Music & Worship

Music & Worship By Randy Steffens Jr

Chapter 1 Understanding the Language of Music 

Music communicates communicat es on a deeply emotional emotiona l level. This emotional appeal of music is what makes it so powerful. Indeed if music did not touch the emotions in a predictable way, way, people would cease to enjoy it. Music can induce flights of ecstasy or depress the spirits. It can make one angry or happy. happy. It can induce moods suitable suitable for reverence or for lawlessness. But can the same music that makes one person feel angry, make another feel joyful? Can the music that makes one person perso n feel lustful, lustful , make anothe anotherr feel reverent? rever ent? Can the music that makes one person laugh, make another person cry? Is music “relative”? Listen to the following pieces piece s of music on YouTube. YouTube.

Frédéric Chopin “Valse du petit chien” - What emotion does the song convey? Would you play this song your mother’s funeral? Why or why not? (This piece was written by Chopin in imitation of the way a puppy chases it’s tail.) John Rutter “The Lord Bless You And Keep You”  - What emotion does this song convey? Would you play this song in in a dance hall? Why or why not? (We will will see later that this piece is a musical expression for reverence.) Ferde Grofé, “Grand Canyon Suite, 5th movement, Cloudburst”   - What emotion does this song give you? Would you play this song for your birthday party? What about to induce a mood suitable for prayer and meditation? Explain. (This was written in imitation of a thunderstorm at the Grand Canyon) Ludwig Beethoven Beethoven “Eroica Symphony, 2nd Movement”  - What emotion does this song give you? Would you play this song for your wedding? (Beethoven wrote this piece as a funeral funeral march. It was played for Mendelssohn’s funeral, as well as for the funerals of various heads of state, including US president Franklin D Roosevelt.) Karlheinz Stockhausen “Klavierstücke, Opus 33a”  - What emotion does this song convey to you? Is there any occasion or activity this song would seem to to compliment? (This is an atonal piece of music.) emotion does this song give you? Would John Rutter “A Gaelic Blessing”  - What emotion would this song make a good military march?

Johan Sebastian Bach “Clavier-Ubung Sei Lob und Ehr dem hochsten Gut” What emotion does this song give you? Would this song make a good soundtrack for a horror movie? Why? (This song was written as part of a much larger work Bach undertook, to put the entire Lutheran doctrine to music.) John Rutter “Joy to the World” - How does this song make you feel? Does it make you feel languid and depressed? Why?

These eight simple illustrations  illustrations   begin to illuminate a pervasive reality that we find throughout all music. Music speaks to us i n well defined, predictable ways. It has the power to make us feel many diverse emotions. Thus the choice of music to which we listen listen is important since it dictates dictate s the emotions emotio ns we feel. If the music to which I listen carries with it righteous emotions, such s uch as peace, joy, patience, and reverence, common sense dictates that such music would tend to help me be a more righteous person. And if the the music to which I listen transmits unrighteous emotions, emotions, like anger, lust, confusion, depression, and sorrow, common sense dictates that such music will tend to encourage me to be a less Christlike person. We will gain further insigh insights into this aspect of music lat music later. er. The universe is a very musical place. From the humming humming of the mighty galaxy to to the sweet notes of the sparrow’s song, we live in a cosmos that is teeming with sound, energy, and various types of resonance. NASA announced, September 9, 2003, that astronomers had found the the lowest “note” in the universe using Chandra X-ray Observatory in space, coming from the center of a galaxy galax y. Nasa reported, reporte d, “In musical musica l terms, the pitch of the sound generated... genera ted... translates into the note of B flat... the note is 57 octaves oc taves lower than middle-C.... At a frequency over a million billion times deeper than the limits of human hearing, this is the deepest note ever detected from an object in the Univer Unive rse.” 1 Closer to home, we find that orbit orb its s of planets and their moons occur according to the 2 laws of mathematical resonance. The Stanford Solar Center reports that there are 10 million acoustic resonances echoing inside the Sun. “The entire Sun vibrates from a complex pattern of acoustical waves, much like a bell.” 3 The earth also experiences various types of resonance. One of the most unique is known as the Schumann Resonance, which is caused by the electromagnetic energy generated via lightening. These electromagnetic waves resonate at a fundamental frequency of 7.86 hertz, which if it were an acoustic frequency, would be pretty close to a “B” note on the piano. 4 There are many natural and cosmic sounds on planet earth that are either pitched too low, or too high for us to hear. hear. Infrasound, (that is, sounds lower then we are able to hear), can result from things as diverse as avalanches, earthquakes, volcanoes, meteorites, calving of icebergs, and even aurorae displays. Ocean wave interactions can produce vibrations in the earth of around 0.2 Hz (about an “E” on the piano). 5 1

http://science.nasa.gov/science-news/science-at-nasa/2003/09sep_blackholesounds/ 

2 http://en.wikipedia.org/wiki/Orbital_resonance 3

http://solar-center.stanford.edu/singing/ 

4

http://en.wikipedia.org/wiki/Schumann_resonances

5

http://en.wikipedia.org/wiki/Infrasound

Many animals communicate with infrasound, such as whales, hippopotamuses, giraffes, and alligators. Certain species of rhinoceros have been shown to produce sounds with frequencies frequencies as low as 3 Hz, (close to a  a  “D” on the piano), to communicate over long distances. Elephants produce similar  similar  sound waves that travel through the ground and can be sensed by other herds many miles away. It has even been suggested that migrating birds use sounds from turbulent winds winds flowing over mountains, to aid in their 6 navigation. Bats, and dolphins communicate and detect prey with with ultrasound ultrasound (sounds higher then we are able to hear).7 The simple act of plucking a stretched piano wire results in many more resonant overtones then what the the human ear can discern. A greek philosopher and mathematician named Pythagoras, who lived from about 570 – 495 BC, studied these harmonic overtones and developed the musical scales that are the foundation of the western music we enjoy today. He pioneered the study of scales whose frequency relationships were based on intervals of perfect fifths, chosen because they are one of the least dissonant of all musical intervals. We know today that a single vibrating vibrati ng string  string contains, in it’s harmonic overtones, all 8 tones of the western major scale, and many more tones besides. Every one of those tones are sounding when the wire is plucked, plucked, 8 albeit very faintly. faintly. Even the atoms and molecules that compose your body, as well as all other living and non-living things, vibrate at frequencies on the order of one hundred trillion hertz. 9 10 Indeed, all creation seems tuned to music. And not only is the universe a musical place, but so is heaven itself. Inspiration tells us, “Music is of heavenly origin. There is great power in music. It was music from the angelic throng that thrilled the hearts of the shepherds on Bethlehem's plains and swept round the world. It is in music that our praises rise to Him who is the embodiment of purity and harmony. It is with music and songs of victory that the redeemed shall finally enter upon the immortal reward.” 11 There are many instances of angelic song recorded in the Bible. At the creation of the world, “The morning stars sang together, and all the sons of God shouted for joy.” 12

6

http://en.wikipedia.org/wiki/Infrasound

7

http://en.wikiipedia.org/wiki/Ultrasound http://en.wik

8

http://en.wikipedia.org/wiki/Harmonic_series_(music)) http://en.wikipedia.org/wiki/Harmonic_series_(music

9

http://en.wikipedia.org/wiki/Atom_vibrations

10

http://en.wikipedia.org/wiki/Molecular_vibration

11 Voice 12 Job

in Speech and Song p. 424.

38:7. (See also Desire of Ages p. 282).

When Christ was born, the angels sang above the hills of Bethlehem the glad song: “Glory to God in the highest, and on earth peace, good will toward men.” 13 Angels sing when a human being turns from sin to serve the Lord: “The angels sing for  joy when a soul is snatched from Satan's power, a trophy of the Redeemer's sacrifice.”14 And when Christ ascended to heaven in mighty triumph after His resurrection, He was met with a mighty entourage of escorting angels who sang the triumphant anthem: “‘Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in.’ Joyfully the waiting sentinels make response, "Who is this King of glory?" This they say, not because they do not know who He is, but because they would hear His praises. The answer comes back, ‘The Lord strong and mighty; the Lord mighty in battle. Lift up your heads, O ye gates; even lift them up, ye everlasting doors, and the King of glory shall come in.’ Again the response is heard, ‘Who is this King of glory,’ for the angels never weary of hearing His name exalted. In strains of heavenly music the escorting angels make reply, ‘The Lord of hosts; He is the King of glory.’ Emman ue l, God with us, ‘is gone up with a shout; the Lord with the sound of a trumpet.’ 15  God Himself loves to participate in music. He plays the trumpet according to Zechariah 9:14, “...and the Lord GOD shall blow the trumpet...” 16 God also sings according to Zephaniah 3:17: “The LORD thy God in the midst of thee is mighty; he will save, he will rejoice over thee with joy; he will rest in his love, he will joy over thee with singing.” Lucifer before his fall was a music leader in heaven. We are told, “God made him good and beautiful, as near as possible like Himself.”17 The book of Ezekiel tells us of special musical abilities God gave him, “...the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created.”18 Lucifer was the conductor of the entire angelic choir. Ellen White tells us: “Satan had led the heavenly choir. He had raised the first note, then all the angelic host united with him, and glorious strains of music had resounded through Heaven.” 19

13 Luke

2:13, 14.

14 Southern 15 The 16

Watchman, May 29, 1902. (See also Luke 15:10).

Bible Echo, May 22, 1899.

See also Ps 47:5.

17 Review

and Herald, Sept. 24, 1901.

18 Ezekiel

28:13.

19 Signs

of the Times, January 16, 1879.

But through pride, Lucifer fell from his high and holy state. Though fallen and now called Satan, he retains his remarkable musical talents. And just as those talents were used for praising God in heaven, they are now misused for blaspheming God and entangling souls in his stealthy snares. Satan and his fallen angels no longer praise God with their songs of music. Instead, “When a soul is captured from the ranks of Christ the synagogue of Satan sing in hellish triumph.” 20   For a moment, ask yourself: Would you imagine there to be a difference between the music the angels sing when souls are won to Christ, and the music devils sing when souls are captured from Christ? Since we are made in God’s image, we are naturally musical people. We were created to appreciate the musical world in which we live and to be capable of expressing ourselves musically. God knew it would be possible for us, as free moral agents, to utilize our musical talents in ways that would not be honoring to Him. Yet He chose to give us the freedom to chose how we would use the musical talents He entrusted to us. After the fall of Adam and Eve, some of the wicked descendants of Cain took a special liking to music. The unrighteous decedents of Lamech became so renown for their musical abilities that the son of Lamech, Jubal, is specifically mentioned in the Bible as the father of all who play “the harp and organ.” 21 The harp had been one of the principle instruments used to praise God in heaven, and even at this young era of earth’s history, Satan was seeking to exploit heavenly instruments, to serve his own purposes. Just as the wicked decedents of Lamech were particularly renowned for their abilities and talent in the field of music, so today, unrighteous music composers and performers tend to be, by far, the most renowned musicians. Much of Christianity is imitating the music styles of the world. They are exploiting God’s gifts to serve their own unrighteous agenda. James white made the statement in 1870: “What a blessing is talent and voice and taste for singing! And how, with a sanctified use of it, you may glorify God! But the devil has almost entire control of nearly every good singer. And there are more souls sung to hell, than are prayed to Heaven.”22 In the time of Israel, the prophet Samuel was acutely aware that society was in trouble. In an attempt to remedy the prevailing evils abounding everywhere, he founded the schools of the prophets. These schools were “to serve as a barrier against the widespread corruption, to provide for the moral and spiritual welfare of the youth, and to promote the future prosperity of the nation by furnishing it with men qualified to act in

20 Letter

12a, 1893.

21 Genesis 22

4:21.

Insight Magizine, April 4, 1988.

the fear of God as leaders and counselors.”23 There were four main subjects of studied in these schools. They were "the law of God, with the instruction given to Moses, sacred history, sacred music , and poetry.”24 (Emphasis mine). Notice that the study of music was considered so important as to be one of the few required subjects of study in the schools of the prophets. Why would Samuel consider the subject of music  so important? Why would a prophet need to study music? Could it be that music is a more powerful force for positive or negative moral change then many people at that time realized? Could it be that Samuel knew music could communicate on a fundamental level that was not generally well understood and that should be appropriately understood in order to avoid moral disaster? God is waiting for Christians to take an honest interest in how they can best glorify Him in the field of music. He is looking for people who will take hold of His strength to throw off the bondage of unholy music and make and honest effort to prove “what is acceptable unto the Lord.”25 If we intend to soon join the heavenly choir, we must study what sort of music they sing. Inspiration tells us, “Let us learn the song of the angels now, that we may sing it when we join their shining ranks.”26 In this course of study, we are going to explore the relationship between music, worship, and evangelism. We are going to see that indeed, there was a very good reason for Samuel to include the study of music in the schools of the prophets. And we are going to learn that there are elements in music that can be pleasing to God, and conversely, there are other musical elements that can me extremely dangerous. Future lectures will expand on how we can learn to identify these elements, and make wise musical choices.

23 Christian

Education p. 62.

24 Education,

p 47.

25 Ephesians

5:10

26

Patriarchs and Prophets p. 289.

Chapter 2 Is Music Morally Neutral? 

