Let's Harmonize!
Hitting the Resolve Chord On the Music Issue

A missionary once told me that the music department at the conference office is always a war zone. Isn’t it a shame that something as potentially unifying as music becomes itself a cause for division? There is a reason for this, and it is very simple. We are selfish. The Lord laments our condition, saying, "you are envious and cannot obtain; so you fight and quarrel" James 4:2.

Typically we try to solve the problems surrounding music by looking at the music itself, when in fact the real issue lies beneath the surface. The Lord tells us to "Keep thy heart with all diligence, for out of it are the issues of life" Proverbs 4:23, K.J.V. God’s remnant church has a heart problem that has made us prone to argue about everything. We have lost our "first love," and we have been fighting amongst each other ever since. We are called if the Lord to return to the first love that would do anything for another. Wars and debates don’t thrive in that kind of love.

How do we get back? We look to where we last saw the light. First love was born in our hearts when we saw that Jesus "first loved us," 1 John 4:19. So, let’s look at the love of God.

One of the primary characteristics of God’s love is that it is self-giving. God "gave His only Son," and then that Son "emptied Himself" of all "to the point of death, even death on a cross" John 3:16, Philippians 2:7, 8. If Christians possessed this agape, there would be no division in the body of Christ. The "warring" that comes as a result of a dearth of love would melt away if Christ was enshrined in each heart. We may try to maintain a certain righteousness in the church without the motive of love, but standards in and of themselves are a mockery if not undergirded by this agape, "For the whole law is fulfilled in one word. . . . ‘You shall love your neighbor as yourself" Galatians 5:14.

When this love becomes a reality among us, what form will it take? A soft, gooey sentimental feeling? An emotional catharsis? No, it will be a rock solid principle that will actuate itself in true Christian charity.

"Let no one seek his own good, but that of his neighbor. . . just as I also please all men in all things, not seeking only my own profit, but the profit of the many, that they may be saved" 1 Corinthians 10:24, 33.

"I do not seek what is yours, but you" 2 Corinthians 12:14.

"Let each of us please his neighbor for his good, to his edification" Romans 15:2.

"I have become all things to all men, that I might by all means save some" 1 Corinthians 9:22.

All these verses make it clear that the type of "people pleasing" God is enjoining is not the generic, back-slapping variety, but rather a desire to put others first in order to minister to their salvation. This delightfully solemn charge rests upon the shoulders of any music minister who desires to communicate the gospel. Visions of stardom and riches are quickly out shined by the true glory of music ministry, which is to be an instrument in the hands of God as he carves out a path for the ransomed to walk in. Only in this way can a ministry communicate the cross of one who "did not count heaven a place to be desired while we were lost" Desire of Ages, p. 417.

God has not dictated music itself so much as He has shown us how to handle difficult areas like music. If we followed His instruction, the music issue would solve itself. What is needed is not "proof" that one kind of music is better than another, but "proof" that "Jesus Christ is in you, unless indeed you fail the test" 2 Corinthians 13:5.

At times the ground a music minister must walk on seems filled with land mines. People become offended at different things for different reasons, and often these sensitive areas are difficult to predict. The musician is faced with the challenge of respecting other people’s desires without becoming a chameleon who changes "convictions" with every new circulating opinion.

While the morality or the "appropriateness" of music is an often volatile discussion, it is in this arena that the Christian experience of a musician is honed and refined. True character is manifested in the way in which we handle conflict. As the wine press squeezes the essence of the grape, the pressure of divergent opinions among brothers and sisters forces out of us the essence of who we are. Do we belittle those with whom we disagree? Are we willing to surrender our own preferences to please another? These are the questions we must ask if we are to radiate the love that "seeks not her own."

The Bible is loaded with passages that provide moral instruction, the clearest and most concise being God’s ten commandment law. The New Testament is laced with passages that echo this law (see Matt. 5:21-48, Matt. 19:1-12, Romans 13:1-14, 1 Cor, 5 and 6, 1 Cor. 14, i Cor. 16:1 and 2, Eph. 6:1-9, Col. 3:18-25).

God has simplified life by giving definite boundaries that insure our happiness. But while the large issues of life are governed by God’s stated will, there is a labyrinth of choices through which each person must pass for which there are no absolute dictums. It devolves upon the individual or group to apply eternal principles to each situation. Life is not rigid, it is fluid. You can’t march through deep water, you must learn to swim.

