During the Middle Ages, Catholicism was the central power in Europe. It was incorporated into every aspect of life and its power stretched to every corner of the known world. And one of the methods through which the Church asserted its power was music. Although modern churches regularly use music as a natural part of worship, the pairing of music and Christianity has not always been so straightforward. A thousand years ago, music was often regarded as sinful. The problem was, churchgoers tended to enjoy it, and the fathers of Catholicism understood that it could be used to strengthen people’s ties to the Church.

Accordingly, music was eventually incorporated into Catholic worship, and vise versa. The sheet music of the era is often adorned with religious frescos. The monasteries and abbeys of the period created and stored huge quantities of sheet music, up to 4000 texts at a time in some cases. Indeed, it was this mass production of recorded music that led to the evolution of square notation. The monks needed a universal way to record and recognize the music written by their peers in other monasteries; square notation made this possible.

However, church was not the only place a person living in the Middle Ages would hear music, not by a long shot. Also common at the time were wandering poets, or troubadours, who were the keepers and purveyors of secular music. Some of the oldest surviving sheet music was written by these people, who were encouraged in their work by patrons such as Eleanor of Aquitaine. The area of Provence, modern day southern France, was particularly known for its troubadours, and the region is said to have been known as The Land of Song.

The Church is known to have fought the advent and proliferation of secular music, which it would certainly have regarded as sinful in the extreme. However, fortunately for us, it was unable to stem the music’s spread. The most popular topic of such secular music was that of courtly love, which may explain why the Church was so against it. Courtly love deals with situations in which lovers are unable to consummate their feelings, usually because one or both is wed to another. This theme is still famous today thanks to the well-known story of King Arthur, Queen Guinevere, and Sir Lancelot. Other popular secular topics included the seasons, the crusades, beautiful women, and nature, all of which were idealized and exalted in song. Such songs would never have become as ubiquitous as they were, however, without the sheet music produced by the troubadours of the age.

Victor Epand is an expert consultant for guitars, drums, keyboards, sheet music, guitar tab, and home theater audio. You can find the best marketplace at these sites for guitars, drums, keyboards, sheet music.

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Because of the role music plays in the church service, the offertory must be selected with care. Think about where the solo will occur in the order of worship. Are you following a lively choral anthem that will lead right into the congregational worship? Will the offering follow a generally somber prayer for the needs of the congregants? If you find yourself in a church without a strong liturgical tradition as I do, the positioning of the offertory may be altered weekly. There are few scenarios worse than a grandiose arrangement that follows a quiet time of meditation. Without advance thought and planning, you can sometimes find yourself in an awkward situation.

Additionally, it is important to think about your congregation. An uber-contemporary church may not respond to a classical setting of your favorite hymn. In contrast, the latest praise and worship chorus is probably not the best option for a high liturgical service. Most of us probably find ourselves somewhere in the middle of these two extremes – in what is commonly referred to as a blended service. In these settings, the choices become more difficult and more exciting as well. How often have you tried to find a great arrangement that blends a contemporary chorus with a traditional hymn without giving the impression that one of the pieces is more important or, worse still, more holy? There are a few arrangers today who are doing just these type of settings, but they are few and far between, generally demanding extreme technical facility as well.

More often, I find myself looking for arrangements of hymns that are approached with harmonic and rhythmic freshness. My current congregation is a multi-generational group with eclectic tastes in music. I have quickly accepted the fact that I will never please everyone present with my selections. Because I have so many preferences in my congregation, I get to explore some unusual settings. Some of our favorites are jazz settings of hymns such as Leaning on the Everlasting Arms and a complex harmonic treatment of Great is Thy Faithfulness. I didn’t begin using these unusual arrangements immediately though; just as with all other areas of ministry, as the congregation develops trust in you as a music minister (for that is what every church pianist should strive to be), they will also extend that trust to your musical selectivity.

Here are a few closing thoughts on making your weekly offertory a highlight of the weekly service for those that you serve.

