Christian Music and Worship

Class Handout
Prepared by: Barbara Irene Bennett
Introduction
I.
II.

III.

IV.

V.
VI.

Is this class important, if so, why?

Music in Heaven
a. Ezekiel 28:13-14
b. Lucifer was the covering cherub, the most exalted of the heavenly created beings; he stood nearest the
throne of God, and was most closely connected and identified with the administration of God's
government, most richly endowed with the glory of his majesty and power. ST, April 28, 1890
c. Satan had led the heavenly choir. He had raised the first note; then all the angelic host had united
with him, and glorious strains of music had resounded through heaven in honor of God and His dear
Son. Story of Redemption, 25.2
Music Present During the Creation of the World
a. Genesis 1; Psalm 107:8; Job 38:4, 7
b. Above the new-created earth, as it lay, fair and unblemished, under the smile of God, "the morning stars
sang together, and all the sons of God shouted for joy." Job 38:7. So human hearts, in sympathy with
heaven, have responded to God's goodness in notes of praise. Many of the events of human history
have been linked with song. Education, 161.2
Music Present in the Garden of Eden
a. The angels united with Adam and Eve in holy strains of harmonious music, and as their songs
pealed forth from blissful Eden, Satan heard the sound of their strains of joyful adoration to the Father
and Son. And as Satan heard it his envy, hatred, and malignity increased, and he expressed his anxiety
to his followers to incite them (Adam and Eve) to disobedience and at once bring down the wrath of God
upon them and change their songs of praise to hatred and curses to their Maker. Story of
Redemption, 31.2
Music Plays a Role in the Great Controversy
a. Daniel 3:4-7
b. Exodus 19:8; 32
Its All About the Use of Music in Worship
Occasion

Who was
worshiped?

Who is the
worshiper?

What kind of music?

Worship

God

Adam & Eve

Joyful, happy songs of praise to God

(1SP29)
Holy strains of harmonious music
(SR 31.2)

Worship

Golden image of
Nebuchadnezzar

All of Babylon and the

captive Jews, except
Shadrach, Meshach &
Abednego

Attraction & outward show with

agenda to force a person into false
religion (ST May 6, 1897)

Worship

Golden calf

All of the Israelites

except the Levites

Like that of low, common pleasure

parties where pleasure lovers eat &
drink (CT 367-8); Music that draws
the mind away from Christ (RH July
10, 1900)

Music and the Frontal Lobe

I.

II.

III.

IV.

V.

VI.

