Concerning Secular and Sacred Music part 5

 

Concerning Secular and Sacred Music part 5

When a Christian’s worldview of the whole of music and musicing is divided into two categories called sacred and secular, this view of the whole of music does not form a negative or erroneous philosophical dichotomy.  Such philosophical understanding and classification system of music and musicing has historically been understood for centuries by musicologists, music philosophers, music educators, church musicians, and musical performers.  Therefore, it makes sense to believe that the essential character of sacred and secular music is many times different, though admittedly not always polar opposites. these two musics are often, though not always, philosophically at loggerheads with each other when they have opposing natures and purposes.  For this reason, and for other reasons, lumping all music and musicing in the life of a Christian into one category, erroneously called a sacred experience and or a musical offering unto God, is a serious error of philosophical judgment.  Even though the whole of life is sacred, not all of a Christian musician’s doing is a spiritual offering unto God.

Concerning Secular and Sacred Music part 4

 

Concerning Secular and Sacred Music part 4

Another confusing belief is that all of a Christian’s muscing should be elevated to a spiritual level.  When a Christian musician places all music and musicing under the nebulous category of being a sacred effort, and ipso facto sacred musicing that is offered as part that musician’s life of worshiping God.  This faulty paradigm of the whole of a Christian’s musicing makes any prescriptive approach to sacred music and musicing in corporate worship undefendable.  With the philosophical view that all music and musicing in the life of a Christian is accomplished as spiritual music experiences comes the slippery philosophical slope of believing that, since all of a Christian’s musicing is philosophically “ a sacred act”. As a further result of this faulty thinking, all acts of musicing (sacred or secular) are a valuable concomitants to corporate and private worshiping of God. To avoid this error of judgment concerning the essential nature, value, meaning, and purpose of music and musicing, a Christian’s worldview of the whole of music and musicing, must, of necessity, distinguish philosophically between  sacred and secular.

Concerning Secular and Sacred Music part 3

 

Concerning Secular and Sacred Music part 3

 There is also the matter of sacred music that was not composed with corporate worship in a church I mind.  An example of such music was the sacred oratorio by G.F. Handel. It was conceptualized as public concert music.  However, the texts are chosen from the Bible and the music part of the oratorio is appropriate for use in corporate worship.  Since there is no contradistinction caused by the music part of the music or the texts, the oratorio may be appropriately considered to be sacred music.

One of the unfortunate philosophical positions of some Christian musicians is that all religious music is appropriate in the life of a Christian and conversely that all non-religious (secular) music is inappropriate in the life of a Christian. On the surface it seems that including only sacred music in the performance praxis of a Christian musician would greatly simplify music philosophy.  This faulty praxis only complicates matters since it removes the responsibility of the Christian to prove what is “acceptable unto the Lord”.  This faulty music paradigm has spawned generations of Christian musicians who believe that there are no absolutes, rules, or standards of sacred or secular music. To them, there is only one guideline – it has to be religious in nature by having a religious text.  Under this mindset, sacred and secular music is a standardless art that does not have to be evaluated or pass any tests of suitability and appropriateness or correctness or incorrectness. (See Music Philosophy in Christian Perspective, Chapter 2). 

Concerning Secular and Sacred Music part 2

 

Concerning Secular and Sacred Music part 2

 At this point I will  briefly define what I mean by the term  secular as it applies to the music and musicing of a Christian, and distinguish it from sacred music that is appropriate for corporate worship.  I define secular music as that which pertains to temporal matters rather than with spiritual matters Secular music that follows the spirit of anti-Christ, is blasphemous, or is irreverent does not belong in the life of the Christian.  However, music that is not religious but is clean and wholesome in nature does belong in the life of a Christian.  Secular music that is concerned with that which relates to life in general is many times of a wholesome nature.  Secular music that a Christian performs must be of a morally sound nature and it must be  amenable to the cause of Christ.  Furthermore, a Christian may only include secular music that passes the tests and conditions of Christ-centered living and does not bring reproach on the cause of Christ by its enactment.

So, secular music is music that is not directly religious in nature.  Sacred music that is appropriate for use in corporate worship is distinguished by being hallowed by proper religious association; meets all the tests of being appropriate for corporate (and private) worship of a high and holy triune God; is performed expressly for the glory and honor of God, and is presented as a musical offering unto God.