Select pieces weekly in an attitude of prayer. All too often we forget that our solo will be a part of the worship service. We can simply choose to provide pretty background music while the important activity of collecting the congregation’s cash is performed. I think the better decision – and the one for which we strive – is to play music that is anointed by the Holy Spirit to aid those who are hearing as they worship in the act of giving.

Always have a few selections that you can fall back on. We’ve all been in the situation where the week got too hectic and our preparation time suffered. Perhaps the scheduled soloist became ill at the last minute, making the planned offertory less than desirable. Having a few selections in your back pocket gives you some flexibility whenever the need arises to make a last minute substitution. Use them sparingly though or they will become part of the normal rotation and you’ll find yourself in need of some new fall-backs.

Don’t sacrifice beauty for showmanship. Have you ever listened to a church pianist play a solo only to later ask “What WAS that song?” The arpeggios are beautiful and the tricky scale passages are impressive, but if they get in the way of the music’s message, we’re taking the focus off of the One we are to worship and shining the spotlight directly on ourselves. (Ouch…is anyone else feeling the sting of those toes that were just stepped on?)

NEVER attempt to play beyond your technical abilities! As a musician, I am all for stretching myself and continuously developing my technique. The worship service is not a practice hall, though. Just as bad as shining the spotlight on how beautifully we play is presenting a glaring example of an ill-prepared solo as part of a worship service. I am not in competition with the pianist at the church across the street, so I don’t have to attempt to play as beautifully as she does. I just have to bring my musical offering to the Heavenly Father each week as a loving sacrifice that brings Him honor and my worship. When we try out that new arrangement that is just a bit too difficult (or – Heaven forbid – completely beyond our skills) we risk interrupting the flow of the service and distracting the congregation from their worship.

Always play for the Audience of One. This is the last point on my list because I believe it is the most important one. All that I am as a Christian, a musician, and a person is because of Jesus. It is a wonderful feeling to have an audience respond to beautiful playing with appreciative applause – and, let me add, there is nothing wrong with receiving these accolades! Scripture teaches us to give honor to whom it is due. More than anything though, I want the applause of Heaven that comes as I play for the audience of One – the One who gave His all that I might have life. He is the source of the music and our constant goal should be that our music bring attention only to His grace, mercy, and greatness.

Do I get tired of trying to find a new piece each week? Of course! Like everyone else, I have a core set of arrangements that I rotate through. But the blessing of sharing my gift with God’s people outweighs the long rehearsals. Occasionally, God opens doors because of our obedience as well. A few years ago, the congregation provided an opportunity to professionally record some of my favorite arrangements. In July, I will have the chance to sit down in the studio again and record two new CDs – one for Christmas, the other songs of praise and thanks.

Happy playing!
Kennith

A graduate of the University of Memphis (M.M. and D.M.A.) and Pepperdine University (B.A.), Dr. Kennith Freeman is an active pianist. A native Arkansan, Freeman is currently a member of two chamber ensembles: the Cox-Freeman Duo and the 3-D Trio. In addition to his performing schedule, Dr. Freeman is a member of the music faculty at Mid-South Community College in West Memphis and serve as Director of Music and Children’s Ministries at Abundant Grace Ministries in Collierville, Tennessee. Follow his thoughts about all aspects of collaborative piano and church music at http://freemanpiano.blogspot.com/

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Give Me a Beat

Arguably, the drum set is what makes a worship service “contemporary”. A drum set can be
a significant expense, but it doesn’t have to be. If your church is planning to offer a
contemporary worship service, consider the following when it comes considering a drum
set:

1. Is volume control an issue? Some churches may need to control the volume of a drum set. Maybe the church is too small or is connected to other buildings that require the volume to be kept at a low level. If this is imperative, an electronic drum set may be what you need. It will allow complete control of the volume of the kit without the drummer having to “hold back”. In addition to this volume control, the sound of the kit can be processed to allow more character to each song.
2. In a word: space. Is the stage or platform going to feel a bit crowded after all of the speakers and instruments are added? Again, an electronic drum set may be the solution. An electronic drum set will take up much less space, leaving room for the guitar amps and keyboards.
3. The sound quality of a used drum set can be every bit as good as a new drum set. Looking for a used drum set will allow you to get the most drum for your dollar. The same goes for cymbals, by the way.