Introduction
a. 2 Corinthians 3:18
b. Five senses Hearing, Seeing, Touching, Tasting, and Smelling (also considered to be the avenues to the
soul)
c. Those who would not fall a prey to Satan's devices must guard well the avenues of the soul; they must
avoid reading, seeing, or hearing that which will suggest impure thoughts. The mind must not be left to
dwell at random upon every subject that the enemy of souls may suggest. The heart must be faithfully
sentineled, or evils without will awaken evils within, and the soul will wander in darkness. Everything
that can be done should be done to place ourselves and our children where we shall not see the iniquity
that is practiced in the world. We should carefully guardthe hearing of our ears so that these awful
things shall not enter our mindsThose who would have that wisdom which is from God must become
fools in the sinful knowledge of this age, in order to be wise. They should shut their eyes, that they may
see and learn no evil. They should close their ears, lest they hear that which is evil and obtain that
knowledge which would stain their purity of thoughts and acts. And they should guard their tongues, lest
they utter corrupt communications and guile be found in their mouths. {AH 403-4}
Functions of the Frontal Lobe
a. The seat of judgment, reasoning, intellect, and the will
b. The control center of our entire being
c. Calls the shots for our spirituality, character, and morality
d. See Revelation 22:4 Gods character to be in our foreheads, stamped in our frontal lobes
Cases of People Who Had Suffered From A Damaged Frontal Lobe
a. Phineas Gage: A railroad worker who had an accident causing his frontal lobe to be hit by a tamping
iron. He survived the accident but he became a different person altogether. From being a religious,
devoted, faithful man, he became sexually promiscuous, irreverent, gave up his faith in God altogether,
more irritable, and eventually joined the circus.
b. Patricia (nurse): wanted a frontal lobotomy to resolve her guilt problems. Before lobotomy, she was
extremely efficient as an operating room nurse, was very fond of books, and belonged to the nurses
literary circle. After lobotomy, she lost ambition in life, lost interest in work and sympathy with patients,
became a mediocre worker (I do not care attitude); lost interest in books.
c. Frontal lobotomy (definition): a surgical procedure that physically removes a portion of the lobe or
functionally removing by severing its nerve connections. This is done to help people who were
violently or criminally insane.
d. 14 year old girl struck by a car and damaged both sides of frontal lobe. The effects:
temper outbursts when frustrated
verbally and physically assaultive in an abrupt, unpredictable, and short-lived manner
Sexually promiscuous from early teens
No sustained friendships
Heavy user of alcohol and marijuana
Impulsively attempted suicide twice
Additional Effects of a Compromised Frontal Lobe
a. Memory impairment (especially of recent events)
b. Distractibility and restlessness
c. Flight of ideas (fantasies, emotional instability)
d. Apathy (lack of initiative)
e. Indifference to ones condition (happy-go-lucky)
Frontal Lobe Diseases
a. Mania
b. Obsessive compulsive disorder
c. Appetite increase
d. Attention deficit hyperactivity disorder (ADHD)
e. Depression
Implications of Frontal Lobe Research
a. An impaired frontal lobe results in an impaired character

VII.

VIII.

IX.

X.

b. Self-control, trustworthiness, reliability, serious reading, abstract reasoning, interpersonal relationships

are all complex functions that depend on a healthy frontal lobe
c. Aside from accidents, the main causes of a compromised frontal lobe root from improper lifestyle habits
d. Many people today suffer from a damaged frontal lobe, not because of accident but as a result of poor
lifestyle choices
Lifestyle Factors That Affect The Frontal Lobe
a. Drugs
b. Alcohol
c. Caffeine
d. Diet and nutrition
e. Intemperance
f. TV or movie-watching
g. Music
How Does Music Affect the Frontal Lobe?
a. Music enters the brain through its emotional regions where the temporal lobe and the limbic system
resides. It bypasses the master brain or the frontal lobe attacking the nervous system directly
b. From there, certain kinds of music triggers a response from the frontal lobe that influences the will,
moral worth, and reasoning power
c. Other kinds of music will evoke very little frontal lobe response, but will produce very large emotional
response, with very little logical or moral interpretation
d. Also impacts heart rate, respiration, blood pressure, digestion, hormonal balance, moods and attitudes
Different Music Yields Different Effects
a. Tests results have proven that listening to rock music causes memory and learning problems. Not
because of its harmonic or melodic structure, but because of the heavy rhythm.
b. There was abnormal branching and sprouting of nerve cells as well as disruptions in the normal
amounts of messenger RNA, a chemical crucial to memory storage.
c. It also caused the frontal lobe to atrophy which affects moral worth, learning, and reasoning power.
d. Tests results have proven that listening to harmonious types of hymns and symphonies help college
students learn spatial relationships in geometry, increased spatial-temporal reasoning, higher scores in
object assembly tasks
e. Classical music affects the brains organization and abilities, through its melody and rhythm. The
rhythm raises the level of serotonin produced in your brain. Serotonin is a neurotransmitter, involved in
the transmission of nerve impulses that helps maintaining joyous feelings. When the brain produces
serotonin, tension is eased.
f. The brain is also recharged.
Results of Exposure to Harmonious Music
a. Music can affect the hormone system
Affects breathing rate and electrical resistance of the skin
Pupils dilate, blood pressure and heart rate increase
Allows the brain to concentrate more easily and assimilate more information in less time
b. Music simultaneously stimulates the left and right hemispheres of the brain
Boosts learning and information intake therefore augmenting cognitive skills
Learning may be increased five-fold
c. Mozart effect
Complex music improves performance of spatial-temporal reasoning and short-term memory
Mozarts concerto from the baroque period with 60 beats per minute affects the amplitude and
frequency of brain waves
Children who have taken music lessons experience advantages in cognitive skills
d. Animals on Classical Music
The right balance of rhythm and melody help hens lay more eggs, cats to relax, and cows to
produce more milk
Lab rats showed a natural predisposition towards music
o 2 boxes connected by a tube
o One box had Bachs Air on the G string, the other box had rock music

