The Christian And Music - Part Ii. Individual Aspects

by P.L. Hickling, Southport | Category: Contemporary Issues In Christian Life | Sept 1980

What is the Question?

The attitude of Christians to music, particularly instrumental music, has varied very widely. Some claim that music is 'spiritual' in itself, so that its enjoyment is an act of devotion; others have regarded all music as pandering to the sensual desires of the flesh. Our first question must therefore be, "Is there a Christian attitude to music?" To this, some might give the immediate answer that it depends upon the kind of music, thus raising a second question; "Is there distinctively Christian music?" We are not here considering the words which may be set to music but the music itself, although the rather extreme view that the setting of sacred words is the only legitimate use of music must at least be mentioned in the argument. It must also be made clear that this discussion is intended to cover only the individual Christian's attitude to music, not its use in the services of the church.

Is there a distinctively Christian attitude to music?

There are many scriptural references to the making of music, from Jubal (Gen. 4:21) onwards. Most of them relate to its use in the context of the worship of God, or praise to Him for giving victory. The most detailed of these is in 1 Chron. 25, which describes David's arrangements for the worship of the house of God. Other references relate to the use of music for personal enjoyment (e.g. Gen. 31:27). These are naturally fewer, because the purpose of the Scriptures is to teach the people of God moral and spiritual truths to enable them to order their personal and collective lives. Things which are irrelevant to this intention naturally find only an incidental place in the Scriptures; for example, there are very few references, even of an oblique nature, to the study of mathematics; although the science was widely studied in the ancient world. Music is one subject not presented in Scripture either as a positive evil or a positive good in itself, it can be made either in a good or in an evil context.

A difficulty in applying scriptural references to music to present-day circumstances arises from the different contexts in which they appear. Music in Biblical times was necessarily 'live', and the public concert was unknown; only those who were rich had the opportunity of hearing anything approaching an orchestra. Music for the common people would come either from itinerant musicians or, more frequently, from their own performances. One can only seek for some general principles which might govern the Christian's attitude to listening to and making music, and seek some corroboration from scriptural examples.

It is sometimes contended that listening to music is itself a spiritual experience; that draws the hearer closer to God. Andrew Carnegie is said to have believed that the church organ was "the true word of God". This kind of idea is based on a meaning for 'spiritual' which is not the scriptural one. The spirit of man is that part of his constitution which can communicate with God, and that which is spiritually discerned is revealed by the Spirit of God (1 Cor. 2:10,14). The hearer's response to music is a compound of emotional and intellectual responses, depending on the nature of the music. Neither of these elements is necessarily connected with the knowledge of God; an unbeliever would experience the same feelings. The knowledge of God is essentially a personal relationship based on a knowledge of a person's will and character, and not upon vague feelings of exaltation. On the other hand, the suggestion that music should be eschewed because it appeals to 'the desires of the flesh and of the mind' is unwarranted. God has put within the minds of men (and angels) the ability to make and appreciate music, and it is inconceivable that He should have done so had there been no legitimate opportunity to exercise it.

This idea of the purpose of God's work suggests a basis for a Christian attitude towards music. Everyone concedes that the Christian reaction to a scene of natural beauty is to admire the scene, as all men can, and then praise the Author of the beauty. "The heavens declare the glory of God". If it is right to praise God for His direct creation, is it not also right to praise Him for His indirect work? We commonly speak of musical ability as a 'gift'; if we really do believe it comes from the Giver should we not praise Him for its exercise? We can thank God for certain works of beauty in art, literature, science and music because He is their ultimate Author. The right use of good gifts produces good things; their wrong use will produce perverted things.

To summarize, music is intrinsically morally neutral, but its beauty is a gift of God in which we can rejoice and be thankful. This is not to say that unlimited devotion to music is a good thing. Scripture speaks of wine and food as gifts of God, for which He can be praised, but drunkenness and gluttony are sins. Enjoyment of any good must not lead to dereliction of duty.

Is there a distinctively Christian music?

