not worship the greatness in music, most of the time great music is a greater vehicle to represent the message of our great Savior. However, philosophically speaking, the Earnest Christian musician values the use of excellent music with the excellent message of the gospel. It is one thing to give lip service to the appropriateness of the sacred classics but it is another to actually utilize them in public worship. The Christian musician who never includes the sacred classics in his or her repertoire is making a philosophical statement about the awesomeness and solemnity of worshiping the high and lifted up triune God. 

              As I have often said, the music part of music does not always have to be complicated or esoteric in order to be a proper vehicle to use in our musicing unto God.  However, there are auspicious religious occasions when great sacred music is without doubt a better choice than some trite, predictable, and mundane musical composition that is obviously the work of a musical hack.

              There is a reason why some sacred music is great and other music is either mediocre or actually so poorly constructed that it is not a good vehicle for musical worship.  The best sacred music throughout the centuries has been produced by composers and arrangers who were able to skillfully organize melody, harmony and rhythm into a composition that would properly represent the awesomeness and solemnity of worshiping the triune God.  This has been accomplished by utilizing a number of appropriate musical styles that were and are “better vehicles” to represent the moral nature of God.

Why Musicians Do What They Do—Part 2

 

Why Musicians Do What They Do—Part 2

One approach to discussion is for the thesis thinker to start by stating as clearly and precisely as is possible exactly what he or she believes philosophically about the nature and value of music.  It is a mistake to start by asking post-modern or post-post-modern man to prove anything about music philosophy.  The only thing that one can do is offer biblical, examples, warnings, admonitions, and absolutes concerning music.  Remember that, to twenty first century man, music philosophy is often non-discussible, non-rational, non-logical, and is without congruent explanation.

Many Christian musicians in this century believe that the Bible contains but does not necessarily embody truth, or is the whole truth or true-truth.  To these musicians truth is mixed with error.  It is often hard for the thesis thinker to understand that many Christian musicians actually believe that the Bible not only contains truth concerning music but that also it contains error. These synthesis-thinking musicians have a non-rational, non-logical autonomous faith in Christ that is not totally Bible based.  Their autonomous faith goes beyond the truth of Scripture since synthesis faith is based on their personal encounter with Christ that does not come under the scrutiny of Scripture.  These musicians may not even believe in the deity of Christ, the Trinity, the virgin birth, a literal hell, eternal punishment, the witness of the Spirit, a personal relationship with Christ, or a literal creation or original sin.  So, it is important that you operate from the presupposition that the Bible is the infallible, completely accurate, inspired Word of God and that it does not contain a mixture of truth and error.

 

 

 

Why Musicians Do What They Do—Part 1

 

Why Musicians Do What They Do—Part 1

 This blog often considers how people think.  If one wishes to gain insight into why musicians do what they do, then one must learn not only “what they think”, but also “how they think”.  As has been stated, modern, postmodern, and post postmodern   synthesis thinkers not only think different things about music, they also think differently than the thesis thinkers do about music.  They think from a different epistemology.

The reason one must know how they think is that understanding their way of “knowing” will enable a thesis thinker to discuss the non-discussible with the synthesis thinker.  Remember that the non-rational, non-logical autonomy of the synthesis thinker removes all need or responsibility of discussing or defending one’s philosophical basis of musical thought since this thinker considers that he or she is a free independent thinker without responsibility to anyone or any philosophy. Many times this Christian musician believes that he or she is on a winding musical journey with God that results in   constant philosophical change. If this musician is in a leadership position, leader-shift is considered a strength rather than a confusing and upsetting dilemma for those who are trying to follow his or her musical direction.

 

Musicing in Christ—part 3

 

Musicing in Christ—part 3

 So, Christian parents needs to take careful inventory of their music paradigm before allowing their “tender plants” to take music lessons and get caught between two drastically different music philosophies.  Admittedly, there is room for different acceptable beliefs about singing, hand positions when playing piano, trumpet embouchure, or how to hold a bow when playing double bass. However, extremely rigid  differences in musical paradigm involving musical style can  make it almost impossible for the student to succeed in the private teaching studio, the general music classroom, or as a member or a choral or instrumental organization. 

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 have personal preferences concerning music, there are absolutes concerning music and its place in a Christian’s life. Therefore, a prescriptive Christian music philosophy must be   built on Bible principles of musicing, profundity, appropriateness, and standards of correctness. There is room for musical  taste 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 that are congruent with the principles living out the changed life of a Christian.

 

Thought for the Day—Although there is room for personal preferences of how a Christian musics unto God, every Christian needs the guidance of the Holy Spirit in the process of choosing how to music unto God.