Many believe that the way music (without lyrics) makes us feel is purely a function of culture. They assume that the way music affects us depends on personal taste and preference, relative to the time and place the listener grew up, and that there is really no “right” or “wrong” in music as long as the lyrics are good. Dr Max Schoen stated, “Music is the most powerful stimulus known among the perceptive senses. The medical, psychiatric and other evidence for the non-neutrality of music is so overwhelming that it frankly amazes me that anyone should seriously say otherwise” 27 We will explore some of this “evidence” momentarily. But first, to set some background, it may be helpful to understand what “music” exactly is in the first place. When a musical instrument is played, the air molecules surrounding the instrument are set into vibration. These vibrations, known as pressure waves, propagate outward from the source of the sound until they reach the listener’s ear. The sound waves cause the ear-drum to vibrate and these vibrations are converted to electrical impulses by the inner ear, and sent to the auditory cortex of the brain. Research published in the journal Electroencephalography and Clinical Neurophysiology   reveals that in the auditory cortex of the brain, there are specialized regions of cells organized to be responsive to specific frequencies, from very low to very high. These cells are stimulated by the tones that enter the ear. In this way, music has a direct impact on the very cells of which the brain is made. 28 This effect of music upon the brain can be very powerful, as a group of researchers from the Montreal Neurological Institute noted. They found that “...music recruits neural systems of reward and emotion similar to... those that are artificially activated by drugs of abuse.” 29   Research done at Stanford University found that the most powerful stimulus for evoking thrill-like sensations was music. 30   Dr. Adam Knieste, a musicologist, noted: “It’s really a powerful drug. Music can poison you, lift your spirits, or make you sick without knowing why.” 31   “Music is used everywhere to condition the human mind. It can be just as powerful as a drug and much more dangerous, because nobody takes musical manipulation very seriously.”32

27 Dr.

Max Schoen, The Psychology of Music, 1940.

28

Electroenc ephalography and Clinical Neurophysiology  Volume 54, Issue 6, December 1982, Pages 642-653. 29

Proceedings of the National Academy of Sciences of the United States of America, vol 98 no. 20 11823. http://www.zlab.mcgill.ca/docs/Blood_and_Zatorre_2001.pdf Accessed August 24, 2012. 30

Physiological Psychology , 1980, Vol. 8 (1), pages 126 – 129, Avram Goldstein.

31

Family Weekly , January 30, 1983, page 12, article by David Chagall.

32

Family Weekly , January 30, 1983, page 15.

One of the most famous conductors who ever lived, Leonard Bernstein wrote “Music is something terribly special ... it doesn’t have to pass through the censor of the brain before it can reach the heart ... An F-sharp doesn’t have to be considered in the mind; it is a direct hit, and, therefore, all the more powerful”. 33 This powerful stimulatory property of music was further explored in a study conducted by Dr. Douglas Gentile, associate professor of Developmental Psychology at Iowa State University. High school students were asked what media they would wish to have with them, where they to be stranded on a remote desert island. They were given several choices including TV, books, computer, music, radio, video games, and newspaper. Music was listed as one of the top three choices by 80 percent of the students in all grade levels. And by eleventh grade, 66 percent of the young people listed music as their top choice! 34 Clearly, the music to which we listen can have a profound biological influence on us - to the point of exciting the same areas of the brain that respond to stimulating drugs. In fact, even five month old babies have been shown to have a disposition to move rhythmically to music, furthering the idea that our psychological response to music is not merely a learned response, but biologically built into our brain. 35 Due to this “hard-wiring” of our brains to respond to musical stimuli, researches have found that various music styles can cause a number of predictable reactions in humans. For example, research conducted at Tel Aviv University revealed that premature babies who were exposed to music by Wolfgang Amadeus Mozart gained weight more quickly than when they were not listening to the music. Dr. Mendel, a lecturer at Tel Aviv University, reported that Mozart’s music made the infants “calmer and less likely to be agitated”.36 A 2006 study in the journal Clinical Neurophysiology   revealed better task performance in students who listened to Mozart’s music compared to a control group who listened to no music. 37 A study reported in the Annals of the New York Academy of Sciences   revealed that individuals with Alzheimer’s disease who had substantial memory deficits were still able 33 Leonard 34

Bernstein, cited in Katrine Ames, “An Affair to Remember,” Newsweek, Oct. 29, 1990, p. 79

Media Violence and Children, A Complete Guide for Parents Teachers and Professionals, page 153.

35

Babies are Born to Dance, Research by Dr Marcel Zentner, from the University of York's Department of Psychology, and Dr Tuomas Eerola, from the Finnish Centre of Excellence in Interdisciplinary Music. Research at the University of Jyvaskyla. http://www.sciencedaily.com/releases/  2010/03/100315161925.htm Accessed August 24, 2012 36 37

http://www.aftau.org/site/News2?page=NewsArticle&id=11369 accessed August 24, 2012

The influence of Mozart's music on brain activity in the process of learning. Clinical Neurophysiology  2006 Dec;117(12):2703-14. http://www.ncbi.nlm.nih.gov/pubmed/17029951

to learn and remember new information when set to a melody. 38   Similarly, Classical music, specifically Vivaldi’s Four Seasons, significantly enhanced memory in older adults.39 Listening to music can reduce chronic pain stemming from a number of conditions. The Journal of Advanced Nursing  reported pain associated with depression to be reduced by up to 25%, and pain associated with osteoarthritis and rheumatoid arthritis by up to 21%. 40 The Chinese Journal of Rehabilitation Medicine   reports that listening to relaxing music “can reduce the systolic pressure, diastolic pressure, EMG level and heart rate of patients with primary hypertension.” 41 Not all music however has been shown to have such beneficial affects on humans. Certain types of music studied have even provoked a negative physical and emotional response. For instance, one study published in The Journal of Music Therapy , revealed that after listening to rock music for one month, individuals displayed more inappropriate behavior than they did after listening to classical rhythms for the same time period.” 42 Similarly, a study conducted at Loyola University New Orleans, published via the National Undergraduate Research Clearinghouse , found that those who listened to moderate rock music reported higher levels of anger than they did while listening to classical music.43 The Journal of Psychology , found that the intensity of emotional disorders in patients paralleled the intensity of rock rhythms they listened to, regardless of lyrics. 44 (emphasis mine).

38 Annals

of the New York Academy of Sciences Volume 1169, The Neurosciences and Music III Disorders and Plasticity pages 214–215, July 2009. 39

Does music enhance cognitive performance in healthy older adults? The Vivaldi effect. Aging Clinical and Experimental Research. 2007 Oct;19(5):394-9. http://www.ncbi.nlm.nih.gov/pubmed/18007118. 40

Effect of music on power, pain, depression and disability. Journal of Advanced Nursing . 2006 Jun; 54(5):553-62. 41

Physiological effects of patients with primary hypertension as listening to relaxation music. Chinese Journal of Rehabilitation Medicine, 1992, 7(4): 156. 42 “A

Comparison of the Effects of Hard Rock and Easy Listening on the Frequency of Observed Inappropriate Behaviors: Control of Environmental Antecedents in a Large Public Area Journal of Music Therapy , Vol. 29, No. 1, Spring, 1992, pages 6-17. 43 44

http://clearinghouse.missouriwestern.edu/manuscripts/303.php accessed August 24, 2012

Wanamaker CE and Reznikoff M., “Effects of Aggressive and Nonaggressive Rock Songs on Projective and Structured Tests,” The Journal of Psychology , Vol. 123, No. 6, Nov. 1989, pages 561-570.

The Journal of Youth and Adolescence   published a study analyzing the influence of music on memory, and reported “retention was significantly lower in the rock music condition”, as compared to classical music, and silence. 45 In 2004, researchers conducted a study to assess how rock music affects high school students. It was found that “the precision of voluntary action decreased in pop music, and it increased in classical music.” 46 In the book entitled, It's Not Only Rock & Roll , Professor Donald Roberts of Stanford University and Professor Peter Christenson of Lewis and Clark College make some acute observations regarding the music of today’s youth: "In one study, a heavy metal devotee reported that he loved the music because it put him in a 'good mood,' by which he meant a mood conducive to smashing mailboxes with bricks," the authors report. "Another said hardcore metal put him in the mood to 'go beat the [expletive removed] out of someone.'"47 “In another study, adolescents interpreted both regular heavy metal and Christian heavy metal music as about sex and violence... And the youth listening to Christian rock didn't really hear the different message of the lyrics.”48 (emphasis mine) The authors observe that average American youth listen to music or music videos four to five hours per day, and that “many kids may be monsters already and simply seek out musical fare that resonates with their monstrous inclinations.’” 49 They warn against the philosophy that music is likely not to affect us because it is “only entertainment,” or “to argue that art can be uplifting but not the reverse.” 50 A study published in the Psychology of Women Quarterly   observed that “Exposure to heavy-metal rock music, irrespective of lyrical content, increased...negative attitudes toward women.” 51 And similarly, a report published in the Journal of Death and Dying

45

“Effect of Youth Culture Music on High School Students,” Journal of Youth and  Adolescence, Vol. 4, No. 1, 1975. 46

Ibrahim Basoglu, M. Tunaya Kalkan and Nil Sari, “The Physiological Effects of Classical Music and Pop Music on Female High School Students,” Yeni Symposium, 2004, Cerrahpasa Medical Faculty, Istanbul, Turkey. 47

http://news.stanford.edu/pr/97/971023teenmusic.html accessed August 24, 2012

48 Ibid 49 Ibid 50 Ibid 51

Psychology of Women Quarterly Volume 15, Issue 1, pages 49–63, March 1991.

reported “a strong relationship between a preference for rock music with destructive themes and antisocial or destructive behavior.” 52 A study of 121 Midwestern high school students’ music preference indicated that 75 percent of the girls who preferred heavy metal music had considered suicide compared with 35 percent of the girls who preferred other types of music. Nearly 50 percent of the boys who preferred heavy metal had considered suicide compared to with 15 percent of the boys who listened to “non-metal” music.53 The Greek philosophers Aristotle and Plato made some surprisingly acute statements regarding whether or not music is purely a neutral vector for words. It’s surprising that even from an unchristian, philosophical perspective, the incredible power of music to shape the mind cannot be denied. Aristotle wrote, “[If a person] habitually listens to the kind of music that rouses ignoble passions, his whole character will be shaped to an ignoble form. In short, if one listens to the wrong kind of music he will become the wrong kind of person; but conversely, if he listens to the right kind of music, he will tend to become the right kind of person.” 54 “Emotions of any kind are produced by melody and rhythm; therefore by music a man becomes accustomed to feeling the right emotions; music has thus the power to form character…” 55 Plato wrote, ”The introduction of a new kind of music must be shunned as imperiling the whole State: since styles of music are never disturbed without affecting the most important political institutions.” 56   “Our music was once divided into its proper forms… There were no whistles, unmusical mob-noises, or clapping for applause… But later, an unmusical anarchy was led by poets who had natural talent, but were ignorant of the laws of music…Through foolishness they deceived themselves into thinking that there was no right or wrong way in music, that it was to be judged good or bad by the pleasure it gave. By their works and their theories they infected the masses with the presumption to think themselves adequate judges.” 57 The Bible discusses the fascinating power of music in a number of places. In Daniel 3 we read how King Nebuchadnezzar brought together a large band of musicians to play at the inaugural ceramony of his massive golden image. We read in verses 4-7: “Then a herald cried aloud: ‘To you it is commanded, O peoples, nations, and languages, that at 52

Journal of Death and Dying  Volume 23, Number 3 / 1991, pages199 - 206.

53 Neil

Nedley, Depression: The Way Out (Review & Herald Publishing Association, 2001): 27

54

Grout, Donald J., A History of Western Music , page 8.

55

Politics, 1340a.

56

Republic.

57

Laws.

the time you hear the sound of the horn, flute, harp, lyre, and psaltery, in symphony with all kinds of music, you shall fall down and worship the gold image that King Nebuchadnezzar has set up; and whoever does not fall down and worship shall be cast immediately into the midst of a burning fiery furnace.’ So at that time, when all the people heard the sound of the horn, flute, harp, and lyre, in symphony with all kinds of music, all the people, nations, and languages fell down and worshiped the gold image which King Nebuchadnezzar had set up.” 58 This passage of scripture is fascinating because singers are never mentioned as being a part of Nebuchadnezzar’s symphony. This music, suited to inducing an atmosphere for worship of a false god, was strictly instrumental . The fact that singers were not present is revealing, because it points us again to the conclusion that music alone has a powerful ability to move emotions, aside from lyrics. Another instance where the Bible illustrates the mind-influencing power of purely instrumental music is 1 Samuel 16:23, where we read, “And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.” It is useful to note that music was a vector for driving the demon away from Saul. David didn’t sing, he merely “played with his hand.” This means that there is some music  which makes demons very uncomfortable. Might there also be music which does the opposite? What if David had begun dancing about the throne room, thumping his harp to the latest Philistine pop tune? What do you imagine the effect would have been upon Saul? One notable instance where we observe vocal music in the Bible is Exodus 32:17-19: “And when Joshua heard the noise of the people as they shouted, he said to Moses, ‘There is a noise of war in the camp.’ But he [Moses] said: ‘It is not the noise of the shout of victory, Nor the noise of the cry of defeat, But the sound of singing I hear.’ So it was, as soon as he came near the camp, that he saw the calf and the dancing.” Joshua thought the sound of the Israelites’ idolatrous singing was the sound of war. One obvious lesson we can glean from the story is that if music sounds like war, it’s more heathen the Christian. Have you ever heard music that sounded like war? In a Hollywood film - what sort of music do you think would best accompany a violent war scene? Would it be a child’s birthday party song? Would it be a serene string ensemble? Would it be a battery of drums and percussion? Hollywood knows very well how to use music to manipulate the emotions. And when they produce a film and score a sound track to it, they are making a major assumption. That the music will mean the same thing to everyone who watches the movie around the entire world. If music were purely neutral, movies wouldn’t work! The music might make some people laugh, others cry, and others panic, depending on their culture. But 58

New King James Version.

we all know movies don’t work that way. Perhaps the movie industry more then anything else proves that music is not a neutral communicator. Speaking at a conference in Germany dealing with music in medicine, Dr Manfred Clines (an acclaimed scientist, inventor and professional musician) made the following observation: “Music in fact is an organization created to dictate feelings to the listener. The composer is an unrelenting dictator and we choose to subject ourselves to him, when we listen to his music.” 59 If music is indeed not neutral, then we have some serious questions to be asking ourselves. We need to question what the music we listen to is actually communicating and to asses what kinds of music we should actually be listing to. Psalm 137:1-4 reads, “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion. We hanged our harps upon the willows in the midst thereof. For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion. How shall we sing the LORD'S song in a strange land?” Friend, the world today is in need of a true understanding of the “Lord’s song”. God is calling us today to be willing to sing the His song in a sinful world, “a strange land”. But in order to sing the Lord’s song, we have to learn what that song sounds like. Many minds are so full of the Devil’s songs that the Lord’s song is blocked out. Why not ask God right now to help you learn to sing His song?

