Casualness in the Way
We Sing
by Robert Regal
http://www.middletownbiblechurch.org/lochurch/casualness.htm Music, The Barometer of a Society
The church has swallowed the monstrous heresy that noise (music), size, bluster and activity, make a man dearer to God.
--A. W. Tozer
The article by Dr. Tassell and the above quote of Dr. Tozer should sound an alarm in the midst of the saints who have gone to sleep at the helm of the "Good Ship Grace," and have turned aside from "the faith once delivered to the saints." The Church, the "Body" and "Bride" of Christ, made up of local assemblies around the world has been impacted in our time by the "spirit of the world" (1 Corinthians 2:12). This is foreign to God's ideal which is delineated in the rest of the verse: "...but the Spirit which is of God; that we might know the things that are freely given to us of God."
Many of the saints of our time seem unable to discern "the Spirit of God" from "the spirit of the world." We are commanded not to love the world, nor be enamored by it, and never to be dominated by it. We are not to be "conformed to the world, but transformed by the renewing of the mind," for "...we have the mind of Christ" (Romans 12:2; 1 Corinthians 2:16).
Particular contemporary musical styles have become classic examples of the "spirit of the world" invading the church. Not only have they invaded the assemblies of believers world wide, but they dominate. Try to address it and the assembly splits. Leadership hesitates to address it for fear of creating unnecessary waves, and, "after all, we must get together in our day; we must unite on the main issues and not be overly concerned by doctrine." (I might add, we need to be sure that it is sound doctrine.) First, certain styles of the musical language are tolerated, this is soon followed by domination (down with the traditional, conservative, stylings) which, in turn, leads to compromise.
A consequence of this invasion affects the life style of the believer. Where you find an emphasis on much of contemporary stylings, you will notice a cloak of casualness that moves in among the saints. Thus the timely article of Dr. Tassell. If this situation is addressed the assembly cries out, "legalism!"
The style of music will not only affect the attitude of the saint in the area of clothes, grooming, and personal deportment, but in theology. It fosters a looseness in the spirit of worship, teaching, edification and fellowship. I have observed in many of the churches in which I have visited this "casualness," not only in attire, but in fellowship (conversation, noise), which becomes boisterous to the point that the pastor or man of music, or whoever is in charge, has great difficulty in beginning the service. What makes it worse is that the fellowship (conversation, noise), usually has nothing to do with the purpose of the church meeting together. What has created this mood and encouraged this pre-service situation?
One of the strengths of music and its varied styles are the moods and the emotions it generates. I am not saying that Pop, rock, in all its versions, Western, Country Western, Jazz, Folk, Stamp Baxter, New Age, Contemporary, and such like, are not part of the musical language, for they are an expression that comes out of our age and culture, which culture, in many areas, is caught up in insipid subjectivism and decadence. What I am saying is that these styles and idioms speak of the world and its culture good and bad and are thus disqualified to be the musical vehicle for the saints in worship, fellowship, evangelism, and the Christian life in general. The following are two quotes supporting this position:
The development of form in music itself is an attempt to reach completeness through an artistic media. Music having a definite secular symbolism is poor music for worship. Jazz, etc. is confusing. It is too much like everyday life to be ultimately satisfying. (Emphasis Mine)
--Dr. Bernstein, Professor of Music,
New York University
Art and music always reflect a particular view on life and the world. Deeply felt values are expressed through the way the theme and subject matter are handled. Thus, even junk and punk rock say something very definite, very deliberate. What rock is saying in today's culture disqualifies it as a vehicle for spiritual communication.
Reduced to its smallest component parts, music is amoral. There is nothing inherently wrong with 440 hz vibration or a dotted quarter note followed by an eighth note. The same could be said for a letter in the alphabet or a drop of paint or a particle of clay. But as soon as a human being combines any of these building blocks, the creative process has begun and the resulting creation always reflects a view of life.
For this reason, the Christian cannot sanitize rock. Even if we ignored the worldly associations of rock (and we cannot), its musical origins spring from a view of life altogether different from the Christian's. Because Christ must be the focal point of our music, the style must never overshadow Him or draw attention to itself. (Emphasis mine)
--Peck, "Rock, Making Musical Choices"
For too long the church has assumed and taken for granted its musical heritage which is rich in great hymn and gospel composition wedded to magnificent texts both in subjectivity and objectivity, that have passed testing through the channels of time and have emerged in our day arranged and rearranged, added to and extended, imbued with the touch of the art of great musical invention. Excellent music has been and is being written in our day, but one has to sift through and discern its textual and musical values and not be caught up in the argument for style. God gave us the substance of music, man gives us the style. There are 12 tones in our music scale. The arrangement of these tones in melody and harmony, the pulse of the meter that drives it and guides it, the text that gives the composition meaning, all fall into a style that must be thought about.
