1. Music and Worship References Technical Development
A. Musicology
B. Beauty
C. Physiology of Music
Biblical Development
A. Directive/Descriptive/Principle
B. Textual Exposition
Sacred Music—Standards and Hymnody
FAQs
Summary/Conclusion 1 1 1 1 1 1 1

2. Standards
Content
Arrangement
Instrumentation 2 2 2 2 2 2 2

3. Instruments Harp Lute (Lyre [NASB] , Psaltery [KJV]) Trumpet Timbrel
Flute
Stringed Instruments
Cymbals

4. Biblical Contexts of Instrumentation
General
Celebratory
- Deliverance
- Dedication
Ritual
Signal
- Military
- Announcement
Heaven

5. Musical References in Psalm Titles
Category
Psalm
Stringed Instruments
4, 6, 12, 54, 55, 61, 67, 76
Flutes 5
Gittith (Instrument of Gath)
8, 81, 84
Alamoth (Female Voices) 46
Various Melodies
9, 22, 45, 56, 57, 58, 59, 60, 69, 75, 80
Mahalath (Mournful Tune)
53, 88

6. Important Relevant Principles Review
Heavenly Aim
Physiology of Music
Paganism in Music
Edification, Submission and
Unity of the Body 6 6 6 6 6 6 6

7. 7 7 7

8. “God created us for His pleasure
“God created us for His pleasure. We were framed by God in a way which would give us the capacity, opportunity, and enduring joy to bring pleasure to the Creator.” p 155 8 8

9. “…much of the complexity of musical intuition is not learned, but is given by the inherent organization of the mind, itself determined by the human genetic inheritance.” A Generative Theory of Tonal Music, Fred Lerdahl and Ray Jackendoff, pg. 281. 9 9

10. Steven Halpern, Tuning the Human Instrument
“All the cells in our bodies are receptors for sound. Although the ear is still given credit as being the major pathway for aural processing, we have a great deal of evidence that the entire body is indeed sensitive to sound. Since this occurs below the level of the mind, it can occur when the mind is not consciously processing the incoming information.” pg 25
“Another way of looking at the effect of music on us is that music exerts a plagiaristic effect upon the human nervous system. Now remember, we’re not even talking about the lyric content at this point. There are a number, shall we say, of ‘pre-tuned’ channels in the body that we recognize and identify as pleasurable. Simply put, certain combinations of tones and rhythms bio-entertain the body into these states more effectively than others.” pg 43
“When you realize that much of Pop music is built around a bass drum pattern that has been getting increasingly louder in relation to the melody and other aspects of song, you have an inkling of just how pervasive this artifact of our culture is. Much like the air we breathe, we have been so inundated with this beat, massaged for years without even being aware of it, that we don’t notice the subtlety of its power.” pg 44 10 10

11. Steven Halpern, Tuning the Human Instrument
“With acoustic instruments, most people agreed that the sound came in through the ears and registered in the brain, at which point ‘trained’ individuals could tell you whether it was good or not. But with the dynamic levels of electric instruments, the whole body becomes ear. The phenomenon of bone conduction, which used to be reserved for explaining why one heard one’s own voice differently than when played back on a tape recorder, now accounts for the primacy of direct communication, one that got ‘right inside of you’—right down to the bone…literally. Never before had there been such intimacy between performer and audience.” pg. 47 11 11

12. “Musical instruments may be used to praise God, and any serious musician will testify that the instrument is an extension of the person playing it. Therefore, it is logical to say that instrumental music reveals the personality of the performer the child of God sings and plays the praises of the Lord, he must be consciously aware that God dwells within him and that he, the believer, is His instrument of praise,” pp 12 12

13. “If God created music and His creation is musical, is it not even more critically imperative that the character of the believer’s music reflect the Creator? Even if all the evidence presented to date is ignored, does not this give the Christian musician a mandate to communicate clearly the attributes of God in sacred music? Should not the Christian’s music demonstrate order rather than disarray, holiness as opposed to sensuality, and righteousness and justice rather than ‘doing your own thing’?” pg. 118 13 13