Most rats chose to go to the box with Bachs music (even when the music was switched
from one side to another)
o Rats were then placed in a maze, and those that followed the classical music exited the
maze quicker and easier than those that chose the path of rock
o The ones that were frequently exposed to classical music had a physically more
developed brain than those not being exposed
Jimi Hendrix, a famous rock musician quotes: You can hypnotize people with music and when you get them
at their weakest point, you preach into their subconscious what we want to say. Life Magazine, 1969.
Additional Reading: The Effects of Rock Music, by Tore Sognefest from the book The Christian and Rock
Music: A Study on Biblical Principles of Music, pp. 235-253.
o

XI.
XII.

The Elements of Music

I.

II.

Melody is the way sound is organized in space in a horizontal manner. It is a succession of tones of different
heights (pitches) we speak of high notes and low notes. In order to qualify as a melody, this succession of
pitches must be organized and perceived as happening in an orderly relationship with one another.
a. Melodic organization happens on the level of form and rhythm. A single-standing melody is a
very versatile entity; indeed it can be accommodated to any style, from opera to church and
even to rock. Because of the flexible character of the melody, the same tune has often been used
for different settings, from secular to sacred or vice versa.
b. Melodies have a strong cultural flavour and are shaped according to the scale patterns used in
a given setting. While Western melodies use the diatonic scale built on 12 equidistant semitones,
Arabic and Asian tunes use scales made of five or six tones within the octave (pentatonic and
whole tone) and may accommodate intervals smaller than a semitone. This gives them their
characteristic flavour that is sometimes difficult for ears not attuned to those sounds to appreciate.
c. The way notes are organized into a meaningful and beautiful continuous line a melody is
one of the most difficult challenges for the composer. Great composers often distinguish
themselves by their gift of melody. One composer even mentioned how he would struggle for
weeks with small details that would make the melody sound just right. Many composers mastered
the difficult art of writing effective melodies, melodies that touch the heart and remain forever
in the memory of the listener, melodies perpetuated through the ages.
d. It is a general assumption that the emotional impact of music resides in the particular qualities of
the melody. In reality, harmony and rhythm, the other two components of music, play a much
more important role when it comes to touching our emotions.
e. Characteristics of a good melody should be that it should have a well-shaped contour, variety, as
well as a climax and resolution.
f. The art of sacred melody was diligently cultivated [in the schools of the prophets]. No
frivolous waltz was heard, nor flippant song that should extol man and divert the attention from
God; but sacred, solemn psalms of praise to the Creator, exalting His name and recounting His
wondrous works. Thus music was made to serve a holy purpose, to lift the thoughts to that
which was pure and noble and elevating, and to awaken in the soul devotion and gratitude
to God. Education, 161.
Harmony is another way music is organized in space this time in a vertical manner. As two or more voices
blend together, they form a musical fabric very much like the texture of a woven cloth.
a. Chords are the vertical structures of harmony wherein several pitches are sounding
simultaneously. Chords are the foundation of harmony.
b. Chords are classified into consonances and dissonances. Consonances are often described as
forming pleasant, agreeable sounds, whereas dissonances are said to produce unpleasant
distressing sounds. Consonances are generally associated with relaxation and closure;
dissonances are associated with forward movement and tension.
c. A style can be defined by its harmony. Specific chords and harmonic patterns define jazz, blues,
or country in the field of popular music, but also baroque, classical, late Romantic, and 20 th
century styles in classical music.
d. Several functions can be attributed to harmony.