Music is one of these waterways. One is hard pressed to find commentary about music styles in the above mentioned passages. God does not tell us exactly how high to sing, but He does tell us to "praise God on high." We are not told exactly where to accent the beats, what kind of chord progressions to use or if a Travis pick on the guitar is appropriate for the sacred hour, but we are told "whatsoever your hand finds to do, do it with all your might," and that we should "do all to the glory of God" Ecclesiastes 9:10, 1 Corinthians 10:31. We struggle to know exactly what kind of music pleases Him, but we have no such dilemma if we contemplate committing adultery or robbing a bank. In the absence of specific instruction as to the style of music a Christian is forced to utilize the gift of spiritual discernment (1 Cor. 12:10) as well as good common sense in discriminating between acceptable and unacceptable music.

And this is just as God wills it. He is certainly not afraid to tell us the difference between right and wrong in some areas of life, but He remains silent, or nearly silent, on some. This silence must be interpreted to be a flexibility on His part. We should fear to make rigid what God has made flexible.

Some in attempting to biblically document a rigid position on music have been frustrated by the fact that the very elements they eschew in music-danceability, rhythm, excitement-seem to be present in the sacred music of old. Some have gone to the opposite extreme and assumed that the present secular dance scene is just fine with God as long as the lyrics are Christian. Both camps are hard pressed to find a specific biblical formula for church music that gives details as to the styles, rhythms, chord progressions and melodies God wishes to hear.

One New Testament passage that sheds some light is found in Collosians 3:16;

"Let the word of Christ dwell in you richly with all wisdom, teaching and admonishing one another with psalms and hymns and spiritual songs, singing with thankfulness in your hearts to God."

The phrase "spiritual songs" is differentiated from "psalms and hymns" in this passage. "Psalms" and "hymns" are not designated "spiritual," because they were assumed to be, but not so with "songs," or "ode" in the Greek. Lexical Aids to the Hebrew Greek Study Bible says:

"Ode by itself might mean any kind of song, as of battle, harvest, festal, whereas psalmos. . .and hymnos. . . did not require any such qualifying adjective."

This verse at least acknowledges a variety of acceptable musical offerings to the Lord. At most it seems to say that some songs that would ordinarily fit stylistically into the secular forum are acceptable as praises to God when the content is "spiritual." A safe assumption would be that the music itself would be the type that would be associated with the more noble aspects of secular life rather than the most depraved. The door is not being opened to oxymoronic expressions where the music says, "dissipate" and the words say, "praise God," but the door may be opened to use musical styles that reach people in a musical language they can understand. We can assume, at the very least, that there are manifold ways to use music to communicate with and for God.

One possible reason God was so non-specific in His instruction on music might be because He knew that music would change drastically over time. In fact, the music of Old Testament times would be to our Westernized ears both unpleasant and strange, given the fact that a totally different tonic scale was used. But God didn’t seem to mind. His ears ache to hear the incense of praise that ascends from the offering of a broken heart, regardless of the less than sophisticated harmonic structures used. Can’t we look at this issue the way God does, as one requiring some latitude and individual interpretation? Can’t we leave what is gray alone, rather than force into black and white every detail of life? Gray is present in His self-portrait for a reason; it shows the richness and realness of who He is. God forbid that we make a sterile high-contrast print out of what was meant to be full of variation.

Whenever there is a gray area, it brings a special challenge to church members striving to work and live together in productive unity. It becomes necessary to harmonize with people we may seriously disagree with.

The fourteenth chapter of Romans offers help. It addresses a "gray" issue which created much turbulence in Paul’s time. In this passage we are provided with principles that still prove effective in conflict resolution today. The issue was that of eating meat sacrificed to idols. Some Christians felt they were entering into idolatry in doing so, and others could eat with a clear conscience. Those who were conscience-smitten Paul called "weak," meaning that the memory of idolatry was fresh in their minds, and this memory was a form of injury that demanded special care. Paul does not censure this weakness, but rather he allows for it rather generously:

"Let not him who eats regard with contempt him who does not eat, and let not him who does not eat judge him who eats, for God has accepted him" Romans 14:3.

