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Hindrances to Making Good Music

Music a Creation of God

Though there is no specific statement in the Scriptures to that effect, it is strongly implied. John speaks of Christ, and says, “All things were made through Him, and without Him nothing was made that was made” (Jn. 1:3). Paul says the same thing even more emphatically. “By Him all things were created that are in heaven and that are on earth, visible and invisible…” (Col. 1:16), and Romans 11:36 says, “Of Him and through Him and to Him are all things.”

If language means anything and “all” means all, then the Lord God who created “all things” is the Originator of music. It is not surprising, then, that His earthly creation is filled with it. Scripture speaks of “the voice of the turtledove” (Song 2:12) and tells us that “both the pelican and the bittern…shall sing in the windows” (Zeph. 2:14). Birds and crickets and whales have their songs. The wind and the waves make their own unique music. All nature sings.

The Lord Himself Sings

Several passages refer to it. One of the tenderest pictures of God’s relationship with Israel is given in Zephaniah 3:17. The prophet is speaking of the future millennial kingdom, and the Messiah’s comforting of His people Israel (cf. vs. 15). As a mother holds her baby close and sings gentle songs of mother-love, so the Lord will draw Israel to Himself and sing of His love for her.

The Lord your God in your midst, the Mighty One, will save; He will rejoice over you with gladness, He will quiet you with His love, He will rejoice over you with singing.

Mark, in his Gospel, refers to Jesus and His disciples singing at the Last Supper (Mk. 14:26). Then, in Hebrews 2:12, the Son of God proclaims to His heavenly Father, “I will declare Your name to My brethren; in the midst of the congregation I will sing praise to You.”

As an aside, I have often wondered also whether music is the language of heaven. We know there will be singing there (Rev. 5:9-10). But perhaps, even before the redeemed began to take up residence, God and the angels regularly sang to one another. There is a wonderful line in Lord of the Rings that may reflect the spirit of this. Frodo and his hobbit companions are visiting the home of the magical Tom Bombadil, and Tolkien says, “The guests became suddenly aware that they were singing merrily, as if it was easier and more natural than talking.” That may well be how it is for us, too, in God’s presence.

Mankind’s Gift for Music

Human beings have wonderful gifts to create and share music. That is understandable, since we were made in the image of God (Gen. 1:27) and God is creative and makes use of music. Adam’s descendant, Jubal, is credited with developing early forms of music (Gen. 4:21). And to this day there are those who are skilled in composing it and performing it.

It is vital to note, however, that although God created music as a form of expression, it is human beings who compose and perform specific songs. At these points, God’s gift passes through the filter of human personality. The notion that because God created music, therefore no music can possibly be corrupt, is nonsense. God created angels too, but we do not approve of Satan’s actions on that account.

Compare the gift of language. Similar to music, it is a God-given means of expression and communication. Adam had this ability on the first day of his creation (Gen. 2:19-20). However, wicked people abuse this gift and produce “corrupt” words (Eph. 4:29) and “filthy language” (Col. 3:8)–even messages that are satanic (Matt. 16:22-23). In a similar way, once the gift of God is subjected to the will of an individual, there is another dimension to be considered. Men and women write the songs we sing. And it is not simply that a good thing is being used for a bad purpose. The thing itself can be polluted.

Therefore, if we are to evaluate music on the basis of its origins, we must not only consider the general origin–that God gave us the gift of music. We also need to consider the human element, the origin of each piece of music. Though we have no way of making a comparison, it seems logical to suppose that, were it not for the fall, man would have been able to produce even more glorious and consistently God-honouring songs. But sin has changed all that. Now, we face an ongoing struggle against the world, the flesh and the devil. That is what hinders us from making good music to the glory of God.

1) The Pressure of the World

This evil world, Satan’s kingdom, with its triple anti-God dogmas of egocentrism, materialism, and sensuality, has aggressively incorporated music as another means to achieve its temporal goals, and communicate its sinful philosophy. And the influence of the world exerts pressure on the one who desires to serve Christ (Rom. 12:2). If we are not on guard, it will affect the music we create and use.