III.

Within the field of sensations it creates interest and expectation (tension) and brings
about feelings of pleasantness (relaxation) or unpleasantness.
On the level of cognitive appreciation, harmony brings structure and organization to the
music.
e. Harmony has the ability to impact a forward movement to the music, to have it stall, or to bring it
to a close by a slowing down of its harmonic rhythm. Harmony also lends color to a piece,
according to the types of intervals that make it up. As the harmonic language evolved throughout
the centuries, composers were able to create impressions such as strength, tenderness, fright, awe,
tragedy, seduction, contentment, etc.
Rhythm is the element of music that inspires most heated debates. Out of misinformation, ignorance, or
simply prejudice, most of rhythms antagonists are quick to condemn it as the evil element in music.
However, rhythm is not only a basic ingredient of music, it is essential to every aspect of our lives. We can
not live without rhythm. Therefore, to look down on rhythm as an invention of evil would be to deny a basic
principle of Creation. Indeed, rhythm is the governing principle of life.
a. Rhythm is the way music is organized in time, and it refers to the way sounds are ordered in time
and to their relative durations.
b. Beat or pulse refers to the subdivision of the musical flow into regular basic pulsations or units of
time.
c. Meter concerns the organization of these pulses or beats into distinct groupings of 2, 3, and 4.
d. Syncopation involves a rhythmic displacement created by articulating weaker beats that do not
fall on any of the mean beats of the measure.

The Story of Christian Music Part 1

I.

Antiquity (Prehistoric Times 200 AD)

HISTORICAL EVENTS
a. Old Testament times (Moses, David, Jehoshaphat)
b. New Testament times (Jesus, Paul, apostolic church)
c. Persecution of the disciples and the early church (Acts)
d. Fulfillment of the coming of the Messiah
e. Crucifixion and resurrection of Christ (Roman power)
f. Prophecies revealed, people of God forewarned
GENERAL MUSICAL CHARACTERISTICS
a. Dependent to other arts
b. Monophonic, which means it comprised of a single melodic line
c. Largely improvised
d. Believed that music had a power to affect life, character, and well-being of a person

II.

Antiquity: Hebrew Music

PHILOSOPHIES IN MUSIC
a. Creation was accompanied by music: Job 38: 4, 7; Genesis 1
b. Music is a sermon: Exodus 15:1, 2; This was the wisdom of Moses to present the truth to them in song,
that in strains of melody they should become familiar with themfor this would speak to them, to warn,
to restrain, to reprove, to encourage. It was a continual sermon. Evangelism 496, 497.
c. Music is a witness: Deuteronomy 31:19-22
d. Music for battle and devotion: 2 Chronicles 20:19-29; It was with songs of praise that the armies of
Israel went forth to the great deliverance under Jehoshaphat. Education, 163; Music was made to serve
a holy purpose, to lift the thoughts to that which is pure, noble, and elevating, and to awaken in the soul
devotion and gratitude to God. Patriarchs and Prophets, 594.
e. Music molds the character: The Lord had chosen David, and had ordered his life that he might have
an opportunity to train his voice, and cultivate his talent for music and poetry. The Lord was preparing
him in his solitary life with his flocks, for the work He designed to commit to his trust in afteryears.
Signs of the Times, June 8, 1888.

f.