59 Manfred

Clynes, “On Music and Healing” in Music in Medicine: Proceedings Second International Symposium on Music in Medicine, Ludenscheid, West Germany, ed. J. Steffens (R. Spintge and R. Droh, 1985), p. 4.

Chapter 3 A Brief History of Music 

We can be sure that the music of Eden was high and noble. Adam and Eve had angels for their teachers, and joined with the angels in singing praises to God. Inspiration tells us: “The angels united with Adam and Eve in holy strains of harmonious music; and as their songs pealed forth from blissful Eden, Satan heard the sound of their strains of joyful adoration to the Father and Son. And as Satan heard it, his envy, hatred, and malignity, increased, and he expressed his anxiety to his followers to incite them (Adam and Eve) to disobedience, and at once bring down the wrath of God upon them, and change their songs of praise to hatred, and curses to their Maker.” 60 Note carefully that Satan wished to change their music. And sadly, that change was to come all too soon. When Adam and Eve were sent forth from the Garden of Eden because of their sin, some of their decedents became especially known for musical ability. For generations, men were able to learn from Adam who likely knew many of the secrets of heavenly music. As we noted earlier, the wicked line of Cain took a special liking to music. Juble, the son of Lamech, was given particular note in the Bible because of his musicianship. But as a result of the flood, the line of Cain died out, and with it, the great musicians who were decedents of Juble. Inspiration tells us, “There perished in the Flood greater inventions of art and human skill than the world knows of today. The arts destroyed were more than the boasted arts of today...”61 Therefore we can see that much musical knowledge must have been lost with the flood. A line of great musicians died out, possibly explaining why music after the flood was quite primitive. The same thing occured in the field of painting and drawing, which explains why many of the very ancient cave paintings we see in various parts of the world are so primitive and yet dated to within a few hundred years of the flood. Moving forward to the time of Abraham, we find that music was still not very developed by today’s standards. Anne Draffkorn Kilmer, from the University of California Berkeley, published in 1986 her analysis of a cuneiform tablet containing instructions for performing a piece of music. The tablet was dated to about 2000 BC, (about 348 years after the flood and approximately the time when Abraham was born). The tablet indicates that the music was composed with harmonies of thirds, and that it was written using the diatonic scale - a scale which is is now the foundation of most western music due to the greek mathematician Pythagorus re-inventing it around 500 BC. The notation on the tablet indicates the names of strings on a lyre, and it’s tuning is further described in other tablets.62 60 Spirit

of Prophecy, Volume 1, p 34.

61 Conflict

and Courage, p 34.

62 http://en.wikipedia.org/wiki/Ancient_music

Another tablet from the year 1250 BC (the time of the Israelite judges) indicates that by that time notation was somewhat more developed, although the tunes themselves were still extremely simple. These tablets represent the earliest recorded melodies in the world.63 A text from the the city of Ugariit, in northern mesopotamia, dated around 1400 BC (the time of the death of Moses), includes some of the oldest written sheet music. One song was nearly complete and can be heard at the web-site listed in the footnote. 64 The harp seems to have been a popular ancient instrument. Pieces of four harps have unearthed by archeologists digging at the ancient site of Ur, the birthplace of Abraham. We find a bas-relief from the time of Ashurbanipal (king of Assyria) showing a court orchestra with seven-stringed lyres and the hammer-dulcimer. Harps are also shown in murals from the time of Ramesses III of Egypt. The drum was also an instrument widely used in ancient times, particularly for pagan spiritual rituals and trances. Regarding the ancient practice of drumming, Dr Juanita McElwain, who served as professor of music therapy at Eastern New Mexico University and Phillips University in Enid, Oklahoma writes, “Goddesses were a dominant part of the religion [of ancient Sumeria]. Some of the earliest representations of religious rituals show female performance ensembles of musicians, singers and dancers. The frame drum or hand drum was at the center of these rituals. Goddesses, priestesses and musicians played the hand drum, all women. They used the drum to summon the goddess and the goddess spoke through the drum. The drum was the primary tranceinducing instrument.”65 With this background, it is not surprising that the Lord made a distinction in the way Israel was to worship him, compared to the way the nations around them worshiped their Gods. In Deuteronomy 12:31 (NIV), we read, “You must not worship the LORD your God in their way, because in worshiping their gods, they do all kinds of detestable things the LORD hates.” God thus clearly warned His people against adopting the popular worship styles of those around them. Some like to use the instance recorded in the Bible where David danced before the Ark to excuse modern dancing. However inspiration tells us that the dance of David was much different then the popular dance of today:  “"And David danced before the Lord," in his gladness keeping time to the measure of the song. David's dancing in reverent joy before God has been cited by pleasure lovers 63 http:/ /en.wikipedia.org/wiki/Ancient_music 64

http://128.97.6.202/urkeshpublic/music.htm

65 McElwain,

The Story of Music p. 32 http://gpm.northeasternsda.com/site_data/562/assets/0002/0157/  The_Story_of_Music.pdf

in  justification of the fashionable modern  dance, but there is no ground for such an argument... The music and dancing in joyful praise to God at the removal of the ark had not the faintest resemblance to the dissipation of modern dancing. The one tended to the remembrance of God and exalted His holy name. The other is a device of Satan to cause men to forget God and to dishonor Him.” 66 Among the Israelites, a number of different musical instruments were played. These included the trumpet, harp, cymbals, psaltry, and the timbral.67 The only percussion instruments mentioned in the footnoted texts are cymbals and timbrals. We are not sure what these instruments actually looked like, or if they bore much resemblance to their modern counterparts. However, it is important to note that cymbals and timbrals can be played in a perfectly appropriate fashion, without imitating the rhythms found in modern dance and rock music. A modern example would be: The B ible Stands , by Ron and Shelly Hamilton, in their album Worthy of Praise .68 We do not know a great deal about the state of music from the times of ancient Jewry through the first few centuries after Christ. Evidence exists that the Jews stopped singing their traditional music after the final dispersion and the destruction of Jerusalem. So it is difficult to know exactly what ancient Levite temple music sounded like, as it had been lost by the 1st century AD, 69  and the synagog music after the dispersion lost the  joyful quality that the temple music had before.70 The psalms were not even sung in synagogs for centuries after the destruction of the temple in 70AD. 71 We do however have some examples of ancient greek music, which was built upon the discoveries of Pythagorus.72 73  An ancient Roman tune for an instrument something like an oboe can be heard at the footnoted website.74 But very little music survives from the Roman empire. It is thought that this could be because the early Christian church fathers suppressed the old Roman theater and dance music after Christianity became the nominal religion of the Roman empire. However it is believed that Roman music,

66 Patriarchs

and Prophets p. 707

67 See

Exodus 15:20, Psalm 81:1-3, Psalm 150:3-5, 2 Chronicles 29:25, 2 Chronicles 5:12, 1 Chronicles 25:6,1 Chronicles 25:1,1 Chronicles 16:5,1 Chronicles 15:28, 1 Chronicles 15:16, 1 Chronicles 13:8, 2 Samuel 6:5. 68

Listen at: http://www.majestytunes.com/p-96-worthy-of-praise.aspx

69 Hindley,

Geoffrey. Larousse Encyclopedia of Music, Chartwell (1971), Ch. "Jewish Music"

70 http://en.wikipedia.org/wiki/History_of_music_in_the_biblical_period 71 David

Hiley, Western Plainchant pp. 484–5. http://en.wikipedia.org/wiki/Gregorian_chant

72  http://classics.uc.edu/music/yale/index.html 73

http://www.oeaw.ac.at/kal/agm/ 

74

http://classics.uc.edu/music/michigan/index.html

like Greek music was mostly made of single melodies with no harmony and which followed the meter of the lyrics. About one hundred years after the fall of the Roman, empire Pope Gregory I is credited with creating a catalog of various songs to accompany the celebration of mass and other liturgical services in the Roman church. These songs became known as Gregorian Chants, and many modern recordings of them are available today. It is not known whether these songs were sung with a metered rhythm or not, but they used a single line melody, and lacked any harmonies.75 For many hundreds of years, during the deepest part of the dark ages, Gregorian Chant was the reigning church music in Europe. From the mid 1300’s AD, and particularly beginning in the 1400’s with the influence of the Reformation, music in Christianity began to experience significant change. Much of this change was rooted in a continually evolving understanding about the character of God. One of the major differences between various world religions, and a difference that has a profound impact on shaping their music, is whether they have a transcendent  or imminent view of God.76 A transcendent view of God is one which emphasizes that God is very disconnected from the world, that He is far above and beyond creation. It views God as very distant, unapproachable, and someone the common person cannot understand or know. Islam has a very transcendent view of God, as well as the Roman Catholic church, and to some degree, modern Judaism. An immanent view of God would be one that emphasizes His closeness, His omnipresence. It would concentrate on His closeness, how He is not so much above and beyond, as He is near. Carried to extremes, it blurs the boundary between human emotions and actually experiencing God. Thus the ultimate expression of an imminent view of God would be that held by the pagans and pantheists, who believe that nature is  god. The reason this is important to our study of music is because one’s conception of God can influence their expression of music and art. This is not a new idea, several decades ago, Lois Lamya al Faruqi, an expert on Islamic music, wrote: “One set of religious beliefs predicates one kind of religious experience and by extension a particular notion of suitable religious music. Another set of religious beliefs gives rise to a different kind of religious experience and accordant religious music. The examples of religious music

75 http://en.wikipedia.org/wiki/Gregorian_chant 76 Dr

Wolfgang Stephani, Belief and the Formation of Music, GYC 2004. http://www.hopevideo.com/  catalog/index.php?cPath=43

are then but reflections and expressions of the complex of religious ideas held in a a given culture at a particular time.”77 Music produced by those who have a transcendent oriented view of God, where God is seen as far away and outside of human experience, offers very little imitation of the physical world. Very little that imitates the “here and now” ends up in this type of music, because God is not viewed as being “here”, but above and beyond. Transcendent oriented music avoids dancing, and physical manifestations of emotion. The important thing is not experience, but meditation on what God has revealed. A transcendently oriented religion believes getting involved in feelings doesn’t help you understand what is above and beyond you. Its music will have an abstract quality and emphasize the intellect. One good example of transcendent-oriented music is Koranic chanting. You can listen to Koranic chant at the footnoted web-site. 78   Gregorian chant also resulted from the very transcendent views of the Catholic church. The Koranic and Gregorian chants involve only a melody line. It was believed the more harmony one put in, the more they get away from abstract meditation into a more active mental state. This was not considered a desirable thing, considering that in the medieval Catholic church, song lyrics were in Latin which most uneducated people could not understand. Large changes in loudness were rejected in transcendent music. It did not emphasize performers, because when one focuses on the performer they tend to forget the mindless meditative atmosphere. Transcendent music emphasized contemplation and departure from worldly involvement. New Age music is often very transcendent. Echo , an interdisciplinary, peer-reviewed music journal created and edited by graduate students in the Department of Musicology at the University of California, Los Angeles, made some fascinating observations regarding New Age music. “As a style New Age music is associated with breathy, slow, arhythmic, droning, synthesized music; as an industry category New Age music encompasses many other types of music, such as World Music, Folk Music, Electronic Music and Gregorian Chant, frequently without alteration in style. Indeed, by 1989 Gregorian chant was listed as a category within the Vocal Music sub-genre of New Age Music in Patti Jean Birosik’s New Age Music Guide...”79

77 Dr

Wolfgang Stephani, Belief and the Formation of Music, GYC 2004. http://www.hopevideo.com/  catalog/index.php?cPath=43 78

http://www.listen2quran.com

79

Echo , Volume 6, Issue 1 http://www.echo.ucla.edu/Volume6-issue1/bain/bain2.html

Swiss New Age harpist Andreas Vollenweider, whose records have sold in the millions, explains that the purpose of his sound is to “build a bridg e between the conscious and the subconscious. We have to somehow excite our spirituality.” 80 On the other hand, the music which results from an immanent view of God tends to emphasize those things which imitate the physical world. They believe that God is with you, maybe even in you. So when you experience something, you could be experiencing God! Immanent music deliberately rejects that which is contemplative and abstract. For example, in the pagan African context, words of songs are often not important at all. Dancers will repeat syllables and play repetitious rhythms which are emphasized over melody and harmony as a part of voodoo drumming and possession rituals. In cultures that have an imminent view of God, even the instruments themselves tend to be different form those in other parts of the world. The flute in certain parts of Africa is primarily used for its chiffing sound, as a rhythm instrument, not a melody instrument! Percussive instruments tend to be played to help feature an altered state of consciousness. The richer and bigger the experience, the better -- for experience  rather then meditation is the ultimate goal.81 This is the root of why Christian music has been prone to such dramatic change over the ages. For the western Christian concept of God has had a very strong paradox in it. As Christians we believe that God is transcendent , but that he is also imminent ! He is the perfect blending of both traits. Early on, the music of the Catholic church became very transcendent focused. The Catholic church emphasized, God being totally “other”. Thus, people felt that God was a long way off, and that He was someone to be afraid of. They couldn’t relate to him or go to him personally, but had to approach Him through a priest. And the music of the Catholic Church reflected this philosophy, promoting a atmosphere of abstract departure from worldly involvement in their worship music. The songs were a single note melody, with no harmony. Instruments were generally not used. Even when the organ was brought in, for centuries it only played one note, joining the melody line.82 The popular belief was that God would only accept best, so a professional choir had to do the singing. People couldn't participate, for the more the theology moved God away, the more the music became very complex and hard to understand, something the average person could not participate in. It required long training to sing the Gregorian Chants before the advent of musical notation, and was something only professionals could do.