Concerning Secular and Sacred Music part 1

 

Concerning Secular and Sacred Music part 1

I believe in the sacredness of life.  Furthermore, I believe that all of a Christian musician’s musicing must come under the Lordship of Christ.  No part of the musical efforts of a Christian is done in a vacuum that escapes the simple fact that Christ must be Lord of all music and musicing whether it  is a sacred or secular experience. The Bible states very clearly in 1Corinthians 10:31 “Whether therefore ye eat, or drink, or whatsoever ye do, do all to the glory of God”. Paul’s discussion was addressed to eating meat that was sacrificed to idols.  However, I have no philosophical objection to the belief that in the process of living out a life of “living sacrifice” unto God, all of what a Christian musician does, in the large picture, must bring glory and honor to God or at least it must be amenable to the cause of Christ.

 By categorizing music and musicing into sacred and secular music, I am in no way saying that a Christian’s secular musicing should ever dishonor or bring a reproach upon the Lord Jesus Christ.  However, there is absolutely no Bible support for the notion that a Christian musician is required to perform only sacred music.  That being said, a  Christian  is obligated to make wise choices of all the music he or she performs—be it either sacred or secular. Failure to distinguish between sacred and secular, sacred and profane, appropriate and inappropriate,  sets the Christian musician up philosophically to not be able to support the belief that there is at times a great difference in the essential character of sacred and secular music.

Some Musicians Remind Me of Fancy Pigeons—part 9

 

Some Musicians Remind Me of Fancy Pigeons—part 9

 

          Some Christian musicians remind me of a type of fancy pigeon called a Pigmy Pouter.  Earlier in this series we described the English Pouter and its actions.   The Pigmy Pouter is a much smaller bird, but it exhibits the same behavior.  It doesn’t matter whether a Pouter-like musician is young or old or whether he or she is large or small they still exhibit the same behavior. 

          I am always amazed that Pouter pigeons somehow start to pout at the smallest provocation.  I sometimes wonder if they even need a provocation to start blowing up in front.  I like to think of them as the puff adder members of the pigeon family.  It is their nature to pout and it is their disposition to pout so I think they pout whether they are provoked or not.  I suppose you are thinking, at this point in our little discussion, of some Christian musician or musician’s that fit this description to a tee.

          The point that I am stressing is that every one of us must become aware of our own tendency to blow up when provoked by others.  Even if you are a quiet musician that does not blow up outwardly, you may have a tendency to pout on the inside.  Or you may be a musician that blows up silently—you never say a word but your silent pouting is very visible to those of us who music with you and around you!  So, whether you are a “little” musician or a “big shot” musician if you pout you are a Pouter-like musician.

 

         

 

 

Some Musicians Remind Me of Fancy Pigeons—part 8

 

Some Musicians Remind Me of Fancy Pigeons—part 8

 

          Some Christian musicians remind me of a type of fancy pigeon called an Arch Angel.  This type of pigeon is bronze in collar and has a very sleek appearance.  This pigeon are a very quiet bird that, although very beautiful, is not a very strutting and showy pigeon.  When I was a child we used to raise these magnificent birds. I have absolutely no idea how or why this type of pigeon got its name, but the name Arch Angel seems quite appropriate to me. 

          I guess it is because of both its beauty and its name that I used to stare in awe and silence at this beautiful sleek bird for moments at a time.  Every time I see one I am again made aware of God’s creative handy work.  This silent graceful creature somehow causes me to be at peace while I journey through this troubled world. 

          Luke 12:6-7 speaks of sparrows, “Are not five sparrows sold for two farthings, and not one of them is forgotten before God?  But even the very hairs of your head are all numbered. Fear not therefore: ye are of more value than many sparrows.”  Since God keeps watch and ward over a sparrow which is so ugly, surely He keeps watch and ward over the beautiful Arch Angel pigeon.  I think that He created this beautiful Arch Angel pigeon, prompted someone to give it this name, made it available for me to view, so that I can be reminded of his angels that protect me every day. 

Some Musicians Remind Me of Fancy Pigeons—part 7

 

Some Musicians Remind Me of Fancy Pigeons—part 7

          Some Christian musicians remind me of Doves.  Now doves are not Pigeons but they are from the bird family Columbidae with pigeons.  So, I am going to include them in this discussion of Pigeons anyway.  You see, one can do that sort of thing when you are the person who gets up in the mourning and types these Blog Posts.  Doves are sleek beautiful birds that are very shy and scare easily.  They are easily offended and easy to scare away if one shows any aggressive behavior toward them.  They make the most beautiful music when they make their musical cooing sounds.  The word dove is mentioned in the AV in Genesis 8:8.  The word dove is translated from the Hebrew word yownah (3123) and is translated both Dove and Pigeon in the AV.  However, there doesn’t seem to be a convincing argument that this word actually refers to a Pigeon.   In Genesis 15:9 the AV distinguishes between Turtle Doves and Young Pigeons by the use of different Hebrew words.  The words translated as Young Pigeons in the AV could be referring to a Young Doves.

          Be that as it may, some Christian musicians remind me of Doves and Turtle Doves because they are flighty like Doves.  I am not critical of these musicians because their reaction to the actions of other musicians is the result of their personality.  Those of us who work with musicians who are like Doves need to remember that these musicians are especially sensitive people.  Therefore, aggressive behavior toward them will cause a reaction on their part.  Some musician’s personalities tend toward “fight” and others tend toward “flight”. 

         

Some Musicians Remind Me of Fancy Pigeons—part 6

 

Some Musicians Remind Me of Fancy Pigeons—part 6

          Some Christian musicians remind me of a type of fancy pigeon called a Jacobin.  There are both good and bad things that I see when I compare this type of pigeon to Christian musicians.  First, let me tell you that this pigeon is one of the most attractive pigeons that I have ever seen.  I like the sorrel colored ones the best.  These birds have a sleek beautiful feather covering and a feather hood that completely covers their heads from the side view.  Jacobins have an upright graceful stance and they also move about in a stately manner.  Unlike the Oriental Frill mentioned in the last post, they are excellent parents.

          Some Christian musicians seem to have a musical philosophical hood that obscures their side view.  Like Jacobins, these Christian musicians are vulnerable to being hit from the side because they only see what is directly in front of them.  They have absolutely no global view of music ministry.  They can only understand the “seven songs that Jesus approves of”.  They are unable to help Christian musicians who are from other cultures to “sanctify” the music and muscing from their culture that is capable of being amenable to the Lordship of Christ.  Because they only see through “Western eyes”, they do not see the need of helping young Christian musicians who are from another Country and another culture develop a Christocentric music philosophy  that follows what the Bible teaches about music and musicing unto a high and holy Triune God. 

          It is commendable that these musicians are excellent at passing to the next generation the time honored traditions of our Christian culture.  These Jacobin-like Christian musicians are excellent at training the “household of faith” who come from Western cultures.  However, a Christian musician who will be returning to minister in a different culture must be trained to use appropriate music that is taken specifically from that culture.  Everything musical that by association does not bring approach to the cause of Christ in that specific culture or that is not in conflict with the changed life principles taught in the Bible may be considered for possible use in a particular culture.  Christian music teachers must be able to guide these students in appropriate ways to use music that is capable of being amenable to the lordship of Christ and will represent the moral nature of God in appropriate ways in the context of a Christian culture.  So, if the Christian musician who may be compared to a Jacobin pigeon is to be of any value outside that musician’s specific cultural surroundings, he or she must learn to think more globally.

 

Some Musicians Remind Me of Fancy Pigeons—part 5

 

Some Musicians Remind Me of Fancy Pigeons—part 5

          Some Christian musicians remind me of a type of fancy pigeon called an Oriental Frill. This type of Christian musician is a talented, faithful, ministering musicians but they sometimes do not make good musical parents.  They remind me of an Oriental Frill which has a very short beak that makes it hard to feed their young.  Because of this problem these pigeons often give up on nurturing their squabs (young).  Because of this attitude of impatience, their young often have to be nurtured by another kind of pigeon.  So, pigeon fanciers sometimes put their young in the nest of another kind or pigeon.

          The reason that so many children have to be taught musically by a surrogate musician who is not a born again Christian is because so many talented Christian musicians do not see the need of providing musical training for the “household of faith” (see Galatians 6:10).  Because of this lack of insight, many children and young people have to receive their musical training from applied music instructors who do not love and serve Jesus Christ.  Failing to “feed our own” musically is the malady of  some very talented Christian musicians who have a very short musical beak i.e. they are too busy or too impatient or too short sighted to feel the need to train the “household of faith” musically.  If Christian musicians, who resemble an Oriental Frill, because they have a short “musical beak”, would develop more selflessness, many of the severe problems concerning sacred music and musicing could be solved in one generation.