Download Arrangement

Music and Worship
I. References
II. Technical Development
A.
Musicology
B.
Beauty
C.
Physiology of Music
III.Biblical Development
A.
Directive/Descriptive/Principle
B.
Textual Exposition
IV. Sacred Music—Standards and Hymnody
V. FAQs
VI. Summary/Conclusion
Standards
A. Content
B. Arrangement
C. Instrumentation
Arrangement
A. Melodious
B. Complementary of Content
C. Edifying (vs. Entertaining)
D. Emotions-sanctifying
(vs. Emotions-indulging/inciting/inflaming)
Arrangement
A. Melodious
B. Complementary of Content
C. Edifying (vs. Entertaining)
D. Emotions-sanctifying
(vs. Emotions-indulging/inciting/inflaming)
“If the singing of sacred music is for teaching and admonishing the child of God—
if it is to influence the Christian’s spiritual life—the music must reflect and
reinforce Biblical truths. Contrary to popular opinion, sacred music is not for
entertainment. Christian music is first and foremost a vehicle for praise unto the
Lord.” p 54
“Yet music has become a primary force in the shaping of this generation’s thinking
and philosophy. It has changed an entire culture. You say, ‘That is surely an
exaggeration.’ It is not an exaggeration, according to some very knowledgeable
scholars who understand the influence contemporary music has had on Western
society.” p 25
Rock Music
William J. Schaeffer, p 76
“…rock has acted as a catalyst, a force uniting and amplifying ideas and feelings.
It is a medium, a means of communicating emotions…the medium is the
message. Associated with rock, for instance, is a cult of irrationality, a reverence
for the instinctual, the visceral—and a distrust of reason and logic; this form of
anti-intellectualism can be highly dangerous, can lead to totalitarian modes of
thought and action. Linked with this anti-intellectualism is an interest in the
occult: magic, superstition, exotic religious thought, anything contrary to the
main currents of Western thought. Also directly connected is an obsession with
the unconscious mind; the force of drug culture has been its promise to reveal the
hidden, instinctual man, to free the individual from restrictions and limitations of
his conscious mind and his gross physical body.”
“Nihilism is the denial of any basis for knowledge or truth. It rejects any
customary or traditional belief in morality or religion.” p. 36
“For Christians, the exact opposite should be true. Even though the believer lives
in the midst of a culture which has, by all these accounts, become sensual in
virtually everything observed, the child of God is to reflect Romans 13:14: ‘But
put ye on the Lord Jesus Christ, and make no provision for the flesh, to fulfill the
lusts thereof.’ Are Christians allowing into their hearts and minds music which
will feed the flesh or music that will ‘put on’ more of the Lord?” pp 37-38
Sound Effects, Youth, Leisure, and the Politics of Rock ‘n’ Roll
Simon Frith, p 14
“…sociologists of popular music have always fallen for the easy terms of lyrical
analysis. Such word-based approach is not helpful at getting at the meaning of
rock…Most rock records make their impact musically rather than lyrically. The
words, if they are noticed at all, are absorbed after the music made its mark.”
Tuning the Human Instrument
Steven Halpern, p 14
“Words are incidental at best, or monotonous and moronic as usual. But the point
is, that they don’t matter. What you dance to is the beat, the bass and drums. And
with this mix and volume, not only is the beat sensed, but literally felt, as this
aspect of the rhythm section takes precedence over melody and harmony.”
The Disciplined Lifestyle
Richard Taylor, p 86
“Words are timid things. Decibels and beat are bold things, which can easily bury
the words under an avalanche of sound. The bit of religion tagged on will only
lend to the whole performance a fake aura of sanctity, but will not be an
instrument which the Holy Spirit can use to bring awakening and conviction.”
The Hurried Child
David Elkind, p 92
“The ambiguity of the lyrics is intentional. Studies of adolescents’ understanding
of the lyrics of the songs they buy and listen to suggest that less than 25 percent
really comprehend what a song like ‘Hey Jude’ or ‘Tommy’ is all about—at least
at the conscious level. Rather, they say they like the sound and the way ‘it makes
me feel.’ And yet the message, like most advertising messages, is getting across
at the subliminal level.”
“A condition exists in the contemporary Christian music scene which ought to
disturb the discerning believer. Most sacred performers are actively seeking to
broaden their appeal. The thrust of most popular sacred performers is to penetrate
both the secular as well as the sacred market. The term crossover is commonly
used to describe the person as well as the effort.
“This crossover philosophy allows for complete flexibility and liberty as to where
a Christian performer may perform…There are no longer any restrictions or
standards for what he may perform. If the performer’s music is going to appeal to
the world, it has to sound like the world.” p 101
“In light of the foregoing discussion, a casual listening to almost any CCM album
will reveal how worldly the CCM sound is. Evaluate the sound in terms of the
three aspects of music [melody, harmony, rhythm]. CCM albums display that the
world’s ludicrous obsession with rhythm has now moved into the Christian
scene.” p 109
“It is obvious from Joshua’s remarks that the sound, the music and
therefore the mood, was markedly different when they returned than
when he and Moses left. The Israelites were known for their joyful
sound. This was the noise of war. But it really did not sound like war
because the noise was devoid of the typical cries of the aggressor,
defender, and the defeated. Rather, as they came closer, it became
obvious that it was their singing—the sound of their music—which
reminded Joshua of the noise of war. Joshua heard from the sound, the
noise, the music, that a serious problem existed in the camp.
“Rather than attempting to speculate on the specific characteristics of the music that
reminded Joshua of war, we must understand that the sound alone was an effective
warning to tell Joshua what Moses already knew. The Israelites had slipped into blatant
idolatry. In their minds and in their worship, the powerless golden calf replaced the true
and living powerful God who had led them out of Egypt. They were blind to their idolatry
and sensuality (Exodus 32:25). The sound which they made with their voices, their music,
was a product of that blindness and wickedness. In essence Joshua said to Moses,
‘Something is wrong in the camp; I can hear it in their singing.’
“What kind of sounds would give Joshua and Moses such a clear indication of the
condition? Would they be sounds of contentment, satisfaction, peace, serenity, joyfulness,
or worship?
No.
The music which Joshua and Moses heard communicated
discontentment, rebellion, unrest, confusion, defiance, and a lack of reverence to God.” pp
133-134
“If pop music is consciously striving for a physical impact, what is the result when
used to communicate spiritual truths? The answer is simple. Spiritual truths are
diluted and reduced to a physical experience. The listener is hoodwinked into
believing he had a spiritual encounter when in reality that experience was only
physical. Of greater concern is that such an experience is not only physical, but,
according to … many … writers, sensual.” p 140
“It is time to ask the question once again. How would Joshua and Moses respond
to the contemporary Christian music? What would their reaction be to the noise
and actions of today’s Christian rock concerts? Considering the observations
made by informed, respected, qualified, and unbiased authorities, there is no
doubt that any believer who wants to please his Lord would condemn rock music
and speak against its use in any sacred or secular setting.” p 144