2) The Perversity of the Flesh

Apart from the regenerating work of the Spirit of God, men are spiritually dead (Eph. 2:1, 5). Even after the new birth has taken place, our powers are sadly diminished in comparison to what they might have been–and will one day be again. The flesh (the sin nature) is in continual rebellion against the spirit, within the child of God. (Gal. 5:17). This too will tend to affect our music.

3) The Persuasion of the Devil

Further, we have Satan to contend with. He is intent on using everything God has made for a dishonest and destructive purpose (Jn. 8:44; Eph. 6:12). That objective has historically included his appropriation and employment of God’s gift of music (cf. Exod. 32:4-6, 17-19; Job 30:9; Lam. 3:63; Dan. 3:5; Amos 6:3-7).

Bottom line: We must be constantly attentive to the spiritual quality of our music, and depend upon the grace of God to render what is pleasing to Him. As a hymn by George Heath puts it:

My soul, be on thy guard;
Ten thousand foes arise;
The hosts of sin are pressing hard
To draw thee from the skies.

O watch, and fight, and pray;
The battle ne’er give o’er;
Renew it boldly every day,
And help divine implore.

Ne’er think the victory won,
Nor lay thine armour down;
The work of faith will not be done,
Till thou obtain the crown.

Worship In Song

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There is confusion in many congregations as to how music is to be used in the services of the church. Too often it becomes mainly one of three things:

1) Preserving Our Tradition

Congregational singing is an empty ritual–we sing because that’s what we’re supposed to do in church. In some church services you can even predict where hymns will go, and which ones we will either stand or sit to sing. There is a set form we follow, without much attention to the words we sing. Some worship leaders frequently skip the third stanza of a hymn (rarely any other!), no matter if it is the best stanza in the song or not.

2) Making Church Exciting!

It becomes a tool for emotional manipulation, to generate excitement or other feelings. Things such as fast-paced songs with a bouncy beat (often a loud, dominating beat), or very slow singing with endless repetition, are often a clue to this. The service leader is trying to stir up an emotional response in us.

3) Drawing a Crowd

It is used for mere entertainment. This has to do more with platform performance than with congregational singing, but it is another abuse. The “Hey! Look at me!” or “Hey! Listen to us!” approach. (And some “worship teams” succumb to it.) Instead of music being tuned to please the heart of God (the real Audience) it is geared to tickling the ears of human listeners. And yes, we can draw a crowd that way. But too often they’re there for the wrong reasons.

Are these three totally without merit? No, not necessarily. But they do not work well as a fundamental purpose. The psalmist declares: “I will praise the Lord with my whole heart, in the assembly of the upright and in the congregation” (Ps. 11:1). Worship and praise begins in the “heart”–the inner being. The word also suggests a significant involvement of the mind and the understanding (cf. Ps. 47:7; I Cor. 14:15).

A Key Text

Psalm 28:7 is a key text in this matter. It expresses well where our adoration and thanksgiving to God are to come from, and the place that music is to have in praise and worship. Our hymnody is not for stirring up feelings from the outside, but for giving voice to what is already in the heart. Our singing should be the outflow of a singing heart. Notice the clear progression.

  1. A Basic Truth. “The Lord is my strength and shield…”
  2. The Truth Believed. “My heart trusted in Him…”
  3. The Belief Validated. “And I am helped…”
  4. The Inward Response. “Therefore my heart greatly rejoices.”
  5. The Outward Expression. “And with my song I will praise Him.”

That is not the whole story, of course. But it highlights an important aspect that is too often forgotten. The expression of true praise and worship is not driven by outward forces, but is a natural expression of a praise-filled heart responding to what is happening in our walk with the Lord. If this pattern is followed, hymn singing will mean more to participants, and it will delight the heart of God.

The Tempo of Congregational Hymns

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The speed at which congregations sing hymns and choruses is a subject of some debate. My commenting on the subject is almost certain to bring disagreement, for a variety of reasons. But I think the subject is worth some thought. Christian hymns are sung at a wide range of speeds. So, is there one correct pace? No. But perhaps it is possible to identify a range of speeds that is most appropriate.