His basic message here is, "liberals, don’t put conservatives down, and conservatives, don’t consign liberals to the flames." The same advice is needed today. Liberals tend to belittle the scruples of those of a more active conscience, and conservatives have a tendency to Lord it over those who do not live up to their standards. Depending upon which majority rules in any given congregation or group, it can quickly become open season on the minority camp, and the church becomes an unhappy hunting ground!

But there’s even more to handling controversial issues than just tolerance. Paul goes on in the chapter to present another principle that cuts even deeper into the selfish heart:

"Therefore let us not judge one another anymore, but rather determine this, not to put an obstacle or a stumbling block in a brother’s way" Romans 14:13.

Not only are we being asked to tolerate others, but to accommodate them by conforming our behavior to their convictions!

"Now, wait a minute!" we rugged-individualistic westerners say, "It is my right to do as I please in these areas!" And that is true, it is your right. But here Paul, speaking by the spirit of inspiration asks us to graciously relinquish that right in order not offend or confuse another. The initiative comes from the one doing the yielding. She chooses to surrender her rights in order to please the other. The moment that person is forced to yield, you have mind control, and God can’t work through coercion. And so the Lord enlists our wills to submit to one another:

"For if because of food your brother is hurt, you are no longer walking according to love. Do not destroy with your food him for whom Christ died" Romans 14:15.

"So then, let us pursue the things which make for peace and the building up of one another" vs. 19.

Paul faced another, similar controversy over his right to use tithe to sustain himself. He makes it clear in 1^st Corinthians 9 that, while his conscience allowed him to do so, his better judgement told him to forgo his right, that his integrity might be established beyond question. Music ministers must, like Paul, be sensitive and careful to do nothing that would close hearts to the gospel.

"Nevertheless, we did not use this right, but we endure all things, that we may cause no hindrance to the gospel of Christ" 1 Corinthians 9:12.

 

There is a practical element to all this. If we yield to everyone in every area all the time, we would become a collage of other people’s opinions. Perhaps we spend time with a group that thinks men should wear beards, so we grow our beards. Then we are with another group who think men should be clean shaven. Now what? Half and half? Under this program, Paul would have been the most confusing hodgepodge of all, considering the peoples, ethnic groups and cultures he ministered to.

What Paul must be advocating is a conformity to the majority of any given congregation for the duration of the time he was with them. Perhaps when there was no conflict in doing so, he maintained some of the restrictions all the time. The point is that in every way possible he sought to convey to the people he desired to touch that he was willing to do anything in order to reach their hearts with the gospel. Nothing was more dear to him than that opportunity. Can we say the same for ourselves?

If this unselfish spirit prevailed among us, it would provide a natural barrier against the potential harm in music. The spirit of self-surrender for the good of others would be the sweetest song of all. Those of a more conservative mind-set would be considered, and those who are naturally more free-spirited would not feel suppressed. Both sides would bend and the result would be a curbing of each others tendencies toward imbalance.

But we don’t have it yet. There are still vestiges of animosity that cause us to have conflict, and these conflicts have a way of manifesting what is in the heart. The debate over music that has rocked (no pun intended) this church has often degenerated into a mud-slinging, fault finding campaign that dishonors God more than any kind of music.

Polarization results. We have a "party" on each end of the gamut, and many individuals scattered throughout the spectrum. Typical to most life style issues, there is one conservative party and one liberal. As the conflict intensifies, the polarities accentuate until the sides seem unreconcilable.

The conservative party espouses the idea that hymns and classical-type music is that which pleases God. Contemporary music is eschewed because of the possibility of associating it with sinful settings and practices, and because it is thought to have elements that innately minister to the flesh. Syncopation receives much focus, because it is believed to excite the lower passions and bypass the will. For fear of tainting the service of God with sensual overtones, these conscientious people vouch for the most careful stance-to barricade against any and all contemporary music lest God be dishonored.

The liberals have their primary concern with reaching people with relevant forms of communication. They feel that traditional music has lost it’s audience in the modern world. They reason correctly that all music was at one time contemporary music which reflected it’s surrounding culture, and that some of the trappings of church music today were once controversial. (In the early 19^th century, most churches had only a capella singing, and the organ was considered to be a tool of the devil) These people see music as a morally neutral medium through which to express the gospel in a mode that breaches the chasm between the world and the church.