 

 

 

Musicing in Christ—part 2

 

Musicing in Christ—part 2

In St. Paul’s Epistle to the Romans (12:1-2)  he gives a strong admonishment to those who are Christians,  “I beseech you therefore, brethren, by the mercies of God, that ye present your bodies a living sacrifice, holy, acceptable unto God, which is your reasonable [logikos 3050-rational] service.  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 words not conformed (me suschematizo 3361, 4964) teach us that, in the process of presenting ourselves to God, we must not let ourselves be fashioned into the pattern of the world’s paradigm*.  It is interesting to note that the original meaning of the word paradigm first appeared in English sometime during the 15th century and meant "an example or pattern".  However, since the 1960’s the word paradigm has developed the meaning of a framework containing a person’s basic assumptions and ways and limits of thinking and knowing, i.e., that person’s epistemology. 

Why all the fuss about a Christian parent’s musical paradigm and music philosophy?  Over the many years that I taught music, I have experienced numerous problems with students that were a result of their parents musical paradigm.  For instance, one of my female voice students broke into tears in the middle of a voice lesson.  Naturally, I inquired of the problem and found that her mother had counseled her, “do not let them teach you to sing with vibrato.” 

 

Thought for the Day—Whether or not a Christian parent considers himself or herself to be a musician, that persons musical paradigm will  affect how his or her children view music and musicing.  Therefore, no Christian parent can escape the responsibility to study music.

 

Musicing in Christ—part 1

 

Musicing in Christ—part 1

2 Corinthians 5:17 speaks of what it is like to be “in Christ”, “Therefore if any man be in Christ, he is a new creature: old things are passed away; behold, all things are become new.” In St. Paul’s letter to the Philippians, in 1:9-11 he explains his desire for those who are in Christ, “And this I pray, that your love may abound yet more and more in knowledge [epignosis 1922-full discernment] and in all judgment [aisthesis 144- perception]; That ye may approve [dokimazo 1381-test or examine] things that are excellent [diaphero 1308- surpass, or more excellent]; that ye may be sincere and without offence till the day of Christ; Being filled with the fruits of righteousness, which are by Jesus Christ, unto the glory and praise of God.”

“The Biblical view of the arts, specifically music, is radically different from our culture’s view which sometime seeps into the church.  Music making is neither a frill nor a status symbol.  It is the core of a right relationship with God.”1 Hopefully, the Christian parent, being a new creature in Christ Jesus, will not be convinced by those who are not Christians to view the world and music and musicing as they do.  By the term musicing I mean the act of performing or “doing” music. The way that Christian parents view the world will strongly influence how they view music and musicing in this world, and that view will strongly influence how their children view music.

1.    Froehlich, Mary Ann. Music Education in the Christian Home.  Brentwood,

Tennessee: Wolgemuth & Hyatt, Publishers, Inc. 1990, p. 8.

 

Thought for the Day—A broad study of music and what the Bible teaches about sacred and secular musicing is necessary if a Christian musician is ever going to be qualified to make quality decisions about music and musicing.

 

More about Training our Own Musicians-part 2

 

More about Training our Own Musicians-part 2

            The Twenty-fifth chapter of I Chronicles is a musical discourse on ancient Levite musical training.  This wonderful chapter gives us vivid insights into the philosophical musical practice of the Chief Levite musicians.  Verse one states: “Moreover David and the captains of the host separated (badal 914) to the service of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with harps, with psalteries, and with cymbals...”  Notice that King David and his captains decreed that the sons of the three Chief Levite musicians should be separated (badal 914-to divide, select, or make a difference) to serve God through music making.  They were separated to prophesy or deliver the different message from God to the congregation through music performance.

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

 

More about Training our Own Musicians-part 1

 

More about Training our Own Musicians-part 1

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

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

The Power of The Music Part of Music-part 3

 

The Power of The Music Part of Music-part 3

Also worthy of note that as Colossians 1:16-18 states, “For by him were all things created, that are in heaven, and that are in earth, visible and invisible…”  Since God created “all things” (pas kitzo 3956 2936) “were created by him”  God owns music.  Since He ,by virtue of creating it, has proper ownership of music, He has the right to always receive preeminence over  a Christians musicing.  We know with certainty from the inspired letter to the Christians at Colossae that God created the visible (horatos 3707) and invisible (aoratos 517) part of music.  The aoratos is, of course, sound.  Therefore, God has ownership not only over the part of music that we can see but also over sound.  So, no artist has authority over the sounds that he or she produces in the context of Christian worship.

So, Christian musicians should get rid of the sense of ownership of music.  Christian musical artists including music worship leaders are not owners with rights but rather musical servants with responsibilities.  As we learned in part 1 of this discussion, music has the propensity to exert great power over all who experience it in or outside of corporate worship.  The use of music in Christian worship should never be a platform for personal preference or personal aggrandizement.  That being said, the performer or worship leader should music with passion.  Without passion musicing in the context of worship is like salt mentioned in Luke 14:34, “Salt is good: but if the salt have lost his savor, wherewith shall it be seasoned?”  If a Christian’s musicing is going to be efficacious it must be done with believability.  Like salt that has lost its saltiness,  musicing without passion fails to accomplish its mission.