Music in the Old Testament.
Apart from terms such as praise, psalm, and other related terms, one that stands out as special in relation to music is prophecy. For our consideration of this topic we should briefly overview First Chronicles 25. Several points emerge from the text which can be useful when wading through the water of the current music and worship war debate.
This text is not new to the issue of music. It will no doubt be championed by some and ignored by others. Our main concepts for viewing this passage are two-fold: first, the appearance of the term prophecy, and second, how this term is used and abused in the context of music and worship.
Leadership and Selection
First, leadership was involved in the selection of musicians. Notice in verse one that the sons of three men Asaph, Heman and Jeduthun were "separated" out for this purpose. For what were they selected out? Prophecy. Is this foretelling the future or adding to an already completed collection of scripture? This verse defines prophecy (at least in this context) as music with instrumental accompaniment. This musical understanding of the term is repeated in verse three. As a side note for future articles, the musical writings (at least as has been preserved for us) by these three men have been recorded for us in the book of Psalms. For example, note Psalm 73, "A Psalm of Asaph." Taking into consideration that these three authors wrote Psalms (for musical accompaniment) at a minimum implies that the Psalms were meant to be sung with musical accompaniment. This is further encouraged based on the fact that many Psalms include a specific tune for which to sing that particular Psalm.
Content and Focus
Second, the content and focus of their music is also made known. It was for the purpose of giving thanks and praise. The distinct focus of the music was the LORD (Yahweh). If this is truly a faithful means for viewing song content then the content of the Psalms should be of utmost importance to us (death, suffering, pain, praise, sorrow, history, righteousness, wickedness, sin). There is much content in the Psalms for which we can meditate upon. We do have 150 to occupy our singing. Seems rather strange that most church don't sing them at all. I think I can safely say (without refutation) that the vast majority of evangelical denominations sing songs (music) on a weekly basis (without singing one Psalm). I would guess you would be hard pressed to find more than a handful of Psalms in your local church hymnal.
Training and Dedication
Third (and lastly), these were well-trained men. Even the well-intended need to take note here. Yes, lets take for granted not everyone will be able to sing well (I'd be happy if people just sang period). Anyone who has put forth effort to produce music knows that time and effort has been put forth. My children every week practice piano. We pay for lessons and they practice (through much pain, suffering and woe--well, not always). There must be something to this because God specifically mentions, "all these were under the hands of their father for song" and later "their brethren that were instructed in the songs of the LORD."
If this last one sounds kind of harsh or too restrictive, try to remember which of the twelve tribes were able to participate. Don't forget the other eleven were not selected. Remember this when people in 2016 squabble about gender participation and music leading. Take note of the trends in current new evangelicalism. Just try to apply a consistent form of regulative principle to Christian music today on the gender issue. Are you forced to appeal to a historical narrative by desperation? Any actual prescriptive exhortations? 1 Cor 14? Mary? Anna? Deborah?
If the text actually matters then we have some weighty ideas to consider. From here well will turn to the ark of the covenant and the relation it has to worship and music in local churches. Does God give actual commands and precepts for worship? What happens when we refuse to listen? What happens when we decide to do it our own way (even if we had good intentions)?
Hope this helps some. Comments (as always) encouraged.
This text is not new to the issue of music. It will no doubt be championed by some and ignored by others. Our main concepts for viewing this passage are two-fold: first, the appearance of the term prophecy, and second, how this term is used and abused in the context of music and worship.
Leadership and Selection
First, leadership was involved in the selection of musicians. Notice in verse one that the sons of three men Asaph, Heman and Jeduthun were "separated" out for this purpose. For what were they selected out? Prophecy. Is this foretelling the future or adding to an already completed collection of scripture? This verse defines prophecy (at least in this context) as music with instrumental accompaniment. This musical understanding of the term is repeated in verse three. As a side note for future articles, the musical writings (at least as has been preserved for us) by these three men have been recorded for us in the book of Psalms. For example, note Psalm 73, "A Psalm of Asaph." Taking into consideration that these three authors wrote Psalms (for musical accompaniment) at a minimum implies that the Psalms were meant to be sung with musical accompaniment. This is further encouraged based on the fact that many Psalms include a specific tune for which to sing that particular Psalm.
Content and Focus
Second, the content and focus of their music is also made known. It was for the purpose of giving thanks and praise. The distinct focus of the music was the LORD (Yahweh). If this is truly a faithful means for viewing song content then the content of the Psalms should be of utmost importance to us (death, suffering, pain, praise, sorrow, history, righteousness, wickedness, sin). There is much content in the Psalms for which we can meditate upon. We do have 150 to occupy our singing. Seems rather strange that most church don't sing them at all. I think I can safely say (without refutation) that the vast majority of evangelical denominations sing songs (music) on a weekly basis (without singing one Psalm). I would guess you would be hard pressed to find more than a handful of Psalms in your local church hymnal.
Training and Dedication
Third (and lastly), these were well-trained men. Even the well-intended need to take note here. Yes, lets take for granted not everyone will be able to sing well (I'd be happy if people just sang period). Anyone who has put forth effort to produce music knows that time and effort has been put forth. My children every week practice piano. We pay for lessons and they practice (through much pain, suffering and woe--well, not always). There must be something to this because God specifically mentions, "all these were under the hands of their father for song" and later "their brethren that were instructed in the songs of the LORD."
If this last one sounds kind of harsh or too restrictive, try to remember which of the twelve tribes were able to participate. Don't forget the other eleven were not selected. Remember this when people in 2016 squabble about gender participation and music leading. Take note of the trends in current new evangelicalism. Just try to apply a consistent form of regulative principle to Christian music today on the gender issue. Are you forced to appeal to a historical narrative by desperation? Any actual prescriptive exhortations? 1 Cor 14? Mary? Anna? Deborah?
If the text actually matters then we have some weighty ideas to consider. From here well will turn to the ark of the covenant and the relation it has to worship and music in local churches. Does God give actual commands and precepts for worship? What happens when we refuse to listen? What happens when we decide to do it our own way (even if we had good intentions)?
Hope this helps some. Comments (as always) encouraged.
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