80 Bill

Barol with Mark D. Uehling and George Raine, “Muzak for a New Age,” Newsweek, 13 May 1985,

68. 81 Dr

Stephani http://www.hopevideo.com/catalog/index.php?cPath=43

82 Dr

Stehpani http://www.hopevideo.com/catalog/index.php?cPath=43

Along with the Reformation came a renewed emphasis on grace, faith, and that Jesus was a Savior that wanted us to have close access to Him. God offered that we could come boldly before His throne.83  We needed not come to him through a priest. He was viewed as more immanent, although certainly not totally immanent. And as a result the music started moving into something that the common person could sing and participate in. Martin Luther made use of more metered rhythms, which helped to facilitate congregational singing. Later, the Pietists in Europe emphasized more and more the experiential elements of Christianity, how God works in our hearts and lives. And slowly, the music changed as well. A little more of the experiential element came into the music. The use of harmony developed a little more, rhythm developed a little more, and so on. Whereas and Martin Luther emphasized justification by faith, a work that God does on our behalf , the Weslies emphasized sanctification, what God does in us . Theologically Christianity was moving more and more to what God was doing in us, emphasizing His closeness rather then how far away or distant He is. And the music became more experiential as well, rather then the cold routine of the past. Momentum within Christianity shifted to the US. Eventually the holy flesh movements came along which emphasized music that was totally experiential. It was not music for reflection but for participation, for getting involved. It was loud, it involved more dissonant harmonies to increase the physiological effect, and involved more repetition of phrases. Beginning in the 1900’s the charismatic movement completed the swing fully, to where the immanence of God was His main characteristic. They emphasized how you have not truly worshiped until you have “felt the Spirit moving in you”. And how were you to know if you have the Spirit? If you have an experience , if you speak in tongues, if you have a strong feeling . So it make sense that they would develop a type of music that would help that feeling   to come -- the feeling they interpreted as the Holy Spirit’s presence. Emphasis shifted from God beyond us, to God for us, then God beside us, and finally God within  us. And while all this change has been progressing in the churches from transcendent to imminent, we had the music of the secular world doing a very similar thing. Regarding secular classical music, we have the following statement made by Martin Cooper, a music critic, regarding the music of the 1800’s. “Man’s progressive deprivation of the supernatural, the progressive starving of an innate appetite, led to a gradual depraving of that appetite to cravings for strange foods and to attempt to satisfy by other means, an instinct which finds itself denied natural satisfaction. In place of food and drink for his spirit, man has looked in the arts for spices, stimulants, and narcotics. 83 Hebrews

4:16

Taught to expect neither help nor sympathy from outside or above himself, he takes to worshiping his own image and investing his own emotions with absolute value, rating them simply by their intensity and no longer referring them to absolute standards of good and evil. Man no longer able to think of himself as his Creator’s darling, has been left with a sense of diminished importance, of inferior status. Everyday life, no longer shared with his Creator, or illuminated by the supernatural, has come to seem colorless and uninteresting, only worth living in moments of unusual excess, tragic or sensual.” Humanity has shifted to looking for the things in the arts that will bring us moments of excess. This is why we have all the sexual music, the dramatic elements, and rhythmic, very dissonant music of the 20th century. Humans think their own emotions are the only reason they live, so they develop music that stirs them up! And so in Christianity, it can be seen how we have moved from a transcendent to an immanent worldview, where the characteristics that are looked for in music are the same things that the secular world is looking for -- content that stirs up dramatic emotion! We as Adventists would say the there is a perfect middle ground between transcendent and immanent qualities of music. We believe that God is transcendent, and also immanent, and that those traits exist in perfect balance. And our music should reflect this. We are warned that before Christ comes, music styles will be introduced into some of our worship settings that is inspired by Satan. Inspiration tells us: “The things you have described as taking place in Indiana, the Lord has shown me would take place just before the close of probation. Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing. The senses of rational beings will become so confused that they cannot be trusted to make right decisions. And this is called the moving of the Holy Spirit.” “The Holy Spirit never reveals itself in such methods, in such a bedlam of noise. This is an invention of Satan to cover up his ingenious methods for making of none effect the pure, sincere, elevating, ennobling, sanctifying truth for this time. Better never have the worship of God blended with music than to use musical instruments to do the work which last January was represented to me would be brought into our camp meetings. The truth for this time needs nothing of this kind in its work of converting souls. A bedlam of noise shocks the senses and perverts that which if conducted aright might be a blessing. The powers of satanic agencies blend with the din and noise, to have a carnival, and this is termed the Holy Spirit's working. When the camp meeting is ended, the good which ought to have been done and which might have been done by the presentation of sacred truth is not accomplished... I will not go into all the painful history; it is too much. But last January the Lord showed me that erroneous theories and methods would be brought into our camp meetings, and that the history of the past would be repeated. I felt greatly distressed. I was instructed to say that at these demonstrations demons in the form of men are present, working with all the ingenuity

that Satan can employ to make the truth disgusting to sensible people; that the enemy was trying to arrange matters so that the camp meetings, which have been the means of bringing the truth of the third angel's message before multitudes, should lose their force and influence.” “The Holy Spirit has nothing to do with such a confusion of noise and multitude of sounds as passed before me last January. Satan works amid the din and confusion of such music, which, properly conducted, would be a praise and glory to God. He makes its effect like the poison sting of the serpent. Those things which have been in the past will be in the future. Satan will make music a snare by the way in which it is conducted.” 84

The progression we have seen from the transcendent to the immanent focus in music begs the question: “Was there ever a time when both the transcendent and immanent aspects of music were balanced”? Indeed we did have a midpoint where everything was much, much more balanced. And this midpoint was probably from about the 1600’s to the mid 1850’s.85 It is widely understood, even amongst secular historians and musicologists that the renaissance/reformation period from the 14th to the 17th centuries was the flowering of western culture. Maybe we need to look more into how music was composed back at that time. Maybe we should analyze how the meditative, transcendent qualities, and the more emotional, immanent qualities tended to coexist in a much more balanced way then they often do now. By the early 1900’s, some even in the secular classical world realized that western music needed a reset. Romanticism had developed to the point where there were huge, loud orchestras; giant Wagner operas where the big thing was the experience . Some people felt things were getting out of hand and spawned the movement for “neoclassicism” which scaled things back to they way they had been in earlier years. Of course the proponents of “neoclassicism” had no religious agenda at all, they just believed that musically, things needed to be reset. Friends much of our music today, especially our religious music, likewise needs a drastic reset. As we ponder music, we need to be asking what God   wants us to do. We need to train our ears to enjoy music that as accurately as possible reflects the perfect blending of immanence and transcendence that we as Adventists have in a special way been privileged to see in the character of God. This can only be accomplished when we realize our tremendous need of Divine aid. If you are a musician, you have a special responsibility to understand musical history in the light of God’s word, and to glean the lessons that history as taught, to reflect the character of God as accurately as possible in the music you play or sing.

84 Selected 85 Dr

Message, Volume 2, p. 36-38

Wolfgang Stephani, Belief and the Formation of Music, GYC 2004. http://www.hopevideo.com/  catalog/index.php?cPath=43

In a fitting closure to this chapter of musical history, our gaze shifts to heaven as we consider the the last musical last act to be reveled by Inspiration, as the redeemed assemble to praise God: “And the years of eternity, as they roll, will bring richer and still more glorious revelations of God and of Christ. As knowledge is progressive, so will love, reverence, and happiness increase. The more men learn of God, the greater will be their admiration of His character. As Jesus opens before them the riches of redemption and the amazing achievements in the great controversy with Satan, the hearts of the ransomed thrill with more fervent devotion, and with more rapturous joy they sweep the harps of gold; and ten thousand times ten thousand and thousands of thousands of voices unite to swell the mighty chorus of praise....” “The great controversy is ended. Sin and sinners are no more. The entire universe is clean. One pulse of harmony and gladness beats through the vast creation. From Him who created all, flow life and light and gladness, throughout the realms of illimitable space. From the minutest atom to the greatest world, all things, animate and inanimate, in their unshadowed beauty and perfect joy, declare that God is love.”86

86 Great

Controversy p 678

Chapter 4 Identifying Worldly Musical Elements 

I hope that by now it has become more clear that music indeed is not neutral, and that Seventh Day Adventists have a huge responsibility to accurately portray the character of God in music. 87 However we have not yet addressed many specifics of why   certain styles of music are moral or immoral, and exactly what goes on musically to create a good or evil atmosphere. We will attempt to uncover in the this lecture several signatures of worldly music. We will address why they are wrong and how they can be recognized. Suppose I were to sing you the words of “Amazing Grace”, to the tune “All Hail The Power of Jesus’ Name”. (It’s perfectly possible, since the meter of the lyrics is the same for both hymns). How would it sound? Try it yourself and see. Do you you like the way it sounds as well as the original? Likely, you will find that the two don’t seem to go together so well. The subdued flowing melody of Amazing Grace doesn’t seem to fit the more vivacious and energetic words of “All Hail the Power”. Is this observation merely a matter of taste and preference or is something being communicated by the music, apart from what the words have to  say, so that the music for “Amazing Grace”, simply doesn’t convey the right meaning, when assigned the words for “All Hail the Power”? Aristotle once wrote, “Music directly imitates the passions or states of the soul...when one listens to music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an ignoble form.” 88 Plato echoed these thoughts, “Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful, or of him who is ill-educated ungraceful.” 89 Suppose for a moment that you set your kitchen table with a set of very expensive chinaware, and your little 1 year old child walks over grabs the tablecloth making ready to give it a mighty tug. How will you say “no” to that child? Will you say it very high and soft, perhaps with the tone of voice you might use to propose to your girlfriend? Of course not. You would say it kindly, but firmly, with a low, steady voice. For, if that child

87  “Singing,

as a part of religious service, is as much an act of worship as is prayer. The heart must feel the spirit of the song, to give it right expression.”  Patriarchs and Prophets p 594. 88

Donald Grout, A History of Western Music  (Norton, 1988): 7-8.

89

Benjamin Jowett (trans.), The Republic of Plato (Oxford Clarendon Press, 1888): 88.

is young, he will understand your tone of your voice rather then the words you actually said. How would you say “no” to your little brother who is about to run out in front of car? What if you were angry with someone -- how would you say “no” then? Likely with a sharp, short, almost jabbing kind of sound . If you come home to find you’ve won a five million dollar prize, how will you say “no”? You might joyfully squeal or chatter excitedly in a high tone of voice. You would never, in this circumstance, speak with a heavy, growly tone, for there is no heaviness in joy. If you were to arrive home to hear that a close family member had just died, how would you say “no”? It would be an elongated, groaning sort of sound. So we see that the language we speak is made dynamic and interesting by the way we express emotion in our tone of voice. In each of the above examples, we are saying the same word, but the music in the tone of the voice can lend to each of those words a very different type of communication. The scientific study of how music communicates emotion is called Sentics. The study of Sentics was founded by the lauded scientist Dr Manfred Clynes, famed for inventing the color ultrasound, and a sought after lecturer in universities around the world. He found a way to record the expression of 7 different emotions with a machine called a sentigraph. He took his machine around the world and tested it on individuals from many cultures. He found that people of all different ethnic backgrounds, from Mexico, to Indonesia, to Japan, expressed and understood emotion exactly the same way. The way emotion is carried in sound is the reason why no matter where you may visit in the world, even if you don’t speak the local language, you can tell if a local coming toward you is welcoming you, or telling you to get out, based on their tone of voice. Even animals like dogs and birds and other creatures communicate to some degree with by changing the tones of their calls. This is why you can easily tell if a bird is caroling its carefree song, or scolding a cat hiding nearly. Consider with me another example. When a mother is touching a baby to express love, how would she touch? Wouldn’t it be gently? Very softly? It would be a caressing, stroking sort of touch. And it’s a stroke towards yourself, not away from yourself. What if you are watching a playground of young children and see a primary age child go up to another child and make a jabbing, motion towards him. What does he express in that motion? It would likely be anger. Anger and hate are never vented by lounging on a sofa. Neither does anyone express love by punching someone.