A hypothetical dialogue between proponents from these two parties might be:

Traditionalist: "You liberals dishonor God by mingling paganism with your worship."

Progressive: "You conservatives bore people with your outdated styles of worship that no one relates to anymore."

T: "Oh, but the point of worship is not to relate to people, it’s to honor God!"

P: "We need to lead more people to worship God by using relevant worship formats."

T: "Lift the standard!"

P: "Reach the people!"

Most, though not all, of the proponents for the traditional approach are older than fifty, and most, though again not all, of the progressives are younger. Because it is comprised of older people, the traditionalist group has had most of the decision making power in the mainstream church. Tragically, this control has often been maintained with a harshness that has been a "turn off" to the young. It must not be overlooked that if one side of a conflict is always required to submit, they will eventually lose their respect for those they are oppressed by. The young progressives of the church are now manifesting the same attitude they have seen so well modeled by their elders. They have seen them "insist upon their own way," and now they are insisting upon their own way. They are taking their musical marbles and going to play elsewhere.

To someone observing the dilemma from the outside, it is obvious that both extremes have a point, but it is a point that they have taken too far. The conservative extreme wants desperately to honor God and prevent compromise, but tends to rely on extra biblical authority and tradition in order to substantiate it’s argument. The liberal camp wants to reach the unchurched and present an approachable Christ, but ends up relying upon method rather than message. Both extremes at times manifest a selfish spirit that dishonors God and prevents the gospel from reaching the world through a united people.

If we are to personally and corporately resolve the music issue, it will be by taking the Bible, and the Bible only, as our unerring guide:

"In our time there is a wide departure from its doctrines and precepts, and there is need of a return to the great Protestant principle,--the Bible and the Bible only as the rule of faith and duty." The Spirit of Prophecy v. 4, p. 163

What does the Bible reveal about music? On which particulars does it remain silent? An honest Bible student will deal ruthlessly with their own prejudices and subjective emotions in answering these questions.

There are several seminars that present the subject of Christian music ethics by using scientific and empirical evidence. The problem with using extra biblical sources in order to establish moral guidelines is that the practice itself is condemned in scripture:

"Rightly did Isaiah prophesy of you hypocrites. As it is written; ‘This people honor me with their lips, but their heart is far away from me. But in vain do they worship me, teaching as doctrines the precepts of men. Neglecting the commandment of God, you hold to the tradition of men.’ He was also saying to them, ‘You nicely set aside the commandment of God in order to keep your tradition’ " Mark 7:6-9.

Jesus repeats his rebuke three times; the purpose of repetition is to provide emphasis. This emphasis underscores His abhorrence of the practice of making absolutes out of non-absolutes.

Imposing extra biblical restraints upon music actually draws people’s focus away from the Bible to man. If the only way I can discern between right and wrong in music is by learning dogmatic formulas from a musicologist, then I will begin to cite that individual as an authority. Little can Seventh-day Adventists afford, with their history of hurtful legalism, to make the narrow way narrower than it really is, and to make gurus out of frail men.

There is no evidence that the music used by God’s people throughout sacred history was completely free of similarity to the music of the times. Very possibly it was reminiscent of the common folk music of the day, especially around the exodus. The slaves had no opportunity to enjoy formal musical training, yet God chose Miriam to lead "all the women" in a choral response:

"And Miriam the prophetess, Aaron’s sister, took the timbrel in her hand, and all the women went out after her with timbrels and with dancing, and Miriam answered them, ‘Sing unto the Lord for he is highly exalted. The horse and his rider He has hurled into the sea’ " Exodus 15:21

While David may have received formal musical training, it seems more plausible that he learned to sing and play his harp out under the blue sky as he tended sheep. This would bring him much closer to the singer/songwriter paradigm than the classical soloist. Not only did he "play skillfully," (Psalm 33:3) but his music was original, inspired, and relevant, meaning it met real (not necessarily felt) needs;

"So it came about that whenever the evil spirit from God came to Saul, David would take the harp and play it with his hand. And Saul would be refreshed and be well, and the evil spirit would depart from him" 1^st Samuel 16:23.