These are some of the things that need to be considered when adding a drum set to your
contemporary worship service. Buy drums online
to find a huge selection of drum sets, drum hardware, cymbals… even practice CDs and videos –
all at very low prices.

Ryan has been drumming for over 20 years and has created a site that allows online shoppers to find the best deals on drums and drum-related videos, books, and CDs. His site can be found at http://www.lowpricedrums.com

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Now that your arms and legs are flying in all directions, the pressure is on and although you are working very hard at every opportunity, you are still finding it difficult to keep up with the requirements of the job.

So what do you do next – how can you make the transition to the organ, keep your sanity and still give a good account of yourself on a Sunday?

When I first started to play the organ at church, my biggest worry was that I would make myself look stupid. Surrounded by people who would tell me how brilliant the organist was in the church down the road, and how if they had a bit more time, would take on the job themselves, I thought I was playing to a congregation of retired organists!

After a time, I realized that some people do tend to exaggerate and that I was the most eligible candidate for the job because I was the only person who could play the piano to any degree of proficiency. However, I also realized that I would only accomplish the transition from pianist to organist if I could play to my own expectation, which at the beginning was higher than was practical.

The first tip I would give to someone in a similar position is to play easy music well – not difficult music badly. People listening to organ music, or any music for that matter, cannot usually tell if the music is hard or easy to play, but most people do know if there are any mistakes. Playing easier pieces will also make the transition easier.

The next tip I would give is to learn to play the bass pedals. It may seem very difficult at first, but organ playing, especially hymn playing, becomes easier when the feet can contribute to the sound and you don’t have to rely solely on the hands and manuals. The pedals are often the most difficult hurdle when changing from piano to organ and it can feel like playing two instruments at the same time! Hymn playing is harmonic – based on chords – so if you can think of your feet as an extension of your hands so that your mind gets used to including the bass pedals in the chord structure, playing pedals in hymns should become a more natural process.

Lastly, be realistic about what is achievable, from yourself and the choir, and set yourself a practice schedule that you can stick to. Being too ambitious about the time you can give or the level of music you can play will probably result in disappointment. It is also encouragement that you need if you are to make the transition from pianist to church organist.

Nick Chenhall has been a musician and teacher for over thirty years and runs his own Reluctant Organist website with practical advice on how to survive the post.

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It may be that the silence of the broken pipe organ gave Reverend Joseph Mohr the inspiration to write the lyrics to “Silent Night” in 1818. In that moment, he likely was driven by anxiety rather than enthusiasm.

When Father Mohr made plans for Christmas Eve Mass at his church in Obernorf, a little Austrian town, somebody noticed that the church’s old organ was not working. There were only a few days left before Christmas, and the nearest repairman was many miles away. It seemed as if Christmas Mass would have to be held without music.

With great sorrow that his Christmas plans had been destroyed, Fr. Mohr decided to take another course of action. He did this while still performing his usual parish duties, even during the baptism of a new baby. While making this specific visit, the lyrics to “Stille Nacht”, or as we know it, “Silent Night,” came suddenly to Fr. Mohr. He did not want to forget the words that had quickly popped into his head, so he ended his call and rushed home.

When he arrived home, he quickly committed his thoughts to paper. Translated into English, the resulting four stanzas read:

Silent Night, Holy night,
All is calm, all is bright,
Round yon’ virgin, Mother and child,
Holy infant so tender and mild, Sleep in Heavenly peace.

Once he had put his words down on paper, Mohr got in touch with Franz Gruber. Herr Gruber, who trained the parish choir, was a colleague and a musician. Mohr managed to find out that Gruber could play the guitar, as well as the organ. Gruber told Mohr that he was not a proficient guitar player. However, Mohr was determined, and he gave Gruber the words to the new poem he wrote. Mohr and Gruber found a dusty old guitar and got to work writing the song that provided music for Oberndorf’s Christmas Mass.

It was improbable that either Mohr or Gruber had any idea that they would leave such an indelible mark on our history. The song eventually faded into obscurity for a over a decade. After this, the Strasser family from Zillertal Valley somehow got possession of the song, “Silent Night”.