Various emotions we experience often manifest themselves with physical characteristics. Grief usually slouches us. Children express joy by skipping, hopping,  jumping for joy. It’s always a light step, for remember, there is no heaviness in joy. Reverence in many asian countries is expressed by a gentle bow. It’s never a jerky motion. It’s always a slow deliberate action. Muslims bow all the way down to their faces to show reverence in a mosque. In the British court, you give a genteel bow to someone of royalty. But with each of these cultures, the bow is a slow deliberate action. Dr Manfred Clynes generated graphs for the various emotions as expressed by people all over the world. The people were asked to sit in a chair and put their finger on a machine that would register finger pressure and movement both vertically and horizontally. And they were asked to touch the machine in a way that corresponded with their expression of a particular emotion. As you study these graphs, (see the accompanying slides) you will notice that the graphic expression of love and grief is similar. This make sense because the two emotions are related. We can only grieve if we have loved. You will notice that from the graphs, reverence is obviously related to love, but reverence is longer and more elongated. Notice that the expression for joy is very light - not much pressure. And it even rebounds or jumps a little after the first dip, almost imitating the way you would jump for  joy. Notice now the passionate emotions, grief, anger, sex. They all have a lot of motion to them. What is the difference between anger and hate in these graphs? Anger isn’t quite as deep on the graph, hate is wider, more intense. Notice that anger is more like a short  jabbing motion, whereas hate has even more intensity to it. This is why you cannot be trained to express anger and hate by caressing. Anger is an innately violent, active, emotion. We are starting to understand that all expressions of emotion and feeling, both in the visual arts and musical arts, end up using these very essentic  forms   in various ways. This is especially true of music. All the music you hear every day uses various expressions of these essentic forms to communicate emotion to you. The famed cellist Dr. Gordon Epperson, professor emeritus of cello at the University of Arizona wrote, "Music is the expression... of the emotions; an aural image of how the feelings feel, how they operate."90

90 —Gordon

Epperson, The Musical Symbol: An Exploration in Aesthetics, 1990, p. 75.

Dr Manfred Clynes, himself an extremely accomplished pianist, lauded by Albert Einstein himself for his profound musical talent, noted: “In producing a melody, a composer places the notes so that they in effect fit the outline of the appropriate essentic form.” 91 "It [music] can touch the heart as directly as can a physical touch. A caress or an exclamation of joy in music needs not to be consciously translated into a touch, caress, or a physical 'jump for joy' to be perceived as of such a quality. It does so directly through perception."92 Dr. Howard Hanson, famed composer and former head of the Eastman School of Music in Rochester, New York, wrote: "Music is made up of many ingredients and, according to the proportion of these components, it can be soothing or invigorating, ennobling or vulgarizing, philosophical or orgiastic. It has powers for evil as well as good." 93 Confucius wrote, "If one should desire to know whether a kingdom is well-governed, if its morals are good or bad, the quality of its music will furnish the answer . . Character is the backbone of our human culture, and music is the flowering of the character." 94 Eddy Manson, Oscar-winning composer, commented: "Even the sex drive is kindled by the right music"95 Music is created by various combinations of sound (chords) which build up expectation. These sounds create an ebb and flow of various amounts of tension, which is what gives music life. When a child comes up to a piano and randomly bangs out discordant notes, we tell them to stop. Why? Because those discordant sounds build up a lot of tension. The graphic forms from Dr Manford Clines that we just analyzed were translated into laboratory sounds via with the help of a prominent physicist. Listen to them carefully. 96 Notice that the sound for anger is a sharp, jabbing sound, just like the physical manifestation of anger in action. The sound for love is a longer, soft, caressing sort of sound, identical to the way a mother would stroke her baby. Joy sounds full of energy and uplift, there is no heaviness there at all. Particularly notice that reverence is a very long protracted sound, bringing to mind a gentle bow. The sound for grief is very much like the sounds a mourner would make. 91 Manfred

Clynes, “When Time Is Music,” Rhythm in Psychological, Linguistic, and Musical Processes, ed. James R. Evans and Manfred Clynes (Springfield, IL, 1986), pp. 184-5. 92 —Manfred 93

Clynes, Sentics: The Touch of the Emotions, 1978, p. 41.

—Dr. Howard Han!son, American Journal of Psychiatry, Vol. 40, 1943, p. 317.

94 —Confucius, 95 (Family 96 96 “The

quoted in The Wisdom of Confucius, ed. Lin Yutang, 1938, p. 272

Weekly, January 30, 1983, p. 15). Touch of Music Part 2”, GYC 2004. http://www.hopevideo.com/catalog/index.php?cPath=39_41

Now let’s look at some of the pieces we had looked at in our first lecture and determine what essentic form was used to convey various emotions.

Rutter The Lord Bless You and Keep You: What is John Rutter trying to say with the essentic form he included in the piece? Notice particularly the music during the words “And give you peace”. What essentic form is he using? Notice how the musical phrases fit the shape for the essentic form of reverence very well. Rutter understands that when we want the Lord to grant us piece, we don’t go up and demand it. We bow down in reverence humbly supplicating the Lord.

Mozart Eine kleine Nachtmusik Romanze - notice the tenderness, the soft stroking of the stringed instruments. What is Motzart trying to depict here? He is giving a musical rendition of the essentic form for tender love. That’s why this piece is called “Romance”. Ferde Grofé, “Grand Canyon Suite, 5th movement, Cloudburst” Notice the sharp  jabbing sound of the percussion. Grofe was trying to imitate the angry sounds of the thunderstorm, and using the essentic form for anger very well. Frédéric Chopin “Valse du petit chien” Notice the jumps, the quick runs, and ascending and descending scales, the vivacious leaps. This song is an expression of the essentic form for Joy. The passionate emotions are primarily represented and do their work in the beat, and the percussive element.97 So if when we’re singing about worshiping God and reverence, that’s when the beat really begins, it completely changes the communication! Much of popular music has the essentic forms for sex and anger in it. Dr Wolfgang Stephani has well illustrated how the the jabbing, pounding sort of a sound that comes from the percussion instruments, as well as the off-beat directly imitates the essentic forms for anger, hate, and sex. 98   When the two emotions of anger and sex are combined, that would suggest things like rape, or sexual violence. Such music will communicate anger no matter what the words say. Because it is angry music, it will make people angry, and more likely to take risks. It will build up tension that people take out upon things or other people. And if we then put words about the love of Jesus to music who’s essentic forms are saying “sex and anger”, we make the love of Jesus out to be a sort of erotic love, which is blasphemy of the highest degree. And that is the the self proclaimed aim of rock music. “Rock and roll aims for liberation and

97 Wolfgang

Stephani,“The Touch of Music Part 2”, GYC 2004. http://www.hopevideo.com/catalog/  index.php?cPath=39_41 98 “The

Touch of Music Part 2”, GYC 2004. http://www.hopevideo.com/catalog/index.php?cPath=39_41

transcendence, eroticizing the spiritual and spiritualizing the erotic, because that is its ecumenical birthright” 99 Dr Manfred Clynes himself, who is not a Christian, has remarked: “When I walk past your churches and hear the music, I hear more of the essentic forms for violence and sex, then I do of love and reverence.” 100 This thought is echoed by many professional musicians from the pop music world. Here are a few examples. Notice that many of them refer not to the rock music in general, but to it’s characteristic beat . Irwin Sibler of Sing Out  magazine said, “The great strength of rock & roll lies in its beat. It is a music which is basically sexual, unpuritan...” 101 Jan Berry of Jan and Dean says, “The throbbing beat of rock provides a vital sexual release for adolescent audiences” 102 Rocker David Bowie says regarding his music: “I believe rock 'n roll is dangerous, it could very well bring about a very evil feeling in the west...it's got to go the other way now, and that's where I see it heading, bringing about the dark era... I feel that we are only heralding something even darker than ourselves. Rock 'n' roll lets in lower elements and shadows that I don't think are necessary. Rock has always been the Devil's music, you can't convince me that it isn't.” 103 Blacky Lawless of W.A.S.P says this about rock and roll: “Rock 'n' Roll is an aggressive art form, pure hostility and aggression. I believe in that like a religion.” 104 The manager of the Rolling Stones said this: “Rock IS sex. You have to hit teenagers in the face with it!” 105 Debra Harry of Blondie   says, “The main ingredients in rock are sex and [expletive removed]” 106

99 Robert

Palmer, Rock & Roll an Unruly History, p. 72.

100 As

Quoted by Wolfgang Stephani, in his presentation: “The Touch of Music Part 2”, 32:40, presented at GYC 2004. http://www.hopevideo.com/catalog/index.php?cPath=39_41 101 Sing

Out, May 1965, p. 63.

102 cited

by Blanchard, Pop Goes the Gospel.

103

Rolling Stone (1972).

104

Blacky Lawless, in an interview with Washington Post  (February 8, 1987): F2.

105 TIME 106 Hit

(April 28, 1967): 53.

Parader, Sept. 1979, p. 31.

Chris Stein, lead guitarist for Blondie says, “Everyone takes it for granted that rock and roll is synonymous with sex” 107 Rapper Luke Campbell of 2 Live Crew says, “The sex is definitely in the music, and sex is in all aspects in the music.” 108 Rocker Tom McSloy says: “Rock is visceral. It does disturbing things to your body. In spite of yourself, you find your body tingling, moving with the music” 109 Paul Stanley said, “Rock ‘n’ roll is sex. Real rock ‘n’ roll isn’t based on cerebral thoughts. It’s based on one’s lower nature” 110 John Oates of Hall & Oates says, “Rock ‘n’ roll is 99% sex”. 111 Debbie Harry, of the rock band Blondie said, “Rock 'n' roll is all sex. One hundred percent sex”.112 Rock star Ted Nugent said, “Rock is the total celebration of the physical”. 113 Allan Bloom, author of The Closing of the American Mind, wrote: “... rock music has one appeal only, a barbaric appeal to sexual desire”.114 Simon Frith, author of Sound effects, said, “We respond to the materiality of rock’s sounds, and the rock experience is essentially erotic”.115 Dr. David Elkind, chairman of the Eliot-Pearson Department of Child Study at Tufts University in Massachusetts, said: “There is a great deal of powerful, albeit subliminal, sexual stimulation implicit in both the rhythm and [the] lyrics of rock music”.116

107 People, 108

May 21, 1979.

http://www.wayoflife.org/database/opposedtoccm.html

109 Tom

McSloy, “Music to Jangle Your Insides,” National Review, June 30, 1970, p. 681.

110 cited

by John Muncy, The Role of Rock, p. 44.

111 Circus,

Jan. 31, 1976).

112 Cited

by Carl Belz, “Television Shows and Rock Music,” as it appeared in The Age of Communication, William Lutz, 1974, p. 398 113 Rolling 114 The

Closing of the American Mind, p. 73.

115 Sound 116 The

Stone, Aug. 25, 1977, pp. 11-13

Effects, New York: Pantheon Books, 1981, p. 164.

Hurried Child, Reading, Mass.: Addison Wesley Publishing Co., 1981, p. 89.

Frank Zappa of the Mothers of Invention said, “Rock music is sex. The big beat matches the body’s rhythms”.117 Malcolm McLaren, punk rock manager, said: “Rock ‘n’ roll is pagan and primitive, and very jungle, and that’s how it should be! The moment it stops being those things, it’s dead ... the true meaning of rock ... is sex, subversion and style”. 118 Adam Ant says, “Pop music revolves around sexuality. I believe that if there is anarchy, let’s make it sexual anarchy rather than political” 119 Gene Simmons of Kiss said, “That’s what rock is all about—sex with a 100 megaton bomb, the beat!” 120 The beat of which these individuals speak has it’s roots in the dance music of ancient pagan rituals. Robert Palmer is the chief advisor for the “History of Rock ‘n’ Roll” broadcast and a contributing editor for Rolling Stone   magazine. He made the revealing statement regarding these beats, “the idea that certain rhythm patterns or sequences serve as conduits for spiritual energies, linking individual human consciousness with the gods, is basic to traditional African religions…the fundamental riffs, licks, bass figures, and drum rhythms that make rock and roll can ultimately be traced back to African music of a primarily spiritual or ritual nature. In a sense, rock and roll is a kind of voodoo.”121 In a report to the Canadian Association of Music Therapy, Dr. Walter Wright, Ontario psychiatrist, wrote: "The tempo of the voodoo drums has been known to make a listener powerless to resist the music's pounding beat... At rock concerts when the tempo of the music hits a certain pitch, it brings a psychological response which the audience is unable to resist." 122 Gerard Henri Béhague was a leading American ethnomusicologist. His specialty was the music of Brazil and especially Candomblé -- the African originated tribal music practiced in parts of Brazil. He wrote: “The drums have the primary religious function of calling the gods, and thus of bringing on spirit possession.”123   Anthropologist Harold Courlander wrote: "It is the rhythm identified with each god that is a primary instrument 117 Life,

June 28, 1968.

118 Rock,

August 1983, p. 60.

119 From

Rock to Rock, p. 93.

120 Entertainment 121

Tonight, ABC, Dec. 10, 1987.

Robert Palmer, Rock and Roll An Unruly History, page 53

122 Walter 123 See

Wright, M.D., Calgary Herald, May 19, 1976.