Music heals: In the providence of God, David as a skillful performer upon the harp, was brought before
the king. His lofty and Heaven-inspired strains had the desired effect. The brooding melancholy that had
settled like a dark cloud over the mind of Saul was charmed away. Patriarchs and Prophets, 643.
g. Music frees a nation from idolatry: The service of song was made a regular part of religious worship,
and David composed psalms, not only for the use of the priests in the sanctuary service, but also to be
sung by the people in their journeys to the national altar at the annual feasts. The influence thus exerted
was far-reaching, and it resulted in freeing the nation from idolatry. Patriarchs and Prophets, 711.
h. Music gives victory over sin: With a song, Jesus in His earthly life met temptation. Often when sharp,
stinging words were spoken, often when the atmosphere about Him was heavy with gloom, with
dissatisfaction, distrust, or oppressive fear, was heard His song of faith and holy cheer. Education, 166.
i. Music amidst suffering: Acts 16:23-26; The keeper of the jail had heard with amazement the prayers
and singing of the imprisoned apostlesHe had expected to hear bitter wailing, groans, and imprecations;
but lo! His ears were greeted with joyful praise. Spirit of Prophecy, Vol. 3, 383.
j. Music plays when one repents: Zephaniah 3:17; We learn from the Word that there is joy among the
angels of heaven over one repentant sinner and that the Lord rejoices over His church with singing.
Voice in Speech and Song, 441.5
III.

Antiquity: Greek Music

PHILOSOPHIES IN MUSIC
a. Music is moral: Music is a moral lawIt is the essence of order and lends to all that is good, just, and
beautiful. Plato
b. Music influences the soul: Music directly imitates the passions or states of the soulwhen one listens to
music that imitates a certain passion, he becomes imbued with the same passion; and if over a long time
he habitually listens to music that rouses ignoble passions, his whole character will be shaped to an
ignoble form. Aristotle
c. The soul reflects the music it hears: Musical training is a more potent instrument than any other, because
rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten,
imparting grace, and making the soul of him who is rightly educated graceful, or of him who is illeducated ungraceful. Socrates
MUSICAL CHARACTERISTICS
a. Largely monophonic, or with very simple accompaniment played on a string instrument by the singer
b. Mostly improvised
c. The ability to embellish shows the skill of performer
d. Music was inseparable from poetry and drama
e. Music had a crucial role in ceremonial rites an mythology

IV.

Middle Ages (300 - 1450 AD)

HISTORICAL EVENTS
a. Conversion of Constantine brought about a new breed of Christians
b. Monasteries, churches built (papal power)
c. Scholasticism, feudalism, chivalry
d. St. Francis of Assisi, Thomas Aquinas, Louis IX
e. Rise of middle class
f. Great Plague
g. Beginning of the Hundred Years War
GENERAL MUSICAL CHARACTERISTICS
a. Domination of Gregorian chants
b. Performance of music in church is relegated to a few
c. Normally monophonic and sung in a capella, without meter, in limited range, and in Latin
PHILOSOPHIES IN MUSIC
a. Music should not distract the listener from worship: I admit that I still find some enjoyment in the music
of hymns, which are alive with your praises, when I hear them sung by well-trained melodious voices.

But I do not enjoy it so much that I cannot tear myself away. I can leave it when I wish...I realize that
when they are sung these sacred words stir my mind to greater religious fervor and kindle in me a more
ardent form of piety than they would if they were not sung; and I also know that there are particular
modes in song and the voice, corresponding to my various emotions and able to stimulate them because
of some mysterious relationship between the two I waver between the danger that lies in gratifying the
senses and the benefits which, as I know from experience, can accrue from singing. Without committing
myself to an irrevocable opinion, I am inclined to approve of the custom of singing in church, in order
that by indulging the ears weaker spirits may be inspired with feelings of devotion. Yet when I find the
singing itself more moving than the truth which it conveys, I confess that this is a grievous sin, and at
those times I would prefer not to hear the singer. from Saint Augustine, Confessions, trs. R.S. Pine-Coffin
(Penguin, 1961) 238-239.
V.