If God saw fit to use a modern songwriter to compose these divine canons that have comforted millions, including Jesus Himself as He hung on the cross, (see Matthew 27:46, Luke 23:46) we can ill afford to reject modern song writing without circumventing a process God uses. The Lord would speak through His people still, in creative and manifold ways, "distributing to each one individually just as He wills" 1^st Corinthians 12:11.

Another pitfall created by seeking non biblical authorities in regards to music is that multiplying the rules a Christian must live by can give a false confidence. There are some strong-willed temperaments for which no regiment is too hard. While the majority may become discouraged that they can never measure up, these die-hards feel they can. Vigilant to meticulously conform to their prescribed program, they fail at true Christian vigilance, and the heart grows fat with Pharisaical pride.

God would have us deal closely with our own inner corruption, and cease to create false evidence that we are holy.

". . . for we are the true circumcision, who worship in the Spirit of God and glory in Christ Jesus and put no confidence in the flesh" Philippians 3:3.

 

 

 

In spite of the dire warnings issued by some, contemporary music is storming the gates of the Seventh-day Adventist church. While the entrance points are many, the youth ministries of the church are the most welcoming to this new influence.

Often the passages that indicate a celebration-style worship are cited as evidence of God’s blessing upon the practice of bringing rhythmic, contemporary music into the sanctuary. Some of the passages are; Miriam’s dance after the Red Sea, the women dancing when David returned from slaying Goliath, (1^st Samuel 18:6-9) and David’s dance "before the Lord with all his might," (2 Samuel 6:12-23). All three of these instances were accompanied by rhythmic instruments, such as the tamborine or timbral. "If they can worship God in that kind of gay abandon, why can’t we?" the progressives reason.

We can! But if we desire to follow the precedent laid down in scripture, we will worship in a more solemn, thoughtful way during the actual worship service, for there is no record of dancing in the tabernacle or the temple. 2 Chronicles 5:12 and 13 do indicate that percussive instruments were used during the dedication of Solomon’s temple, but it seems that they were used in a way as to retain a sense of solemnity.

Another reason it is best to use more discrimination when selecting music for the worship hour is that the congregation is a "captive audience." People from all backgrounds and walks of life, with all their varying temperaments and tastes come to worship the Lord together. We need each other, and we grow from the exercise of blending as one. In order not to insult this sacred process, we should choose music that all will easily accept.

Some think that the generations are hopelessly different, and should be encouraged to have their own separate religious culture, but the gospel presents a picture of unity within the body of Christ. We should not maximize, but minimize the generation gap in order to "attain to the unity of the faith" Ephesians 4:13.

The question must be asked; "Will the excitement and big sound really succeed in keeping the youth in the church? Or is what is really missing a message that quietly grips the heart?" CCM (Christian Contemporary music) has reached such heights of success today that it equals secular music in production and talent. But while the medium gets stronger, often the message gets weaker. The lack in the message, in fact, is what makes us so dependant upon the medium in the first place.

We must never forget that Jesus was "crucified in weakness" (2 Corinthians 13:4 K.J.V.). The beginning of Christ’s incarnate life found Him a helpless babe in arms, and the end a helpless and broken man dying on a cross. The preaching of that cross is now declared to be "the power of God" 1^st Corinthians 1:18. Perhaps the power we seek is really found in returning to that message to discover new springs of truth.

God has given this church that "message of His healing grace." He promised that "a flood of light" would be "shed upon the world" if that message was preached, and that "the Lord Jesus would have come in power and great glory," "the saints would ere this have received their welcome into the city of God." (Manuscript Releases v. 22 p. 288, Testimonies v. 8, 116, Review and Herald Oct. 6, 1896, Australian Union Record, Oct. 5, 1898)

In spite of all he promised that message would do, we are still here on planet earth, bantering back and forth about worship styles, syncopation and Willow Creek while millions perish. There are two possible reasons for the holdup. Either we don’t know the message, or we know it, but we don’t appreciate it. Our only hope, no matter what side of the music argument we are on, is that we will discover His cross, and let it do it’s most profound work upon us, leading us to reflect His self-sacrifice in our dealings with one another over difficult issues.

"We know love by this, that He laid down His life for us; and we ought to lay down our lives for the brethren" 1 John 3:16.

 

Written by Jennifer Jill Schwirzer

all italics and underlines mine

all Bible quotes N.A.S.B. version unless otherwise noted