The Strasser’s four children were trained in music, and they used their talents to attract customers to their family’s glove business. They spent many hours standing on the walk outside singing to draw in customers. Someone handed the Strassers the music for Silent Night, just like a talent agent might discover new talent in some obscure location. The song was rewritten from two-part harmony to four-part harmony and the Strasser children because famous immediately with their version. When the Strasser children sang “Silent Night,” they sounded like a choir of angels. That is why the valley residents began calling it “The Song From Heaven”. Their vocalizations were so lovely, the Strassers were asked to present their music to the kings and queens.

It might have been a king who turned “Silent Night” into a Christian mainstay. The Prussian king, Frederick William IV heard “Silent Night” some 22 years after the Strasser children began performing it as “The Song from Heaven.” When he heard it, he said that it should be sung first in all Christmas concerts given for the rest of the time that he sat on the throne. We don’t know if this actually came to pass. What we do know is that “Silent Night” was not just King Frederick’s favorite, it soon became a beloved Christmas fixture worldwide.

A free email newsletter on exciting piano chords and chord progressions from Duane Shinn is available free at Silent Night

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God has given us talents to sing his praises and playing guitar for the church is one of the greatest ways to glorify God. There are several well known duets, solo artists and even bands that go from church to church playing gospel music for God’s glory. You too can learn guitar for god praising.

I’ve had the honor of playing in a band while singing in a few churches and I know there’s no greater feeling than to be blessed with the knowledge that you had blessed others with your music. Whether you’re an experienced guitarist or you’re just starting out, God will inspire you to play guitar for worship. By asking Jesus Christ to come into your heart, you would have made a commitment to bless others. This would make one start to appreciate the life that Jesus Christ sacrificed himself for in a different light.

In modern days, several churches have their own sounds systems built in with microphones and amplifiers. The acoustics are pretty amazing in the sanctuary of the church and provide a rich and clear sound. One important tip is that you should choose the most appropriate songs that will bless the majority of people in your congregation. Another tip is to make sure you pick songs you will be the comfortable playing and singing at the same time.

Practice and learn everything you can about playing the guitar and the different major guitar chords. You can play several church gospel hymns with only three guitar chords and a few gospel songs with as little as two guitar chords. Once you learned the basic chord progressions of songs, you should then practice those songs over and over to make them perfect. Finally, be sure to record yourself and listen to the recordings for any improvements that need to be made. This will help you polish up your skills in playing worship guitar. Have lots of fun while you learn guitar for praise!

Find Out More About Learn Church Guitar? Get Professional Lessons On How to Play Guitar Here.

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Learning guitar lessons from church songs for your own musical talent addition is a positive measurable sign of personal dedication to the Lord Jesus Christ. Developing your own worship capabilities for display, perhaps to other church members during service. The holiday season will grow in important meaning to you and your family by learning church guitar lessons.

These lesson can be shared, in the privacy of your home, if you so desire. The joyous singing and playing of the guitar will be the absolute perfect tribute and proof of your families love, respect and adoration to Our Savior Jesus Christ. This musical tribute learned from church guitar lessons can be performed and shared any time of year or for the holidays.

If you enjoy the enriching attitude and respect gained from others learning church guitar lessons, there may be more to do. One of the responsibilities shared by church participants is the responsibility to spread the words of Christianity. Explaining the purposes and reasons of Lord Jesus Christ’s decision to sacrifice His life for our existence. The church guitar lessons give all that unselfishly choose to learn guitar music, the ultimate vehicle to fulfill this purpose.

Many songs have been written for the musical instrument guitar. There may be others that are within the church that can compliment your guitar playing after your lessons are complete. Everyone is equal in the eyes of Our Lord and Savior Jesus Christ. Especially those that act in the benevolent attitude of learning to perform within the desire of offering their own personal gifts of service to Our Lord and Savior Jesus Christ.

This is done with the musical guitar church lessons rendition and benevolent exhibition. It is this attitude of giving that creates favor in His view upon us. Learning church guitar lessons in the company of church members is the greatest and largest gift that a person can give. Have the Christian solitude added to your individual household worship abilities and loyal tributes as you affirm Jesus in your household, by learning church guitar lessons.