It should be remembered that two areas are involved in music ministry in and to the assembly, and for that manner, to each other and to ourselves. See Ephesians 5:19; Colossians 3:16 and Hebrews 13:15. Two languages are wedded together and both have a grammar, a syntax, and a rhetoric: Lyrics, or the word text, and composition, the music text. This then is the substance of musical expression, which expression becomes the barometer of a society. If this is true, and it is, then we could say without any provocation, that it is also a barometer of the church and its condition in society, and in its address to today's culture.
The Lord Jesus is a model for every believer. He was in the world but was not of the world: "I have given them thy word; and the world hath hated them, because they are not of the world, even as I am not of the world" (John 17:14). He was sent on a mission to the world, a world which hated Him, and He in turn has sent believers into the world, and in turn, the world will hate them; that is, if they are truly believers and love Him and desire to please Him as He pleased the Father, and realize that they also are on a mission to the world. See John 17:15-21.
The Lord Jesus, in verse 21, requested unity for the future believers (see also verse 11 and verse 22). These verses have been misused and abused by the promoters of the present ecumenical movement.
"Admittedly the divided church is in many ways a scandal. The cure, however, is not institutional union. Jesus was not praying for the unity of a single, worldwide, ecumenical church in which doctrinal heresy would be maintained along with orthodoxy. Instead, He was praying for the unity of love, a unity of obedience to God and His Word, and a united commitment to His will. There are great differences between uniformity, union, and unity." (Emphasis Mine)
The Bible Knowledge Commentary (NT), p. 333
All believers belong to the body of Christ (1 Corinthians 12:13), and the world should know of their spiritual unity by their life style. This life style, whether the church or the world, is expressed through the greatest medium of expression we know, musical expression, the heart of this discussion. Nowhere in the Word of God am I encouraged to adopt the musical language that expresses the world that hates God and the believer, for as Dr. Bernstein wrote...."music having a definite secular symbolism is poor music for worship...it is confusing. It is too much like everyday life to be ultimately satisfying."
"When you take great theology and wed it to grand musicology, it ascends before God in magnificent doxology."
Stephen Olford
--Robert Regal
From the book: With the Voice of Singing
>>>For this reason, the Christian cannot sanitize rock...
For too long the church has assumed and taken for granted its musical heritage which is rich in great hymn and gospel composition wedded to magnificent texts <<<
This controversy has been going on since the beginning of the church. Some thought we were all on the way to hell when we went away from Gregorian chant. Look in your hymnbook. Whenever you see something labelled traditional or author unknown, chances are it was originally a secular tune. Not only that, but many of these were drinking songs.
Many great hymns come from a period when Martin Luther was writing Christian lyrics to drinking songs. Bach wrote harmonies (shocking!) to many of these hymns.
When challenged, Luther is reported to have said "Why should the devil have all the good tunes?"
What I am saying is that these styles and idioms speak of the world and its culture good and bad and are thus disqualified to be the musical vehicle for the saints in worship, fellowship, evangelism, and the Christian life in general. I am, as the modern phrase goes, conflicted on this one. I am strongly for traditional hymns in worship and for the exclusion of drums and CCM therefrom. Yet, I listen to CCM on my car radio and while working in the garage on a regular basis.
My real problem is with the argument. The argument was used, historically, to disqualify the organ (by my otherwise iconoclastic hero Oliver Cromwell), to argue for the Gregorian chart and against congregational singing. In favor of the quartet and against the choir. In short, for that which wasd known against that which was not.
A more difficult argument, but I think the better, is that the vast majority of CCM is fluff, i.e. a few mindless phrases repeated over and over. Martin Luther called his hymns, 'my little sermons' because in fact they were. Running many verses, each different and content-laden, with the content of the verse summarized and driven home by the memorable chorus.
I remember, as a boy, siding with the group in my church which wanted to sing all 6 verses (or whatever) rather than merely verses 1, 3 and 4. It seems to me that the issue must be content.
OK, what about my drum prohibition? My argument is that, again, the drums detract from the content. I call this my 'Italian opera' argument. I suspect there are some operas out there with great lyrical content, but unless you speak fluent Italian or German, you (and I) will never know it. The language masks the content. Similarly, drums are used to mask the content of lyrical music.
So that's why I can enjoy CCM while wishing to keep it out of formal church worship. Are there others who feel similarly?
I keep remembering David dancing to the Lord. He was so exuberant that his wife thought him immodest.
Praise God with all your heart, your mind, and your body.
Let that Spirit which dwells with yours shine!