My feeble attempt to show my love for the Reformation.
Let’s talk about music…again
Rob Hadding drew my attention to this piece by Bill Blankschaen.
The article attests to Bill’s frustration with modern contemporary music. He offers three general critiques:
1. They’re really, really simplistic. There, I tried to keep the words small. You certainly put a lot of work into doing that for me each Sunday. It’s not just that most of the lyrics are simple — as in easy to understand. It’s that so many of the songs remind me of the ditties we sang at camp — when I was ten. Come to think of it, I’m pretty sure the theology in some of those camp songs was more advanced than the ones I’ve heard in some of your services. But, hey, everybody else seems to be really, really enjoying it so maybe it’s just me. Unless, of course, they’ve also learned how to fake it.
2. They’re all pulled from the latest Top 40 Worship channel. Or so it seems. Most songs I hear in evangelical churches of late have been written in the last decade, if that. I know I’m painting with a broad brush here because there have been some really, really (is this helping?) awesome songs written in the last two decades that deserve a place on the all-time worship songs list. We just usually don’t sing those. Maybe because they’re so three years ago.
What ever happened to the previous 2,000 years of church music history? Oh, I know, every so often you toss a token “hymn” (meaning within just the last century or so) into the mix. But even then, it’s a remix that requires melodic jujitsu to keep up with the quicker pace and fancier chord progressions. One distinguishing mark of the worship music of centuries past is that it generally focused more on content than today’s simplisitc style. Songs like “Arise, My Soul, Arise”; “Immortal, Invisible”; “Rejoice, the Lord is King”; or even the simple “I Sing the Almighty Power of God” typified a depth of doctrine that taught us as it revealed the glory of our Lord.
3. They repeat. And repeat. And repeat. And repeat. And rep — all right. See what I mean? Really, really annoying. Really. The first time we sang the simplistic ditty, I could tolerate it though I thought the infinite God of all creation deserved better. By the fifth time, I was hearing echoes of Jesus warning about vain repetitions. But once you went softer and slowed it down on the seventh time, it really began to resonate with my soul.
Not.
Please. Stop. Now.
Yes, there’s a place for repetition in worship — if the words are really that good or pulled directly from Scripture (“Agnus Dei” by Michael W. Smith comes to mind), but even that can be overdone. Ironically, most of the same evangelical churches that practice this repetition in modern worship music would resist using more formal chants from church history designed for that very purpose. Or reciting historical creeds of the Church.
Does knowing music help understand the Bible?
James Jordan affirms and explains:
Does it help to be a musician to understand the Bible? Yes, because the Bible indicates that this is so.
First, music is the God-appointed way of worshipping Him with His own words. The psalms are to be set to music and sung, and in fact a great deal of Western art music developed out of the complex ways in which psalms were set by art musicians. More than that, however, we find in the Masoretic Hebrew text of the Old Testament a whole system of pitch marks, which indicate the chanting lines for the text as it existed when the Masoretic text was produced. A French musical scholar named Haik-Vantoura has offered a decoding of these pitches, but whether she is right or not in her suggested system, there is no doubt but that the text was originally chanted in worship. Sung worship is typical of all pre-modern worship all over the world.
Second, the Spirit is given to help us understand the Word, and the Spirit is the Glorifier. He is the Breath, the sounding forth of the Word. Whenever words are said out loud, they are said musically. Your speech goes up and down, is loud and soft, is punctuated rhymically by consonants and emphasis, assumes various tones (timbres; such as rough, kind, whiny, etc.). In short, all speech is quasi-musical. The Spirit inspires music, and He is the Music of God, who is Author, Word, Music. Thus, being musical and learning about music should add to our ability to grasp the text.
Third, we find that the priests and Levites were established as the teachers of the Word in Israel; but they were also set up as the musicians in the Temple. By linking these two things, God was saying that a teacher of the Word would be wise also to be a musician. (Levites were also guards, and some familiarity with what that means is also good for a teacher/elder in the Church.)
Thus, we see that God programmed music into the minds and hearts of those set apart to interpret the Bible, and into the minds and hearts of all those in Israel who would encounter the text more generally.
In sum, if we want to train people in understanding the Bible more fully, it is good to train them in musical understanding. Music should be part of the educational preparation of anyone engaged in Biblical study and hermeneutics.
Why isn’t this done today? Because of the influence of Western rationalism, especially through the “science ideal” of the Enlightenment. Poetry, which used to be sung, is sung no longer. Many people don’t realize that even post-Renaissance poetry should be read out loud; it should be heard, if not actually sung. (I have a lot of hope for what may eventually develop out of rap music, despite its sorry beginnings today; it moves toward a restoration of the original form of poetry.) We read silently. We no longer sing or whistle while we work. Philosophy, which is contemplative rather than active and liturgical, has influenced theology and Bible study way too much.