Having taken this attitude to music, we must now ask whether the type of music, or the attitude of its composer, should influence us in any way. It is extremely difficult to disentangle this question from one's own opinions about the merits of the music as such, but what one might consider 'bad' music is not necessarily morally bad. Indeed, much bad music has been used as the setting for excellent words in hymns, for example. Contrariwise, great music sometimes is associated with words which are open to question. To take an example, one could not totally agree with the (Lutheran) theology behind Bach's B minor Mass (although the actual words are unexceptionable), but the music has a power which touches the hearer, even if he does not understand the words at all. However, the beliefs of a composer are often reflected in his style of composition, and this can be illustrated by some examples.

Bach's secular music is similar to his religious music; indeed, he frequently recast secular pieces for church use (although not vice versa). As a devout Protestant, his aim was the glory of God, and his music shows the patterns of his thought. His belief in a God of reason who has ordered the universe is expressed in the exquisite interweaving of subjects in a fugue, perhaps the musical equivalent of the harmony of the spheres. Much of Bach's output was expressly religious, and one might contend that here was a distinctively Christian music. Composers of the classical period, for example Mozart and Haydn, shared the assumption of a rational universe, and their music, different in style from that of the baroque period, nonetheless had in common with it an organization and form founded in this belief. As one moves into the romantic period, music becomes more subjective, more the expression of the feelings of the composer, and less of universal truths. This music affects us in a different way, carrying us along with its tide, sharing its composer's emotions. These may express beliefs of various strengths and directions. A comparison of Mendelssohn and Wagner will show the contrast between the monotheism of the one and the dark gods of the other. The Christian may feel that some of the romantics are out of tune with his understanding of the nature of God. This feeling is accentuated when one comes to composers of the present day. Music which dispenses with the traditional concept of key, and introduces random elements, such as may be found, for example, in the works of Stockhausen and Cage, seems to arise from the explicit rejection of the rational and ordered. It thus seems incompatible with Christian beliefs, which assert that God is the rational controller of all things. There are therefore examples of non-Christian music, which are not likely to corrupt the mind, but will prove uncongenial.

Nothing has so far been said about popular music. Much of this is ephemeral, to be heard today and forgotten tomorrow, and is used as a kind of audible wallpaper, to decorate one's surroundings with sound. Music used in this way does not, to any serious depth, engage the mind, which is occupied with some other task, such as driving or housework. It is essentially morally neutral, and there can no more be a Christian attitude to this than there is to the selection of wallpaper. However, many young people are completely obsessed by 'pop' music, and the music and the milieu of its performance seem to be inseparable. The style of life of its performers is frequently promiscuous and sometimes involves the use of drugs, and the words of the songs and their visual presentation reflect this lifestyle. Furthermore the music itself is often designed to stimulate the hearers physically, and playing it at enormous volume heightens this effect. While considering this topic, the writer asked someone with experience of dealing with young people in the care of the authorities if she thought that there could be such a thing as immoral music per se, and she replied "There is if it makes them do immoral things". It was her experience that this could be the case. Any generalization invites the pointing out of exceptions, and there are, of course, unobjectionable songs and performers in the popular field, but in general the 'pop culture' is one best avoided by the Christian. Young Christians in particular should beware lest their habits of thought are unconsciously influenced by words they listen to or sing unthinkingly as part of the latest song. If any readers doubt the writer's judgement on this, a useful test is to ask if one could give thanks for the music, and receive it as from the hand of God. (Rom. 14:6).

Christian joy expressed through music

Scripture gives Christians a positive use for music. Two Greek words are used in the New Testament for 'sing': ado and psallo. Both occur in Eph. 5:19, where the former is translated 'singing', and the latter 'making melody'. God intends that singing and music-making should be the expression of a thankful heart, in which we can encourage each other and give thanks to Him. This is not the only legitimate use of music, but it is perhaps its highest use. It is a good thing to hear God's people, either in the church or at home, praising His name in song, and the good tradition of family music making should not be allowed to die. The instruments we use may change with the times, but we should be a singing people. Sing in the car, in the bath, around the house as well as in more organized musical evenings, and the Lord will be glorified!

Conclusion

In writing about the Christian use of music, we would not wish to give the impression that a Christian with no musical talent is handicapped by its lack. Scripture makes it clear that God has given different gifts to different people, all for use in the building up of the Church. Whichever gift is exercised, God will be glorified, and it is the disciple's duty to discern them and to use them to the full to that end.

P.L. Hickling, Southport | Sept 1980
Contemporary Issues In Christian Life