In For the Strength of Youth, a publication put out by the church for young men and young women, it gives some basic counsel about music in general: “Music is an important and powerful part of life. It can be an influence for good that helps you draw closer to Heavenly Father. However, it can also be used for wicked purposes. Unworthy music may seem harmless, but it can have evil effects on your mind and spirit.” Many have either heard someone say, or have even said themselves, “Well, I don’t listen to the words, I just listen to the beat.” This may seem innocent enough until you consider the very real impact that a song’s rhythm and beat have on us. You don’t have to try very hard to think of scenes in your life where your mood was directly impacted by the tone and timbre of the music playing. LDS music invites the spirit because it is in tune with goodness and light, and is a welcome part of the world’s great musical repertoire.

For the Strength of Youth gives further council, “Choose carefully the music you listen to. Pay attention to how you feel when you are listening. Don’t listen to music that drives away the Spirit, encourages immorality, glorifies violence, uses foul or offensive language, or promotes Satanism or other evil practices.” This direction to make wise choices about the music we listen to is so timely. In a world of violence, degradation, immorality and moral relativism, LDS music is a fresh, uplifting genre that promotes a spirit of wholesomeness and kindness. It invites good feelings and uplifts the soul.

In one of the hallmark talks from an LDS church leader about the role that music plays in our lives, Elder Boyd K. Packer talked about the impact that both good and bad music has on us. He warns, “In our day music itself has been corrupted. Music can, by its tempo, by its beat, by its intensity, dull the spiritual sensitivity of men.” He also instructs, “Sacred music can help us even where there is no formal performance. For example, when temptation comes, we can neutralize its effect by humming or repeating the words of a favorite hymn.” (Boyd K. Packer, Ensign, Jan. 1974, pp. 25-28).

Thankfully, good LDS music exists that edifies and uplifts. In fact, the Lord has told us, “For my soul delighteth in the song of the heart; yea, the song of the righteous is a prayer unto me, and it shall be answered with a blessing upon their heads.” (Doctrine and Covenants 25:12.)

MJ writes for LDS musician, Doug Wallker. To download Doug’s LDS music visit http://www.whatheavenseesinyou.com.

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Even more surprising was the statement made by our professor – “Pop Music is Dead.” I listen to popular music on the radio more often than classical. Most of my listening happens in the car, and my commute is short; I can’t stand listening to only half of a piano concerto on my way to work.

Pop music seems alive to me. In spite of the problem of illegal downloads, artists are still out there making new recordings. Technology has opened the door to an even larger audience, giving independent musicians a chance to compete without the necessity of contracts with big record labels. How could he claim that pop music was dead?

Pop music, according to the professor, is dead because it has classicized itself. His theory is that pop music is designed to have a short life span. Songs are popular for awhile, and then are replaced by new, more popular songs. His argument is that since popular songs now become “classics”, it defeats the whole philosophy of the genre. So the whole idea of “popular” as a classification for music is dead.

I don’t agree with him entirely, but understand his point of view. I direct choirs at a public school, and face the problem of having traditional songs box in my concerts. It’s tradition to always end with the Hallelujah Chorus, it’s tradition to do a candlelight procession to a certain arrangement of Silent Night, it’s tradition to sing the same set of songs every year at baccalaureate and commencement. If we create any more traditions, I might as well laminate my lesson plans.

Tevya from Fiddler on the Roof would tell us that our traditions are what anchors us; they help us maintain a strong foundation against an ever-changing world. I don’t want to drop our musical traditions, I just want to be careful that we don’t create so many of them that there is no flexibility left for learning beautiful new music.

Now we come to the hymnal, the beloved and cherished cannon of music that forms the repertoire from which we choose praise and worship songs every sunday. Has the use of the hymnal classicized sacred music? Have we carved a selected group of “classic” hymns in stone?

That was certainly the purpose in the early church. A study of music history teaches us that notation was first developed as a means for the church to standardize the singing of gregorian chant. The mass was to be said in a formula that didn’t vary, the music needed to be consistent as well. Printing a hymnal guaranteed that it was always done the same way. Orthodoxy was officially established via printing press.

I certainly don’t have any problem with orthodoxy. My problem is with the printing press. Newspapers are going out of business because the printing press can’t keep up with the internet. It is now possible to publish something that is instantly accessible world-wide at a fraction of the cost it takes to print a single edition of a local newspaper. Changes like this can’t help but influence the way the church does things.

The Methodist denomination isn’t quite certain how to manage this problem. The printed hymnal is getting old and is due for replacement – but nobody knows how to go about it. Some churches use the hymnal exclusively every Sunday, some project lyrics instead. Some sing only hymns, some sing a combination of hymns and more modern praise & worship choruses. There are so many different approaches that one size doesn’t fit all anymore.

Do we publish another comprehensive, solid, and expensive hymnal? Do we publish a cheaper version that will be replaced more often, making updates easier? Do we put the whole thing online, allowing for instantaneous updating? It’s going to be awhile before there is an agreement on this issue.

My opinion is that change for the better is always welcome. Our church subscribed to the CCLI website’s “SongSelect” service a few years ago, and it has opened my eyes to the advantages of web-based printed music. Practically any hymn, worship or praise chorus ever published in any key that I want is now available on demand. No more transposing by hand or by sight to get square pegs to fit into round holes. No more elaborate modulations to remote keys. It has made my life much simpler, and I never want to go back to the old way of doing things.

Musicnotes.com is a similar service that has changed everything from a more secular perspective. If a student wants to sing a popular song for a wedding, I can choose from several arrangements and have it pitched in the perfect key for their voice range. No paying shipping charges and waiting – you pay, download and print immediately. Life is good.

No, professor, popular music isn’t dead because some songs have become classics. No, my traditionalist friends, sacred music is still alive and well whether we ever print another physical hymnal or not. I don’t think it matters to God whether we sing His praises using a hymnal, projected lyrics or a bulletin insert. Just so we keep praising and worshiping.

Rob Pearce is the founder of WorshipBasics.com, a website created for the support and encouragement of others starting contemporary worship services in traditional churches. Visit at http://www.worshipbasics.com and signup for a free mini-course – Overcoming the 7 Roadblocks to Contemporary Worship.

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This saying comes from a banner that hangs next to the band set-up at our church. It’s absolutely true. What you play and what you sing are your prayer as well as your witness. What you convey when you play church guitar says more about you than words could ever say.

Whether you are learning to play church guitar right now, or if you are adapting “secular” guitar playing to fit into sacred music, you are not very far away from performing the music you love. Many of the old Spirituals, such as “Michael Row the Boat Ashore”, as well as the hymns, such as “Amazing Grace” have very easy chord structures and the music is simple to play and/or sing. There is not a lot of adapting that needs to take place with these old and simple songs; if you have played Folk, Rhythm and Blues, or early Rock and Roll, you have played variations of these songs for years.

The biggest adaptation you need to put in place, if you are already a guitar player, is that a church guitar needs to be a little quieter. If you play electric guitar, you will want to put away the reverb and “heavier” settings for now. Church songs are played slower and quieter, in nearly every application. Happy songs still have a level of respect that the adapting musicians need to understand.

If you are joining an already formed group, you will easily be able to feel the group’s “groove”; what style of songs they like to play, their favorite songs, etc. If you are forming a group of church guitars for the first time, there needs to be some understanding of each other before you can start strumming. What, for example, is the level of emotion for this band? Some folks love to jump and shout for the Lord, others are more reserved. Who leads, and the style of leadership, is something that needs to be understood from the beginning.

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

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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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