Find Out More About Church Guitar Lessons? Get Professional Lessons On How to Play Guitar Here.

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Several types of Chorale Church Music exist. Specific notice is deserved to the ancient-Roman songs of the VII-VIII centuries. Information from the Lorana Institute and Greek research into choral traditions of L. Anhelopulocs show a united modal, rhythmic and ornamental basis. These actual chants were placed into the foundation of Gregorian chorals until the VIII-IX centuries until the systematic Gregorian eight-toned foundational singing arose. In the East this process ceased a century earlier (Eight Tones of St. John Damascene), in time the Gregorian chorale became the basis of all European professional music and its rightful name should be “The Musical Teacher of Europe”.

In the “Liturgy of Peace” the Greek Divine Liturgy of St. John Chrysostom in the Church-Slavonic language is “dressed “by the author in the melodies of ancient Gregorian chorals with minimal adaptation of harmonious methods. That way, and through the one thousand year old alienation of Church culture the “Liturgy of Peace” creates a musical synthesis of both cultures: firstly, and again the meeting of western and eastern liturgical traditions. After more than three centuries of domination of eastern Slavonic Divine Liturgies in its concert style of music, the “Liturgy of Peace” is received and accepted as something un-expected. Its uplifting “awakening -angelic” and lulling intonations carry peace and harmony, giving birth to passion, as though uniting us with the Kingdom of Heaven. That is why it is no coincidence that it is titled: “Litany of Peace”, “Angelic”. “Liturgy of Peace” is the spiritual fruit of many years of reflection and the seekings of Archbishop Ionafan as to the way to Universal Peace, which is so necessary today in our uncertain lives.

The author dedicates the “Liturgy of Peace” to the eternal memory of his spiritual guardian Metropolitan Nikodim (Rotov) the eminent religious champion and upholder of Christian unity and Peace.

Archbishop Ionafan (Anatolij Ivanovych Yeletskyh) was born in Russia on the 30th January 1949 in the Voronezkij oblast (now Bilhorodska). In 1976 he graduated from the Leningrad Theological Academy (now St. Petersburg) attaining the learned level of Candidate of Theological Learning. Simultaneously, he studied choral directorship at the Theological Academy under the tutorage and in the classes of N.D.Uspenskij, a famous music expert and doctor of Theology and liturgical historian. For ten years Archbishop Ionafan lectured at the Theological Academy and within the department of Choral Directorship where he directed the student choir in the seminary church. In 1986 and prior to 1,000 years of Christianity of Kyivan Rus, and under the directorship of the then Hieromonk Ionafan (Yeletskyh) the student choir of the Leningrad In 1988 Archbishop Ionafan – the then Vicar of the Kyiv Pechersk monastery of the Caves in its God-serving rites revived the traditions of monastic singing.

The musical activity of Archbishop lonafan supplements the multifarious foundational recovery, restoration and deciphering of ancient-Ukrainian church melodies of the XVI century, the epoch of its ancient methods being the priceless spiritual inheritance of a great Slavonic culture. The Lyturgy was first performed and  recorded by Kyiv Chamber Choir.

About the Author

Origen Music

Logic tells us that the word “has departed” denotes simply that there used to be glory, and now there isn’t. The term originated in reference to what many refer to as “the Shekinah (SHE’KEE’NA) glory” which is the manifestation of the glory of God in the temple at Jerusalem – the place where God resided. This “Shekinah” was displayed in several ways in Scripture including the burning bush, the bright light when the angels announced the birth of Christ to the shepherds, etc. The Shekinah was only present when the Ark of the Covenant was in its proper place, in the Holy of Holies. Historically, whenever the Ark was NOT in the temple, the temple was said to be “Ichabod.” The real substance and meaning of the temple was missing. It was merely an empty habitation at that point because the essence – the glory of God – was gone.