Thus, we don’t live in a social and ecclesiastical context that would enable us to read and understand the Bible as well as we might. Restoring music to our lives will help.
The Strife is Oe’r, the Battle Done, Alleluiah!
The strife is o’er, the battle done;
The victory of life is won;
The song of triumph has begun: Alleluia!
Refrain
Alleluia! Alleluia! Alleluia!
The powers of death have done their worst;
But Christ their legions hath dispersed;
Let shouts of holy joy outburst: Alleluia!
Refrain
The three sad days are quickly sped;
He rises glorious from the dead;
All glory to our risen Head! Alleluia!
Refrain
He closed the yawning gates of hell;
The bars from heaven’s high portals fell;
Let hymns of praise His triumphs tell! Alleluia!
Refrain
Lord, by the stripes which wounded Thee,
From death’s dread sting Thy servants free,
That we may live, and sing to Thee: Alleluia!
Refrain
Ride On, Ride On, In Majesty, Palm Sunday Hymn
Here is my recording of this beautiful hymn:
“Ride On, Ride On, in Majesty”
by Henry H. Milman, 1791-1868
1. Ride on, ride on, in majesty!
Hark! all the tribes hosanna cry.
0 Savior meek, pursue Thy road,
With palms and scattered garments strowed.
2. Ride on, ride on, in majesty!
In lowly pomp ride on to die.
0 Christ, Thy triumphs now begin
O’er captive death and conquered sin.
3. Ride on, ride on, in majesty!
The angel armies of the sky
Look down with sad and wondering eyes
To see the approaching Sacrifice.
4. Ride on, ride on, in majesty!
Thy last and fiercest strife is nigh;
The Father on His sapphire throne
Expects His own anointed Son.
5. Ride on, ride on, in majesty!
In lowly pomp ride on to die.
Bow Thy meek head to mortal pain.
Then take, 0 Christ, Thy power and reign.
Exhortation: God as Chief Listener
Dale Topp in his book Music in the Christian Community argues that God is the chief listener in worship music. Our music is to God. God delights and responds to our music. In I Samuel 16, when Saul was terrorized by a harmful spirit the only way to end his agony was by playing music. God acts when God’s people make music. In II Chronicles 20, Jehoshaphat appointed people to sing to the Lord from Psalm 136: “Give thanks to the Lord for his steadfast love endures forever.” What was the result? The Bible says: “And when they began to sing and praise, the Lord set an ambush against the men of Ammon, Moab, and Mount Seir, who had come against Judah, so that they were routed.” This is a principle we need to keep in mind this morning: that God listens to what we sing. What we sing matters. Why? Because God is waiting to act on our behalf.
Prayer: Act, O God. For we are a weak people apart from your powerful right hand. Teach our hearts and mouths to sing with joy and to declare your praises. Amen.
The Extinction of Protestant Music
Ian Hodge provides an insightful survey of the Protestant musical landscape, and he finds a culprit:
The Pietists significantly influenced theology which, in turn, led to a change in music, both inside and outside the church. Jaroslav Pelikan, in his book Bach Among the Theologians observed that “Pietist spirituality had, by the time of Bach, acquired an increasingly distinctive tone in its description of the relation between the individual soul and Jesus.”
The article is extremely helpful in deciphering our current environment.
Final Day of the Conference
Though most folks had already left, I recorded a verse of Rise Again, Ye Lionhearted. The singing is still spectacular.
Existence and Musicality
Steve Wright interacting with Robert Jenson concludes in The Heythrop Journal:
To exist is to be mentioned by God; or, may I hazard, to be sung by God. The act of creation sets us in relation to God while concurrently distinguishing us from God…. The gratuity of the moment of creation is irreducibly aesthetic, the beauty of God manifests when perfect harmonious discourse opens up to include new players…. When Jenson analyses the specific role of the Father in creation he abstracts to the ‘sheer musicality’ of divine conversation: ‘… to be a creature is to belong to the counterpoint and harmony of the triune music.’
A fellow CRE minister from Poland observed that a better way to describe revelation is musical theology. I could not agree more. What implications this has for the worship of the church is to be worked out more fully in the centuries ahead.
Grisha Goryachev plays Panaderos
Here is a brilliant performance by Grisha. I had great intentions early on to pursue Spanish guitar, but God directed my paths elsewhere. Still, I cherish every little bit of it:
And here’s the inimitable Paco deLucia that I grew up listening to: