Music and Worship I.References II.Technical Development A. Musicology B. Beauty C. Physiology of Music III.Biblical Development A. Directive/Descriptive/Principle B. Textual Exposition IV.Sacred Music—Standards and Hymnody V.FAQs VI.Summary/Conclusion

Standards A.Content B.Arrangement C.Instrumentation

Arrangement A.Melodious B.Complementary of Content C.Edifying (vs. Entertaining) D.Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming)

Arrangement A.Melodious B.Complementary of Content C.Edifying (vs. Entertaining) D.Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming)

“If the singing of sacred music is for teaching and admonishing the child of God— if it is to influence the Christian’s spiritual life—the music must reflect and reinforce Biblical truths. Contrary to popular opinion, sacred music is not for entertainment. Christian music is first and foremost a vehicle for praise unto the Lord.” p 54

“Yet music has become a primary force in the shaping of this generation’s thinking and philosophy. It has changed an entire culture. You say, ‘That is surely an exaggeration.’ It is not an exaggeration, according to some very knowledgeable scholars who understand the influence contemporary music has had on Western society.” p 25

Rock MusicWilliam J. Schaeffer, p 76 “…rock has acted as a catalyst, a force uniting and amplifying ideas and feelings. It is a medium, a means of communicating emotions…the medium is the message. Associated with rock, for instance, is a cult of irrationality, a reverence for the instinctual, the visceral—and a distrust of reason and logic; this form of anti-intellectualism can be highly dangerous, can lead to totalitarian modes of thought and action. Linked with this anti-intellectualism is an interest in the occult: magic, superstition, exotic religious thought, anything contrary to the main currents of Western thought. Also directly connected is an obsession with the unconscious mind; the force of drug culture has been its promise to reveal the hidden, instinctual man, to free the individual from restrictions and limitations of his conscious mind and his gross physical body.”

“Nihilism is the denial of any basis for knowledge or truth. It rejects any customary or traditional belief in morality or religion.” p. 36 “For Christians, the exact opposite should be true. Even though the believer lives in the midst of a culture which has, by all these accounts, become sensual in virtually everything observed, the child of God is to reflect Romans 13:14: ‘But put ye on the Lord Jesus Christ, and make no provision for the flesh, to fulfill the lusts thereof.’ Are Christians allowing into their hearts and minds music which will feed the flesh or music that will ‘put on’ more of the Lord?” pp 37-38

Sound Effects, Youth, Leisure, and the Politics of Rock ‘n’ Roll Simon Frith, p 14 “…sociologists of popular music have always fallen for the easy terms of lyrical analysis. Such word-based approach is not helpful at getting at the meaning of rock…Most rock records make their impact musically rather than lyrically. The words, if they are noticed at all, are absorbed after the music made its mark.”

Tuning the Human InstrumentSteven Halpern, p 14 “Words are incidental at best, or monotonous and moronic as usual. But the point is, that they don’t matter. What you dance to is the beat, the bass and drums. And with this mix and volume, not only is the beat sensed, but literally felt, as this aspect of the rhythm section takes precedence over melody and harmony.” The Disciplined LifestyleRichard Taylor, p 86 “Words are timid things. Decibels and beat are bold things, which can easily bury the words under an avalanche of sound. The bit of religion tagged on will only lend to the whole performance a fake aura of sanctity, but will not be an instrument which the Holy Spirit can use to bring awakening and conviction.”

The Hurried ChildDavid Elkind, p 92 “The ambiguity of the lyrics is intentional. Studies of adolescents’ understanding of the lyrics of the songs they buy and listen to suggest that less than 25 percent really comprehend what a song like ‘Hey Jude’ or ‘Tommy’ is all about—at least at the conscious level. Rather, they say they like the sound and the way ‘it makes me feel.’ And yet the message, like most advertising messages, is getting across at the subliminal level.”

“A condition exists in the contemporary Christian music scene which ought to disturb the discerning believer. Most sacred performers are actively seeking to broaden their appeal. The thrust of most popular sacred performers is to penetrate both the secular as well as the sacred market. The term crossover is commonly used to describe the person as well as the effort. “This crossover philosophy allows for complete flexibility and liberty as to where a Christian performer may perform…There are no longer any restrictions or standards for what he may perform. If the performer’s music is going to appeal to the world, it has to sound like the world.” p 101

“In light of the foregoing discussion, a casual listening to almost any CCM album will reveal how worldly the CCM sound is. Evaluate the sound in terms of the three aspects of music [melody, harmony, rhythm]. CCM albums display that the world’s ludicrous obsession with rhythm has now moved into the Christian scene.” p 109

“Rather than attempting to speculate on the specific characteristics of the music that reminded Joshua of war, we must understand that the sound alone was an effective warning to tell Joshua what Moses already knew. The Israelites had slipped into blatant idolatry. In their minds and in their worship, the powerless golden calf replaced the true and living powerful God who had led them out of Egypt. They were blind to their idolatry and sensuality (Exodus 32:25). The sound which they made with their voices, their music, was a product of that blindness and wickedness. In essence Joshua said to Moses, ‘Something is wrong in the camp; I can hear it in their singing.’ “What kind of sounds would give Joshua and Moses such a clear indication of the condition? Would they be sounds of contentment, satisfaction, peace, serenity, joyfulness, or worship? No. The music which Joshua and Moses heard communicated discontentment, rebellion, unrest, confusion, defiance, and a lack of reverence to God.” pp “It is obvious from Joshua’s remarks that the sound, the music and therefore the mood, was markedly different when they returned than when he and Moses left. The Israelites were known for their joyful sound. This was the noise of war. But it really did not sound like war because the noise was devoid of the typical cries of the aggressor, defender, and the defeated. Rather, as they came closer, it became obvious that it was their singing—the sound of their music—which reminded Joshua of the noise of war. Joshua heard from the sound, the noise, the music, that a serious problem existed in the camp.

“If pop music is consciously striving for a physical impact, what is the result when used to communicate spiritual truths? The answer is simple. Spiritual truths are diluted and reduced to a physical experience. The listener is hoodwinked into believing he had a spiritual encounter when in reality that experience was only physical. Of greater concern is that such an experience is not only physical, but, according to … many … writers, sensual.” p 140

“It is time to ask the question once again. How would Joshua and Moses respond to the contemporary Christian music? What would their reaction be to the noise and actions of today’s Christian rock concerts? Considering the observations made by informed, respected, qualified, and unbiased authorities, there is no doubt that any believer who wants to please his Lord would condemn rock music and speak against its use in any sacred or secular setting.” p 144