There are many references to the “glory of God” throughout Scripture. It is the direct reminder of God’s power and interaction with His people. The word “glory” is one that is often misunderstood. Though most would agree that the word implies praise, honor and fame, a more complete definition includes the words splendor, magnificence and radiance. Now, apply that definition to any verse regarding “the glory of God” and it changes its meaning in a powerful way.

Today, in this Age of Grace, the glory of God is manifest through the lives of those truly serving Him. Notice: through the LIVES – NOT the buildings. Our lives are intended to form the visible manifestation of God’s splendor, magnificence and radiance. Until we renew our minds to this truth, it ain’t happenin’. When it does, through the ministry of a relative few, we see them as being “more holy” or “more spiritual” than the rest of us, as if they set the standard to which the rest of us can aspire. That’s unfortunate for, if we are to compare ourselves with anyone, that person should be Jesus. He alone is our standard.

The Scripture refers to us, the followers of Jesus, as “living sacrifices.” This is commonly referred to as an oxymoron (a la “Jumbo Shrimp”, “Found Missing”, “Microsoft Works”) for a sacrifice is dead and, therefore, cannot possibly be living. Notice, however, that the phrase is not “tithing sacrifices”, “preaching sacrifices” or any other kind of sacrifices. No, the term is LIVING sacrifices, denoting life, day to day, moment to moment sacrificial living. In other words, doing everything as unto the Lord God (1 Cor 10:31).

Do you get it? We, the Church – NOT the edifices, but the PEOPLE – are supposed to be the containers of the glory of God. Better yet, the DISPENSERS of the glory of God. Jesus called us “the light of the world” – NOT our buildings and certainly Not our manmade denominations. Too often, even Protestants have the attitude that God is in the church house. Friends, God doesn’t show up anywhere, including church services, until you get there. You bring Him WITH you! Too often, the gatherings taking place within these structures are replete with unscriptural ritualism demonstrated nowhere in Scripture, or they’ve become mere social clubs that rarely reveal lives that have been radically changed. The bodies in there, going through endless motions, and droning worship songs, too often offer lip service with hearts far from God. The glory has gone. The individuals, and the organization which they comprise, have become Ichabod.

So, is your church an Ichabod or is it the house of God?

It’s NEITHER! God doesn’t live in ANY building anywhere on the face of the earth. He lives within YOU. In fact YOU are the Ark of the New Covenant, carrying with you the very presence and power of God EVERYWHERE you go. Problem? The vast majority of those who call themselves “Christian” (literally meaning, “a little Christ”) don’t believe that. Not only that, most of us have never been taught that. Instead, we’ve been conditioned to believe God is “out there” somewhere. We hear songs like “God is watching us” by Bette Midler and “What if God were one of us?” and we base our theology on this stuff rather than the Word of God.

So, is God really within you, desiring to live THROUGH you or isn’t He? Does the same Spirit that raised Jesus from the dead live within you or is God a liar? Will His disciples REALLY do greater things than He did or was Jesus out of His mind? Does the verse “In Him we live and move and have our being” apply to anyone you know? The truth is, God DOES live within us and He does some pretty incredible things through those who have decided to believe that every Word of Scripture is absolute truth.

Major problem? As I see it, there are three: (A) Preachers aren’t preaching this, (B) Christians are so biblically illiterate, we have no idea what’s Scripture and what’s from Poor Richard’s Almanac and (C) We are so busy doing things the prescribed way that we are oblivious to what the Lord is wanting His Church to do next..

All this can change but it starts with a radical, life altering decision, one that every individual Believer has to make on his or her own. Don’t wait for your pastor or priest to make the choice. Neither should you wait for your denomination to get an edict from headquarters. YOU alone must make the choice to raise your head up from among the crowd. When the lemmings are headed west, go ahead and head east. But be warned: one man’s obedience is another man’s rebellion. The traditional Church is notorious for attacking anyone who follows the cloud. The things we see as commonplace were once considered radical. From church music to altar calls, numerous aspects of church have suffered from “friendly fire” and still do.

It’s Ok, you see, because this is all about you and your personal obedience to what the Father is saying to you, Spirit-to-spirit. Far too often, we have settled for Religion when it’s intimate RELATIONSHIP that God desires from us. How can we get any more intimate than to allow the Creator of all things to live THROUGH us in an effort to lead people from darkness into his glorious light?