Renaissance (1450 1600 AD)

HISTORICAL EVENTS
a. Single papacy restored to Rome
b. Printing of the Bible
c. End of Hundred Years War
d. Columbuss voyage to West Indies
e. Reformation (started by Wycliffe)
f. Martin Luthers 95 Theses nailed to the church door
g. Lutheran chorales published
h. Council of Trent
GENERAL MUSICAL CHARACTERISTICS
a. Developed harmony (4 voices)
b. Music is servant to the text
c. Singing is still relegated to a few special performers
d. Music too complex for regular church-goer

VI.

Singing in the Time of the Reformation

Martin Luthers Musical Background
a. A Kurrende singer, a youth going from house to house with other poor children, singing for a piece of
bread
b. Studying to be an Augustinian monk, he was able to study music extensively
c. He is an accomplished singer, lute player, and a composer
PHILOSOPHIES IN MUSIC
a. Music should be done by all: I am not ashamed to confess publicly that next to theology there is no art
which is the equal of music, for she alone, after theology, can do otherwise only theology can accomplish,
namely quiet and cheer up the soul of man. Martin Luthers Letter to Ludwig Senfl, October 4, 1530
b. Music should further the gospel: I want to see all the arts, especially music, used in the service of Him
who gave them and made them. Luthers Preface to Wittenberg Hymnal (1524); Luther would draw from
all of these types of song to disseminate the gospel. Whether propaganda, parody, news, dissemination, or
storytelling, all songs became part of his way to spread the good news, either in oral or printed form. LD
Doukhan, In Tune With God, 162-163
CONTRAFACTA
a. Definition: In vocal music, the substitution of one text for another without substantial change to the
music. New Grove Dictionary of Music and Musicians
b. Uses: (1) Secular songs were borrowed for the sweetness of their melodies and because people were
already familiar with them. It speeds up the process of fixing the words in the memories of the people. (2)
To substitute good lyrics for evil lyrics so that people would forget the immoral songs by singing the new
ones. (3) To use them as tools to teach truth and principle (4) There was a shortage of melodies for the
great number of texts that sprung up during the early Reformation.

c. Sources of tunes: (1) Secular songs (Folk songs or love songs), (2) Hymns of the Catholic church and (3)
Chants and sequences of the Catholic church
LUTHERS RELEVANCY FOR TODAY
1. The word of God must be heard and proclaimed: For Luther, hearing and saying / singing the Word of
God were of primary importance. His whole effort was centered on the Word of God, how it was
understood and proclaimed. One of his major purposes for music was to proclaim the Word of God and
make it understandable.
Our music today should accompany the Word of God and not some subjective or simplified interpretation
of it. This presents a two-fold task: to make sure that the Word can actually be heard and understood (not
overpowered by the music or the volume of the sound). Music in church is always servant to the Word.
2. Music in the church is an active and participatory experience: While the focus was on the Word of God,
this focus was informed by the perspective of making the Word available to the community of believers.
In all of Luthers musical efforts, he always kept in mind what would be familiar with the people. This
assures an active and participatory experience, in church or outside the church.
Our efforts in making music in church must be done keeping the congregation in mind. The songs must be
apt for community singing. They must be easily singable, quickly learned, and have a familiar and
attractive sound. The choice is determined by the needs of the congregation rather than by personal
preferences.
3. Music is a power for good: The devil is a sad spirit and makes people sad, therefore, he cannot stand
rejoicing. And therefore, also, he flees from music. (Luther, Letter to Ludwig Senfl) For the evil spirit is
ill at ease wherever Gods Word is sung or preached in true faith. (Luther, Treatise on the Last Words of
David)
We should see music as a gift from God, an instrument of the Holy Spirit that affirms the goodness of
Gods creations and has power to change the world.
4. Professional musicians and ministers should work together: Luther was not alone in putting together the
new body of hymns, he also sought for the help of professional poets and musicians. Luther always
appealed for quality poetry and music, and the professional musician he worked with handed the songs in
a skilful and adequate way.
Today both the minister and musician should work hand in hand in educating and influencing the church
for good. They should set aside personal tastes, differences, and let the Holy Spirit work that unity may be
achieved.