G. Behague, "Patterns of Condomble Music Performance: An Afro-Brazilian Religious Setting," Performance Practice Ethno-musicological Perspectives, 1984, p. 231.

in summoning him. And no worship of the gods is possible without the rhythms that call and speak for the god.”124 Fredric Lieberman is an American musicologist, composer, professor at University of California Santa Cruz, and co author of the book Planet Drum.  He wrote: "Those cultures that choose to access the domains of the spirit world have often used some form of rhythmically controlled noise to facilitate the communion.” “The shamans say they 'ride their drum' to the World Tree. The classic possession cultures say that the Orisha, the ancestor spirits, ride the rhythm of the drum down into the dancing bodies. It is called the trance drum.” 125 Lieberman goes on to illustrate how this style of drumming came to America. "When they [the Africans] came to America, in those places where Africans were allowed to keep their drums, it mutated into candomblé, santería, and vóden. In America, where the drums were prohibited for many generations, this legacy of possession-trance dance rhythm became jazz, rock and roll, rock, and then hard rock." 126 (emphasis mine) In his book Tuning the Human Instrument, Steven Halpern reports his findings regarding the Rock beat. The rock rhythm, he wrote, “Has a definite weakening effect on the subject’s strength.... This effect held true whether the subject liked the style of music or not... a common denominator cutting through most subjective reactions is that of sexual arousal.”127 This idea is further supported by a study published in Psychology Today, which reveals how “drumming may produce these powerful [sexual] effects by actually driving the brain’s electrical rhythms.” 128 Salem Kirban explains exactly how this process occurs: “Rock music appeals to the body’s glands and sensuous nature. The low frequency vibrations of the bass guitar . . . the driving beats of the drum have a direct effect on the pituitary glands. The pituitary gland produces hormones that control the sexual responses of male and female. With the incessant beat of rock music, a radical imbalance occurs in the brain. The end effect is an overload of hormones that can cause moral inhibitors either to drop or to be wiped out completely.” 129

124 See

Harold Courlander, A Treasury of Afro !American Folklore, 1976.

125 Hart,

Lieberman, and Sonneborn, Planet Drum: A Celebration of Percussion and Rhythm, p. 102.

126 Hart,

Lieberman, and Sonneborn, Planet Drum: A Celebration of Percussion and Rhythm, p. 138.

127

Stephen Halpern, Tuning the Human Instrument  (Belmont, CA, 1978), p. 45. 128 Anne 129

H. Rosenfeld, “Music, the Beautiful Disturber,” Psychology Today  (December 1985), p. 54.

Salem Kirban, “Rock Music and Big Business,” in Lowell Hart, Satan’s Music Exposed (Chattanooga, TN 1981), p. 45.

Joseph Crow, a researcher from the University of Seattle observed: “Rock is a use of music based on mathematical formulae to condition the mind through calculated frequencies (vibrations), and it is used to modify the body chemistry to make the mind susceptible to modification and indoctrination. Rock music can be (and is) employed for mindbending, reeducation, and re-organization.” 130 Similarly, Little Richard, “The architect of rock and roll” 131  was very open about where his music came from. He stated, “My belief about Rock ‘n’ Roll is this: I believe this kind of music is demonic… A lot of the beats in music today are taken from voodoo.” 132  He also believed that he was “directed and commanded by another power, the power of darkness, the power of the devil, Satan.”133   When asked about Christian rock music he said, “Rock ‘n’ roll doesn’t glorify God. You can’t drink out of God’s cup and the devil’s cup at the same time. I was one of the pioneers of that music, one of the builders. I know what the blocks are made of because I built them.”134 Harvey Bird (Fairleigh Dickinson University) and neurobiologist Dr. Gervasia Schreckenberg (Georgian Court College) studied the effect of different types of music on the ability of mice to find food in a maze. One group of mice heard voodoo music and another heard Strauss Waltzes, both of which were played quietly. The third group received silence. By the end of the study, the mice that listened to voodoo had become completely lost in the maze and could no longer find food, while the mice listening to the Waltzes did slightly better than those with silence. All groups then received a break of complete silence for three weeks, and subsequently were reintroduced into the maze. The voodoo music group still got lost, but the others had no difficulty navigating the maze. Finally, the brains of the mice were examined. The voodoo group exhibited excessive branching of the neuronal dendrites and significant increases in mRNA. Dr. Schreckenberg explains, “We believe that the mice were trying to compensate for this constant bombardment of disharmonic noise.” “They were struggling against the chaos. If more connections among the neurons had been made, it would have been a good thing. But instead there were no more connections, just wild growth of the neurons. …  As a result of the exposure to the disharmonic sounds, we believe there was less capacity for memory in the exposed mice.” 135 

If any doubt remains about the ability of music to manipulate the mind, ask the film industry. Eddie Manson, Oscar-winning composer and one-time president of the American Society of Music Arrangers has  said, "We manipulate people like crazy.... 130

Quoted in Leonard Seidel, Face the Music (Springfield, VA, 1988), p. 64.

131

http://www.rockhall.com/inductee/little-richard accessed August 24, 2012s

132

Charles White, The Life and Times of Little Richard , page 197

133

Ibid, page 205

134

The Dallas Morning News, Oct. 29, 1978, page 14A

135

Insight Magizine, April 4, 1988

Every film composer mixes his experiences with a talent for musical manipulation, and then projects that Machiavellian power gut to gut." 136 In fact, research done at Stanford University found that the most powerful stimulus for evoking thrill-like sensations was music.137 Dr. Adam Knieste, a musicologist, noted: "It's really a powerful drug. Music can poison you, lift your spirits, or make you sick without knowing why."138 "Music is used everywhere to condition the human mind. It can be just as powerful as a drug and much more dangerous, because nobody takes musical manipulation very seriously."139 If someone watches a terror scene in a movie, and they know it’s fake, why do they so often still get sweaty? The genuine and skillful expression of the essentic forms for emotion in music are so strong that they bypass our conscious mind and frequently render us unable to tell the difference between what is on the screen and real life. When hollywood puts music to a movie, they are assuming that the soundtrack will affect all the people in the world exactly the same way. It’s a critical assumption to get right the first time, for millions of dollars are at stake. If Hollywood’s assumption that the music will affect all cultures the same way is flawed, the success of the film is ruined. Some people will be laughing, others will be crying and the message of the film will be totally destroyed. Hollywood assumes their music will be communicating transculturally, which it does very well. It is important at this point to explain that there are scores of musical genres that use variations of the Rock beat; it’s not just peculiar to Rock and Roll. The rock beat in all its various forms is positively harmful to us, as quite a body of research has evidenced. Even “tame” forms of the rock beat still contain the essential elements that harm the body, mind, and ultimately, the character. In his book, The Secret Power of Music, David Tame observed that “there is scarcely a single function of the body which cannot be affected by musical tones”; and that, more than any other influence on our bodies, music can “change metabolism, affect muscular energy, raise or lower blood pressure, and influence digestion.” “Music is the language of languages. It can be said that of all the arts, there is none that more powerfully moves and changes the consciousness.”140

136

Family Weekly , January 30, 1983, page 15

137

Physiological Psychology , 1980, Vol. 8 (1), pages 126 - 129, Avram Goldstein

138

Family Weekly , January 30, 1983, page 12, article by David Chagall

139

Family Weekly , January 30, 1983, page 15

140

The Secret Power of Music: The Transformation of Self and Society Through Musical Energy, pages 136-138; 151.

Chapter 5 Making Wise Musical Choices 

The type of Christian music that God approves is well summed up in Ephesians: “Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.” 141 In this chapter, we will try to make some practical applications of what we have learned in the previous four lectures. Many of you likely do not listen to outright rock music. But perhaps we may be listing to music that incorporates elements of rock without even knowing it. Christian Contemporary Music originated in the 1960’s as a melting pot of various elements of pop, rock, and Christian music genres. 142 The flagship magazine of CCM states their position on music styles as follows: “We hold these truths to be self-evident, that all music was created equal, that no instrument or style of music is in itself evil--that the diversity of musical expression which flows forth from man is but one evidence of the boundless creativity of our Heavenly Father”.143 Further, the magazine stated, “There’s no such thing as Christian music. That’s because all kinds of music are capable of expressing Christian thought. It’s not the music that’s Christian, it’s the lyrics”. 144 Wikipedia comments, “The genre that would eventually be known as Contemporary Christian music came from the Jesus movement revival of the latter 1960s and early 1970s, and was originally called "Jesus music". "About that time, many young people from the sixties' counterculture professed to believe in Jesus. Convinced of the bareness of a lifestyle based on drugs, free sex, and radical politics, 'hippies' became 'Jesus people'". Of course there were people who felt like Jesus was another "trip". "The 'Jesus Movement' of the 1970s was when things really started changing and Christian music began to become an industry within itself." "Jesus Music" started by playing instruments and singing songs about love and peace, which then translated into love of God. Paul Wohlegemuth, who wrote the book Rethinking the Church said, “[the] 1970s will see a marked acceptance of rock-influenced music in all levels of church music. The rock style will become more familiar to all people, its rhythmic excesses will become refined, and its earlier secular associations will be less remembered.”145

141

Ephesians 5:19

142

http://en.wikipedia.org/wiki/Contemporary_Christian_music

143

CCM Magazine, November 1988, p. 12

John Styll, “What Makes Music Christian,” CCM Magazine, June 1991, p. 22; reprinted from the April 1987 issue; Styll is the Founder and Executive Editor of CCM Magazine and President of the Gospel Music Association 144

145

http://en.wikipedia.org/wiki/Contemporary_Christian_music

Maranatha! Music published and popularized many of the songs that are commonly sung today as worship songs in church. Few people however, realize how these songs actually came to be. In the early 1970’s, hippies who thought themselves converted to Christianity and began to write worship songs with a “folk-rock style”. 146  Maranatha! Music was formed at this time to publish and promote this new style of music according to wikipedia. 147 The trouble with much of the CCM music of our day is that, as wikipedia points out, 148 much of it is simply watered down rock music. It still contains the essential element of rock - a rhythmic emphasis on the off beat. The emphasis may not be as flagrant as with some rock styles, but that really makes the music all the more dangerous. It deadens our perceptions little by little, so that when more blatant forms of the beat are introduced, they don’t seem as shocking or as wrong. Whether it’s a little offbeat, or a lot of offbeat, you’ve still got the same fundamental ingredient. Notice the following comments. Bill Haley, one of the founders of rock music149  said: “I felt that if I could take a ... tune and drop the first and third beats and accentuate the second and fourth, and add a beat the listeners could clap to as well as dance this would be what they were after” 150 (Notice that rock is founded upon an accentuation of the off beats, the 2nd and 4th beats in the above example.) Elvis Presley testified: “It’s the beat that gets to you. If you like it and  you feel it, you can’t help but move to it. That’s what happens to me. I can’t help it” 151 Rock band Huey Lewis and the News, sang “When they play their music, ooh that modern music, they like it with a lot of style; but it's still that same old backbeat rhythm that really, really drives 'em wild”152 Chucck Berry, anther of the pioneers of rock music, sang: “Just let me hear some of that rock'n'roll music...It's got a backbeat, you can't lose it” 153

146

http://en.wikipedia.org/wiki/Maranatha!_Music

147

http://en.wikipedia.org/wiki/Maranatha!_Music

148

http://en.wikipedia.org/wiki/Maranatha!_Music

149 http://en.wikipedia.org/wiki/Bill_Haley 150 Bill

Haley, cited by Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, p. 14.

151 cited

by Steve Turner, Hungry for Heaven, p. 35.

152 “The

Heart of Rock & Roll”, by Rock band Huey Lewis and the News.

153 “Rock'n'Roll

Music”, by Chuck Berry.

Billy Ray Hearn, the founder of Sparrow Records, (publisher of music by Amy Grant, Steve Green, Michael Card, Twila Paris, etc) stated: “We take the music of the street and apply Christian lyrics to it” 154 How can we knowingly take the music of the street, music which incorporates the same beats that drive rock music, music that incorporates the essentic forms for violence and sex, and call it Christian? Most of CCM today incorporates the offbeat, the very beat which drives rock music. Remember the statement from CCM magazine: “We hold these truths to be self-evident, that all music was created equal, that no instrument or style of music is in itself evil. 155 This is the self proclaimed philosophy of CCM. And by now, I hope you can see that it is fatally flawed. All music created equal? Science doesn’t say so (see the 4th lecture and 2nd lecture). The Bible doesn’t say so (see our 2nd lecture). Musical performers don’t say so (see the 4th lecture). The Spirit of Prophecy doesn’t say so (see the 3rd lecture). Even composers themselves don’t say so. Dr. Howard Hanson, American composer, conductor, and teacher, Director of the Eastman School of Music at the University of Rochester, said “Music is a curiously subtle art with innumerable, varying emotional connotations. It is made up of many ingredients and, according to the proportions of these components, it can be soothing or invigorating, ennobling or vulgarizing, philosophical or orgiastic. It has powers for evil as well as for good” 156 Dr. Tiomkin, a famous composer and conductor wrote, “Now in our popular music, at least, we seem to be reverting to savagery ... and youngsters who listen constantly to this sort of sound are thrust into turmoil. They are no longer relaxed, normal kids” (Los Angeles Herald-Examiner, Aug. 8, 1965;). Robert Shaw, grammy award winning conductor of the Cleveland Orchestra and Chorus, and the Atlanta Symphony Orchestra and Chorus, said “I can’t see how any of the arts can be neutral”.157 Composer Dr. Frank Garlock comments, “Common sense tells us that music is not neutral, that all music is not the same. Such an idea is strictly contrary to our experiences in life. There is sensual music and spiritual music, music for partying and music for worship, music for marching and music for dancing, music for romance and 154 Cited

by Ric Llewellyn, “Christian Rock,” Foundation, Vol. VI, Issue 2, 1985, p. 16.