ABOUT THE AUTHOR

Michael’s mission is to bring Discipleship and Encouragement to the Body of Christ. Since 1999, he has broadcast nearly six hundred inspirational articles and a dozen booklets on subjects that will interest the thinking Christian, all designed to accelerate the process of spiritual development in God’s people.

He is the founder of t.e.a.m. ministries (team1min@aol.com). An Author, Pastoral Counselor and Teacher, his eMail broadcasts, known as “Your Town for Jesus” are reaching millions around the globe WEEKLY. Write team1min@aol.com if you’d like to SUBSCRIBE.

A licensed/ordained minister, a Certified Workplace Chaplain, and a Professional Member of NIBIC, he has ministered in Methodist, Pentecostal, Charismatic, Baptist, Disciples of Christ, College and Cowboy churches. He is also a Speaker on the Christian Speaker Network and may be available to speak to your church or Christian group

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There are four principles deduced from the New Testament worship which, if applied, will help produce a God-honouring music and worship ministry. These are found in Colossians 3:16,17 and they include the memorandum or message of music; means of music; medium or matrix of music and the motive of the musician.

MEMORANDUM OF MUSIC

The message of church or sacred music must be solidly based on the Word of God (Col. 3:16a). Musicians should be filled with an understanding of the Word of God and then communicate a biblically based text though their music. God’s Word must not only fill our hearts but must permeate the lyrics of the songs we use to worship God as well. Thus, in evaluating music for use in church, we must ask ourselves, ‘is the text of this song consistent with Biblical truth?’ The theology of suffering, for instance, is reflected in song. In the 1970s, most choruses sung emphasized personal confession of one’s faith in Christ and the willingness to take up the cross and identify in the fellowship of His suffering. Today, many messages identify suffering and sin or lack of faith. The chorus ‘Mi a nor go sufa, a nor go beg for bread; God of mirakul, na my Papa O” (”I will neither suffer nor beg for bread because the God of Miracles is my Father”) is very popular. It must be emphasized that even though it would be wrong to crave for or go in search of opportunities to suffer, biblical theology supports the view point that a Christian is a spiritual athlete and suffering is an inescapable part of the training programme.

Another important aspect of this principle involves the quality of God’s Word in the musician (’richly dwell in you’). The Word of God must inhabit and become a part of our being. It should be the controlling aspect of every Christian musician’s disposition. The world teaches musicians to do their thing (aspire for acceptance) and to strive to be ‘great musicians’. For the Christian, however, the Word of God should be his regulation.

The message or memorandum of the music (’the Word of God) is also evident in our lives ‘with all wisdom’. This refers to our ability to discern between right and wrong, proper and improper, ethical and unethical in our selection and use of music. The Christian musician needs the wisdom of God to know what song to use, how to minister (and not perform) it, and what innovations (if any) are appropriate in worship.

MEANS OF MUSIC

Music should focus on a two-fold method of ‘teaching and admonishing one another’ (Col.3:16b). To teach means to instruct, explain and direct. Thus, music directed to God should be far more than entertainment or personal enjoyment. It should be a tool for biblical instruction and training. A common song, ‘Read your Bible pray every day if you want to grow’, is a very clear biblical instruction. Many people have been able to remember the books in the Bible as a result of music being applied to this list of sixty six ‘titles’. This is one of the reasons why music is so important in the ministry of Christian education. Music in the church should be more than the prelude to the Bible lessons or sermon. The right kind of music can be used powerfully to teach the truth of God’s Word. Many of the great hymn writers such as Martin Luther, Isaac Watts and Charles Wesley realized the power of music to teach and that was why they wrote hymns rich in doctrinal truths. Music can also be used to help people know the very words of Scriptures, especially those which seem difficult to memorize. Many choristers know the piece, Rejoice in the Lord Always, even before realizing that the entire rendition is recorded in Philippians 4:4-7. ‘Admonish’ means to invite, encourage, shape and mold. A Scriptural music ministry provides opportunity for musicians to encourage, built up, and spiritually nurture fellow believers. Christian musicians have a responsibility to teach and to train people to understand and perform God’s work. All believers are to be involved in the ministry of music regardless of their musical skills. God desires for us to minister to Him and to one another with our sacrifice of music. No one is to be merely a spectator in the music programme of the local church.