155 CCM

Magazine, November 1988, p. 12

156 (American

Journal of Psychiatry, Vol. 99, p. 317; the quotation is from an address entitled “A Musician’s Point of View Toward Emotional Expression,” delivered by D r. Hanson at the 98th annual meeting of the American Psychiatric Association) 157 Kurt

Woetzel, “Is Music Neutral? An Interview with Robert Shaw,” distinguished choral music director, FrontLine, September-October 1998, p. 11

music for warfare. The notes and components of music are neutral, but when these are arranged into a pattern, that piece of music no longer is neutral but becomes a voice, a language. “Just as vowels and consonants can become blasphemy and pen and paper in the hand of an artist can become pornography, so notes and rhythm, in the hands of a composer or artist, can become sensual” (Frank Garlock, Music in the Balance, p. 100). Dan Lucarini, a former contemporary praise leader, commented: “I am now convinced that God will not accept our worship when it is offered with music styles that are also used by pagans for their immoral practices. ... He is a jealous God. If you grasp this principle alone, it will change for ever the way you lead a worship service”. 158 Frighteningly, many CCM musicians themselves openly admit to listening to secular rock musicians. Ashely Cleveland is an American singer and songwriter best known as a background vocalist and Grammy winning gospel singer. She said the the music on her stereo includes, “Living With Ghosts, Patty Griffin; What’s The Story Morning Glory, Oasis; Exile On Main Street, the Rolling Stones”.159 CCM band Caedmon’s Call said their greatest love in music is secular rock. They mentioned Indigo Girls, Shawn Colvin, David Wilcox, The Police, Fishbone, 10,000 Maniacs (Lighthouse Electronic Magazine). Cliff Young said one of his favorites is the foul-mouthed Alanis Morrisette.160 Steve Camp, a very prominent Dove awarded CCM musician of the 1980’s and 1990’s says, “I’ll have a Foreigner 4 album going in my car.” He also says: “I am dedicated to good music whether it’s pop, Christian, gospel, R&B, blues, jazz, classical, rock or whatever. I just love good music”. 161 The grammy winning CCM group Dc Talk, said to have been the most popular “Christian” band of all time,162 had musical role models including the secular rock groups Beatles, David Bowie, and The Police. Dc Talk’s Kevin Smith said that he listens to mostly secular rock music (Flint Michigan Journal, March 15, 1996, B19). Dc Talk opened its “Jesus Freak” concerts with the Beatles’ song “Help.” They also performed Jimi Hendrix’s Purple Haze. Hendrix was a drug-crazed New Age occultist. Toward the end of their concerts dc Talk played the rock song “All Apologies” by the wicked secular

158 Lucarini,

Confessions of a Former Worship Leader, p. 57

159

http://www.ashleycleveland.com/acfacts.htm

160

http://www.wayoflife.org/index_files/651dfa91d1ff987adcb7d8a2f856885c-1071.html

161

Steve Camp, MusicLine magazine, Feb. 1986, p. 22

162

http://en.wikipedia.org/wiki/DC_Talk

rock group Nirvana, formerly led by Kurt Cobain, a drug-crazed young man who committed suicide. Following are some statements form Dc Talk’s musical role model, the Beetles. The press officer for the Beatles, Derek Taylor, said, "They're completely anti-Christ. I am anti-Christ as well, but they're so anti-Christ they shock me, which is't an easy thing. 163 Paul McCartney stated: "We probably seem to be anti-religious ... none of us believes in God".164 John Lennon said: "Christianity will go, it will vanish and shrink. I needn't argue about that. I'm right and will be proved right. We're more popular than Jesus...” 165 And John Lennon stated: "I've sold my soul to the devil". 166 The popular Dove and Grammy award winning CCM group Jars Of Clay, names Jimi Hendrix and the Beatles as their inspiration. 167 The lead guitarist for Jars of Clay is said to be a “Beatles fanatic”.168 When asked by Christianity Today to list their musical influences Jars of Clay members “listed no Christian artists”.169  During their concerts, Jars of Clay has performed “Crazy Train” by Ozzy Osbourne, the filthy-mouthed former lead singer for the occultic rock group Black Sabbath. Any Grant said, “I love to hear Billy Joel, Kenny Loggins and the Doobie Brothers” (All of whom are rock musicians). 170 CCM star Dana Key (of Degarmo & Key) says that he has been influenced most by B.B. King, Jimi Hendrix, and Billy Gibbons (of ZZ Top).171 English CCM band Delirous, chose musical heroes including “Radiohead, Blur and other big British modern rockers”.172

163

The Saturday Evening Post, August 8, 1964

164

Hit Parader, January 1970

165

San Francisco Chronicle, April 13, 1966

166

Lennon, by Ray Coleman, pg. 256

167

Dann Denny, “Christian Rock,” Sunday Herald Times, Bloomington, Ind., Feb. 8, 1998

168

Christian News, Dec. 8, 1997

169

Christianity Today, Nov. 15, 1999

170

Time, March 11, 1985

171

CCM Magazine, January 1989, p. 30

172

CCM magazine, July 1999, p. 39

When asked what is currently in her CD player, CCM singer Chrystal Lewis replied: “Michael Jackson, Thriller; Billy Holliday; Led Zeppelin; Radiohead, Ok Computer; Radiohead, Kid A; and Sting, Nothing Like the Sun.173 Michael Herman of Christianity Today asked the members of grammy award winning CCM band Third Day to “name a musician you’d pay to see in concert.” All five members of the band named secular rockers. Tai named U2; Brad, the Cars; David, Phil Collins; Mac, Tom Petty; and Mark, George Harrison.174 P.O.D. is a rock band that Encyclopedia of Contemporary Christian Music  has described as "One of the biggest success stories in recent Christian music." 175 Their group’s lead vocalist said, “Jesus was the first rebel. He was the first punk rocker going against all the rest of it”. 176 Elsewhere, he is quoted as saying, “I like Slayer. I like Manson. I like music and this dark imagery”.177 P.O.D. guitarist Marcos says, “You know, everyone is free to rock ---. When we go on stage we go crazy. We are like four guys you should put in a mental hospital”.178 Michael W Smith, at a Full Gospel Business Men’s meeting said he was “slain in the spirit” for 15 minutes and “laughed all the way home”.179  Another time he felt “a bolt of electricity go through my body from the top of my head to my t oes--wham!” He also started laughing uncontrollably--“rolling on the floor”, “hyperventilating” on that occasion. Inside Magazine interviewed Smith in 1991. The interviewer said: “There’s also the influence of such groups as Alan Parsons in your music”.180  Smith’s quick reply was “Definitely!” (Alan Parsons is an extremely evil rock musician. One of his songs is openly titled “Lucifer.”) In 1993, Smith said, “... you’re always going to have those very, very conservative people. They say you can’t do this; you can’t do that … you can’t drink; you can’t smoke. ... It’s a pretty bizarre way of thinking”. 181 Dan Lucarini, who was formerly a contemporary worship leader, says: “We took teens to concerts given by popular CCM artists. These were not the ‘radical’ heavy metal or hip173

“Ten Questions with Chrystal Lewis,” CCM Magazine, March 2002

174

“Guy Talk” interview posted at Christianity Today web site, Feb. 26, 2002

175

http://en.wikipedia.org/wiki/P.O.D.

176

Sonny of P.O.D., www.shoutweb.com/interviews/pod0700.phtml

177 2001

interview with Theresa McKeon of Shoutweb titled “P.O.D. The Fundamental Elements of God

Rock”. 178 Interview

with Hwee Hwee Tan of Singapore, October 2002.

179 Charisma, 180 Inside 181 The

April 2000, p. 55

Music, January/February 1991, p. 23

Birmingham News, Feb. 1993, p. 1B

hop artists, but the middle-of-the-road performers who seemed to be good role models. But we noticed that the artists, probably under the influence of their recording companies, imitated secular artists in music, concert performance techniques, dress, hairstyle and merchandising. Everything seemed to be geared to making money by winning fans. The poor teens were manipulated in the same way as when they were listening to their secular teen idols. They were hooked in the beginning by safe, careful lyrics and moderate music but the artists always progressed to an edgier, rockier and harder music style with a lifestyle and image to match. And the teens followed along. The CCM artists became role models for different kinds of immorality: indecent dress, rebellious images, improper crushes on married men by young girls, lustful interest in sexy females by adolescent males”.182 Apart from the beat, there are three ways you can identify the singers with a worldy style. 1) Scooping. It is one of the most popular methods for producing a dance hall effect.183 Charles Henderson, a popular songwriter and arranger of the 30’s wrote in his book How to Sing for Money: “Scooping’ (sliding up to a note from an attack below its true pitch) is common practice... as a swing effect.” 184 Charles Brown, one of the early influences on rock music,185  and author of the book Th e Art of Rock and Roll, commented, “some people have characterized these vocal slides as sexual utterances”. 186

2) Flipping above and below the written melody line. 187 Charles Henderson wrote, “The classically trained singer has an ingrained respect for any written melody, and hesitates to tamper with it. The born swinger, on the other hand, looks on written melody as simply a convenient starting point for his variations.”188 3) A breathy voice.189 The technique of singing with a breathy whispery tone give a feeling of closeness. It results in the perception that the singer is in your personal space in a intimate sort of way. Charles Brown, wrote of Elvis Presley: “By softening his

182 Lucarini, 183 Dr

Frank Garlock and Kurt Woetzel, Music in the Balance, p 93.

184 How 185

Confessions of a Former Worship Leader, p. 117.

to Sing for Money, p 36

http://rockhall.com/inductees/charles-brown/bio/ 

186 The 187 Dr

Art of Rock and Roll, p 68

Frank Garlock and Kurt Woetzel, Music in the Balance, p 94.

188 How 189 Dr

to Sing for Money p 85.

Frank Garlock and Kurt Woetzel, Music in the Balance, p 94.

voice for certain passages he could create a personal effect, which made the women in the crowd feel that he was singing directly to them.” 190 If you listen to much CCM, you will find that these effects are nearly as prevalent in supposedly “Christian” songs, as they are in the secular rock and pop world. Yet another reason to avoid CCM is it’s association with the Charismatic movement within Christianity. Charisma   magazine, February 1994, stated: “Today, praise music has entered the mainstream. Songs that were only sung in charismatic churches a few years ago are now heard throughout mainline and non-charismatic churches.” Wilson Ewin likewise comments, “Shortly after it began to emerge in 1901, Pentecostalism sensed through some strange form of intuition that success would come through emotionally-charged music. The first pattern was jazz. Speaking of the years 1901 to 1914, Howard Goss said, ‘Without it (Jazz) the Pentecostal movement could never have made the rapid inroads into the hearts of men and women as it did. Neither could we have experienced a constant victorious revival over the fifty years’.191  He also noted: ‘It was generally not the conventional church hymn singing of that era. Entirely unpretentious, there appeared to be neither poetry nor musicianship in the composition. But, there was something far more effective than either. ... We were the first, so far as I know, to introduce this accelerated tempo into gospel singing’.192  This Pentecostal leader should know for he was the most prominent among the early founders of the Movement”.193 Ronnie Dawson, one of the 1950s rockabilly stars, started playing electric guitar at an Assemblies of God church. Of rockabilly he says: “It’s very similar to the Assembly of God kind of church music, and things that I had taken part in c hurch”.194 But now know that rock music isn’t church music. Even secular rock star Lita Ford, recognized this when she said, "Listen, rock'n roll ain’t church. It's nasty business. You gotta be nasty too. If you're goody, goody, you can't sing or play it. . ."195 Secular people realize this. Time magazine titled an article regarding CCM, "New Lyrics for the Devil’s Music".196 God wants our music to be distinct from the world. It should sound different. The Bible says, “And even things without life giving sound, whether pipe or harp, except they give a distinction in the sounds , how shall it be known what is piped or harped? For if the 190 The

Art of Rock and Roll p. 68

191 Howard 192

Goss, The Winds of Change, p. 212

Howard Goss, The Winds of Change, p 207, 208

193 Wilson

Ewin, The Pied Piper of the Pentecostal Movement, 1986, pp. 49-51

194 Unknown 195 Los

Legends of Rock ‘n’ Roll, p. 15

Angeles Times, August 7, 1988.

196 Time

March 11, 1985 p.60.

trumpet give an uncertain sound, who shall prepare himself to the battle?” 197 (emphasis mine). Alan Ives, a former rock & roller, stated the facts succinctly: “How do you understand what good Christian music is? It ought to sound different from the rock station, the easy listening station, the entertainment music. When we sing gospel songs in the good old fashioned way, they don’t sound like anything that the world sings. That’s the way we need to keep it. We can never portray the peace of the Lord with wild, discordant, violent sounds. We can never speak of the love of God with hateful music, the goodness of the Lord with bad music, the majesty of God with low class music, the power of God with puny music, the wisdom of God with stupid music, the holiness of God with unholy music. We can never speak of godliness with ungodly music, of heavenly things with earthly, sensual and devilish music. And we can never speak of being a soldier if we use dance music” 198 The Spirit of Prophecy makes some very helpful statements regarding what types of music are, and are not, suitable for a christian.