MEDIUM OF MUSIC

Paul instructs us to use “psalms and hymns and spiritual songs”. This illustrates that there should be variety in church music. A church which only sings only one set would not be fulfilling Scripture according to this passage. Canticles and choruses could fall under psalms. A popular canticle rendered at wedding ceremonies is Beati Omnes or Psalm 128. Everyone who fears God is regarded as blessed and such an individual would eat the work of his or her hands. The wife is pronounced as a fruitful vine and the children like olive plants around the table. Seeing one’s grandchildren is regarded as a blessing. The chorus ‘I will bless the Lord at all times’ is taken from Psalm 34:1-2. The psalmist proclaims that he’d bless God at all times and would boast in Him. David thanks and praises God for deliverance from the Philistines. Other songs are classified as spiritual songs. Probably this would be a convenient portion to classify gospel songs. It is evident that God admonishes to use different kinds of Christian songs to praise the Lord.

MOTIVE OF THE MUSICIAN

The musicians must have the proper motives in their music – “Singing with thankfulness in your hearts to God. And whatever you do in word or deed, do all in the name of the Lord Jesus, giving thanks through Him to God the Father” (v.17). Misguided motives and selfish ambitions have hindered many gifted musicians from communicating the Gospel of Jesus Christ. There is no room in the service of God for musicians with arrogant, self-righteous, condescending, or self-serving attitudes. For our music and worship to be acceptable to God, it must begin in our hearts. God is more concerned about the music in our hearts than that on the lips. God is in the business of changing hearts – molding, strengthening, developing and sanctifying them for His glory. Music is a means of communicating outwardly what God is doing inwardly. The Christian musician should not aim just drawing attention to his own gifts but to bring praise to God. As we minister to God through music, God will minister to us. Many Ministers of Music, music groups, soloists or instrumentalists have been fooled by Satan into thinking that God is impressed with abilities, talents, technology and ego and that He will bless us according to the level of the compliments we receive for our performance. An old saying paraphrased says, ‘the musical talents you possess are God’s gifts to you. How you develop and use those musical talents are your gifts to God’. Do we use musical gifts to glorify the name of the Lord or for personal gain? Do we concentrate on lifting the name of the Lord with a Christ-like life style or do we exhibit lax moral standards and rely on our musical gifts. Amos 6:23-24 clearly warns us to “take thou away from me the noise of thy songs; for I will not hear the melody of thy voils. But let judgment run as waters and righteousness as a mighty stream”.

AUTHOR SIGNATURE
Oliver L.T. Harding, who obtained his GCE O & A Levels from the Sierra Leone Grammar School and the Albert Academy respectively, is currently Senior & Acting Librarian of Fourah Bay College, University of Sierra Leone. He is a part time lecturer at the Institute of Library, Information & Communication Studies (INSLICS), Fourah Bay College and the Extension Programme at the Evangelical College of Theology (T.E.C.T) at Hall Street, Brookfields; Vice President of the Sierra Leone Association of Archivists, Librarians & Information Scientists (SLAALIS); a member of the American Theological Library Association (ATLA) and an associate of the Chartered Institute of Library & Information Professionals (CILIP). His certificates, secular and sacred, include: a certificate and diploma from the Freetown Bible Training Centre; an upper second class B.A. Hons. Degree in Modern History (F.B.C.); a post-graduate diploma from the Institute of Library Studies (INSLIBS, F.B.C) a masters degree from the Institute of Library, Information & Communication Studies (INSLICS, F.B.C.) and a masters degree in Biblical Studies from West Africa Theological Seminary, affiliate of the University of Nigeria, Nsukka, where he won the prize for academic excellence as the Best Graduating Student in 2005. Oliver, a writer, musician and theologian, is married (to Francess) with two children (Olivia & Francis).
Email: oltharding@yahoo.com
Mobile: 232-2233-460-330

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