1) Good music involves singing in harmony where possible. Singing is a part of the worship of God, but in the bungling manner in which it is often conducted, it is no credit to the truth, and no honor to God. There should be system and order in this as well as every other part of the Lord's work. Organize a company of the best singers, whose voices can lead the congregation, and then let all who will, unite with them. Those who sing should make an effort to sing in harmony; they should devote some time to practice, that they may employ this talent to the glory of God. 199

2) Good music involves clear intonation, correct pronunciation, and distinct utterance, as opposed to loud singing. “When human beings sing with the spirit and the understanding, heavenly musicians take up the strain, and join in the song  of thanksgiving. He who has bestowed upon us all the gifts that enable us to be workers together with God, expects His servants to cultivate their voices, so that they can speak and sing in a way that all can understand. It is not loud singing that is needed, but clear intonation, correct pronunciation, and distinct utterance. Let all take time to cultivate the voice, so that God's praise can be

197 1

Corinthians 14:7,8

198 Alan

Ives, “The Difference between Good and Bad Music”. http://www.momof9splace.com/  goodbadmusic.html 199 Evangelism

p 506

sung in clear, soft tones, not with harshness and shrillness that offend the ear. The ability to sing is the gift of God; let it be used to His glory.” 200

3) Good church music involves instruments, and as often as possible, the voices of the entire congregation. Ellen White considered the guitar, appropriately played as acceptable church music. “In the meetings held, let a number be chosen to take part in the song service. And let the singing be accompanied with musical instruments skillfully handled. We are not to oppose the use of instruments of music in our work. This part of the service is to be carefully conducted; for it is the praise of God in song. The singing is not always to be done by a few. As often as possible, let the entire congregation join...” 201 “Here a plan quite common in Sweden, but new to us, was adopted to supply the lack of an organ. A lady who occupied a room adjoining the meeting-hall, and who had charge of the building, was a skillful player on the guitar, and possessed a sweet, musical voice; at public worship she was accustomed to supply the place of both choir and instrument. At our request she played and sung at the opening of our meetings.” 202

4) Songs that create an atmosphere for “corse laughter” and “mirth” are not suitable for Christian listening.   (Webster's 1828 Dictionary defines mirth as: “Social merriment; hilarity; high excitement of pleasurable feelings in company; noisy gayety;  jollity. Mirth differs from joy and cheerfulness, as always implying noise”. “A view of one such company was presented to me, where were assembled those who profess to believe the truth. One was seated at the instrument of music, and such songs were poured forth as made the watching angels weep. There was mirth, there was coarse laughter, there was abundance of enthusiasm and a kind of inspiration; but the  joy was such as Satan only is able to create. This is an enthusiasm and infatuation of which all who love God will be ashamed. It prepares the participants for unholy thought and action. I have reason to think that some who were engaged in that scene heartily repented of the shameful performance.” 203

5) “Frivolous songs” and “popular” sheet music are not suitable for Christians, Nor is music that diverts the mind from prayer.

200 Gospel

Workers p 357

201 Gospel

Workers p. 357

202 Historical

Sketches of the Foreign Missions of the Seventh-day Adventists p. 194

203 Adventist

Home p 514

“I was shown that the youth must take a higher stand and make the word of God the man of their counsel and their guide. Solemn responsibilities rest upon the young, which they lightly regard. The introduction of music into their homes, instead of inciting to holiness and spirituality, has been the means of diverting their minds from the truth. Frivolous songs and the popular sheet music of the day seem congenial to their taste. The instruments of music have taken time which should have been devoted to prayer. Music, when not abused, is a great blessing; but when put to a wrong use, it is a terrible curse. It excites, but does not impart that strength and courage which the Christian can find only at the throne of grace while humbly making known his wants and, with strong cries and tears pleading for heavenly strength to be fortified against the powerful temptations of the evil one. Satan is leading the young captive. Oh, what can I say to lead them to break his power of infatuation! He is a skillful charmer, luring them on to perdition.” 204

6) “Harsh”, “discordant”, and careless singing do not mimic the music of heaven. “I have been shown the order, the perfect order, of heaven, and have been enraptured as I listened to the perfect music there. After coming out of vision, the singing here has sounded very harsh and discordant. I have seen companies of angels, who stood in a hollow square, everyone having a harp of gold. At the end of the harp was an instrument to turn to set the harp or change the tunes. Their fingers did not sweep over the strings carelessly, but they touched different strings to produce different sounds. There is one angel who always leads, who first touches the harp and strikes the note, then all join in the rich, perfect music of heaven. It cannot be described. It is melody, heavenly, divine, while from every countenance beams the image of Jesus, shining with glory unspeakable.”205

7) Waltzes, flippant songs that extoll man, and frivolous ditties fit for the dance hall are not appropriate listening for a Christian. The true Christian will not desire to enter any place of amusement or engage in any diversion upon which he cannot ask the blessing of God. He will not be found at the theater, the billiard hall, or the bowling saloon. He will not unite with the gay waltzers or indulge in any other bewitching pleasure that will banish Christ from the mind.” 206 “The art of sacred melody was diligently cultivated [In the schools of the prophets]. No frivolous waltz was heard, nor flippant song that should extol man and divert the attention from God; but sacred, solemn psalms of praise to the Creator, exalting His name and recounting His wondrous works. Thus music was made to serve a holy 204 Counsels

for the Church p 172

205 Counsels

for the Chruch p 172

206 Adventist

Home p 515

purpose, to lift the thoughts to that which was pure and noble and elevating, and to awaken in the soul devotion and gratitude to God.” 207 “Eternal things have little weight with the youth. Angels of God are in tears as they write in the roll the words and acts of professed Christians. Angels are hovering around yonder dwelling. The young are there assembled; there is the sound of vocal and instrumental music. Christians are gathered there, but what is that you hear? It is a song, a frivolous ditty, fit for the dance hall. Behold the pure angels gather their light closer around them, and darkness envelops those in that dwelling. The angels are moving from the scene. Sadness is upon their countenances. Behold, they are weeping. This I saw repeated a number of times all through the ranks of Sabbathkeepers...” 208

8) Music with “shouting, drums and dancing” is inappropriate for the Christian. “The things you have described as taking place in Indiana, the Lord has shown me would take place just before the close of probation. Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing. The senses of rational beings will become so confused that they cannot be trusted to make right decisions...”209

9) Music that fosters pride and display is not appropriate for the Christian. “Musical talent too often fosters pride and ambition for display, and singers have but little thought of the worship of God.” 210

10) God is not pleased with harsh, loud singing and gesticulation.  (Webster’s 1828 dictionary defines gesticulation as “The act of making gestures, to express passion or enforce sentiments. Gesture; a motion of the body or limbs in speaking, or in representing action or passion, and enforcing arguments and sentiments. Antic tricks or motions.”) “You put in all the power and volume of the voice you can. You drown the finer strains and notes of voices more musical than your own. This bodily exercise and the harsh, loud voice makes no melody to those who hear on earth and those who listen in heaven. This singing is defective and not acceptable to God as perfect, softened, sweet strains of music. There are no such exhibitions among the angels as I have sometimes 207 Fundamentals 208

of Christian Education p 97

The Voice in Speech and Song p 420

209 Last

Day Events p 159

210 Faith

I Live By p 242

seen in our meetings. Such harsh notes and gesticulations are not exhibited among the angel choir. Their singing does not grate upon the ear. It is soft and melodious and comes without this great effort I have witnessed. It is not forced and strained, requiring physical exercise.” 211 “Let all take time to cultivate the voice so that God's praise can be sung in clear, soft tones. . . . The ability to sing is the gift of God; let it be used to His glory.” 212 “Some cannot repress thoughts not very sacred and feelings of levity to see the unrefined motions made in the singing. Brother S exhibits himself... The demonstrations and bodily contortions, the unpleasant appearance of the strained, forced effort has appeared so out of place for the house of God, so comical, that the serious impressions made upon the minds have been removed.”213

11) According to the Spirit of Prophecy, some classical music, even though it may not have been written for a religious purpose, is appropriate for the Christian. “For about an hour the fog did not lift and the sun did not penetrate it. Then the musicians [on the ship] who were to leave the boat at this place entertained the impatient passengers with music, well selected and well rendered. It did not jar upon the senses as the previous evening, but was soft and really grateful to the senses because it was musical.”214 The same night there was beautiful music and fireworks close by across the road. There is an extensive beer garden owned by the city and carried on by the city. This garden is made attractive with flowers and shrubs and noble trees, giving a nice shade. There are seats that will accommodate hundreds, and little oval tables are adjusted before these seats and this most beautiful instrumental music is played by the band.” 215 “We are having an indescribable concert. Nine are singing, -Dutch or German or French, I cannot tell which. The voices are just splendid, quite entertaining. I think it is a Sunday-school excursion company.”216 In summery, here are four thoughts to keep in mind when choosing your music.

211 The

Voice in Speech and Song p 423

212 The

Faith I Live By p 242

213 The

Voice in Speech and Song p 424

214 Letter

6b, 1893, pp. 2, 3. (Written of the landing in New Zealand in February 1893.)

215 Manuscript 216 Letter

33, 1886.

8, 1876.

1) Theme. If the composer was writing the piece for an ungodly or evil occasion it would be inadvisable to sing or play it. For instance, there are some wicked words to some movements of Peer Gynt , by Greig. Also the beautiful Thais Meditation   often played by violin, was actually written as the daydreaming of a prostitute, and part of a very immoral story. Test all music by Philippians 4:8, “Finally, brethren, whatsoever things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on these things”.

2) Sound. It became faddish beginning around the early 1900's to compose classical music that was very discordant. We are told that there are not discordant notes in the music of the angels, so if we are preparing to sing with the angels, it's a good idea to leave discordant music alone. “And when the conflict is forever ended, what songs of praise will burst forth from the redeemed host! That will indeed be music. Without a discordant note, the rich, full anthem will arise from immortal voices, ‘Worthy, worthy is the Lamb.’”217  (Webster's 1828 Dictionary defines Discordant as: “Dissonant; not in unison; not harmonious; not accordant harsh; jarring; as discordant notes or sounds.” It's important to differentiate between "discordant" and "dissonant". All music must cycle between musical dissonance and consonance (consonance is the opposite of dissonance) in order to feel like it moves or goes anywhere. Dissonance rightly used, is good, as long as it is resolved often. It makes music go somewhere, it makes music convey various emotions - it enables music to communicate. Too much, or too little dissonance can be a bad thing. One type of music that does not incorporate much dissonance at all is New Age trance music 218 , used to hypnotize people. Music with too much dissonance becomes jazzy - for one of the distinguishing characteristics of Jazz is its significant unresolved dissonance.

3) Rhythm & Style Leave music alone that begins to tend toward rock or jazz rhythms, or in which singers scoop, flip around the melody line, or sing in a breathy, whispery tone.

4) Character 217 Signs 218

of the Times, February 14, 1900

http://en.wikipedia.org/wiki/New_age_music

Perhaps it is ideal to listen to composers who were known for being especially righteous - for instance, Bach. In general, the music composed during the late 1500's, 1600's and early 1700's tended toward being some of the better classical music composed. Of course there are exceptions. We associate with composers by listening to their music. In our associations with people, we are advised by Inspiration: “It is wrong for Christians to associate with those whose morals are loose. An intimate, daily intercourse which occupies time without contributing in any degree to the strength of the intellect or morals is dangerous. If the moral atmosphere surrounding persons is not pure and sanctified, but is tainted with corruption, those who  breathe this atmosphere will find that it operates almost insensibly upon the intellect and heart to poison and to ruin. It is dangerous to be conversant with those whose minds naturally take a low level. Gradually and imperceptibly those who are naturally conscientious and love purity will come to the same level and partake of and sympathize with the imbecility and moral barrenness with which they are so constantly brought in contact.”219 Always remember that we can just as veritably associate with someone of loose morals by listening to their music, as my talking with them face to face. Don’t forget the acclaimed scientist Dr Manfred Clynes stated: “Music in fact is an organization created to dictate feelings to the listener. The composer is an unrelenting dictator and we choose to subject ourselves to him, when we listen to his music.” 220 And if through prayer and study, the Lord impresses you that a certain piece is something you shouldn't play, err on the side of caution. Don’t listen to any music you question could be wrong. Some good sources of music that fits within the guidelines above are listed below. Please keep in mind that although the majority of the pieces by these publisherss meet the tests above, you may still find a stray few that would better not to avoid. Test every song by the criteria above. John Rutter and the Cambridge Singers www.johnrutter.com (Also  available on iTunes and Amazon.com) His “Sing, ye Heavens” album is especially recommended as a beautiful collection of hymns for choir and orchestra. SoundForth Bob Jones University Orchestra and Chorale -- www.soundforthmusic.com Sacred Audio -- www.sacredaudio.com The Wilds -- www.wilds.org/resources/music Some classical music, particularly that composed between approximately 1600 and 1850. Above most other classical composers, the music of Johan Sebastian Bach deserves recognition because of it’s dedication to God. At age 18 he stated, “The aim

219 Adventist 220 Manfred

Home p 462.

Clynes, “On Music and Healing” in Music in Medicine: Proceedings Second International Symposium on Music in Medicine, Ludenscheid, West Germany, ed. J. Steffens (R. Spintge and R. Droh, 1985), p. 4.

and final end of all music should be none other than the glory of God and the refreshment of the soul. If heed is not paid to this, it is not true music but a diabolical bawling and twanging.” 221 He also wrote on many of his scores “Soli Deo Gloria”, which translated into English, reads “To the Glory of God Alone”. Much of Bach’s music can be found on iTunes and Amazon.com. Particularly noteworthy are his orchestral pieces called the “Brandenburg Concertos”, and his compositions for harpsichord, compiled into a collection known as “The Well Tempered Clavier”. In closing, let us take one last look at the beautiful picture Inspiration paints of heaven, where “enchanting music in melodious strains “rises “in honor of God and the Lamb.””222 “The prophet caught the sound of music there, and song, such music and song as, save in the visions of God, no mortal ear has heard or mind conceived. "The ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away." Isaiah 35:10. "Joy and gladness shall be found therein, thanksgiving, and the voice of melody." Isaiah 51:3. "As well the singers as the players on instruments shall be there." Psalm 87:7. "They shall lift up their voice, they shall sing for the majesty of the Lord." Isaiah 24:14.”223 Amen. Even so, come Lord Jesus.

221

http://conservapedia.com/Johann_Sebastian_Bach

222 Testimonies, 223 Prophets

Volume 2, p 266.

and Kings, p. 730