The musical term andante (on-DON-tay) means, literally, going. It represents a comfortable walking pace. Musicologist and hymn historian Ellen Jane Lorenz says that most hymns seem to have been written to be sung at approximately that speed, and it provides an appropriate centre point for the tempo. Variations within a moderate range can be effective, but the extremes should be avoided.

A bit of experimentation will show that most hymns suit that tempo fairly well, while some are better at a slower or a slightly quicker pace. (You might try experimenting with this, some time when you are taking a walk. Sing a verse of several different kinds of hymns in time with your footsteps to see what kind of relative speed is most suitable.)

Some general principles.

  • Take into account the needs of the whole congregation.
  • Consider the importance of singing the words clearly and intelligently.
  • Examine the tune for quicker eighth note patterns or moving parts. Set a pace that will allow inexperienced singers a chance to sing these properly.

We have all experienced the extremes. Slow, dragging melancholy singing that seems to make it difficult to remember how a line began by the time we get to the end of it. Or the blazing speed of the song leader intent (it seems) on waking up everyone in time for the message. Or getting us all home as quickly as possible!

In between, there is surely a suitable range of speeds. As in everything else, fashion seems to dictate the pace of our hymns, to some degree. Previous generations often sang more slowly. The more recent trend is to pick up the pace. While this will relate much to tradition and subjective judgment, here are a few reasons why too quick a pace can be detrimental.

1. Meditation

Let’s not give the impression that our aim is to rush into God’s presence, and rush around there, anxious to get corporate worship out of the way so that we can rush out again. It seems to be the fashion of the times that everything must be instant access, instant answers, quick, hurry, try to keep up. It is the spirit of the world that we should take pains to resist. Singing should allow us time to think about the meaning and message of the song.

2. Motivation

One reason given for picking up the tempo of congregational songs is that we need to stir up the saints, and build an atmosphere of excitement and anticipation. Unfortunately, this may indicate a confusion of emotional excitement with spiritual edification. And it means we are using the tune to create an emotional response. But while feelings have their place, a little of that would seem to go a long way. Our excitement should be generated through a response to the words–which should reflect the truth of God’s Word.

3. Moderation

When we set a rapid overall pace, there is nowhere to go to make a contrast when the music suits a quicker tempo. And sometimes the penchant for speed ignores the message of the words and the need to adjust the tempo to suit them. Some hymns of serious mediation call for a less lively rate of speed. Or a variation of speed between the stanzas and the refrain, or between one stanza and another.

For example, Charles Gabriel’s tune for his hymn My Saviour’s Love is very singable, and has a tendency to gallop along quickly. But that does not always suit the text. It might be possible to quicken the pace a bit on the final stanza. But I’ve been moved to tears at times, grieving to hear congregations racing in jolly fashion through moving lyrics such as:

For me it was in the garden
He prayed, “Not My will, but Thine;”
He had no tears for His own griefs,
But sweat drops of blood for mine.

He took my sins and my sorrows,
He made them His very own;
He bore the burden to Calv’ry,
And suffered, and died alone.

4. Message

When songs are sung with extreme slowness, the focus is placed, in order of our general awareness, on:
HARMONY — words — tune — rhythm and tempo 

When an exessively rapid pace is set, the focus would seem to be on:
RHYTHM AND TEMPO — tune — words — harmony

When a moderate tempo is used, the focus would more likely seem to be on:
WORDS — tune — harmony — rhythm and tempo

Take note of where the words fall in each of these. What is it that we wish to have prominence? If it is the message of the words, we will adjust our speed to maximize their impact.

5. Ministry

Older people in our congregations do not usually prefer the speed at which the younger ones would like to travel (in anything, as well as in singing). Responses tend to slow somewhat, with age. Seniors cannot easily get the breath to sing quickly (nor do dentures always allow clear diction at such a pace!). In addition, they grew up in an era which was less hurried, and their singing often reflected it. It is biblical to show deference to our seniors, and respect their needs and wishes. It becomes more difficult for us to keep together, when the pace is excessive, more difficult to keep the words clear.

6. Musicality

We cannot fully appreciate the joys of singing in harmony, when the notes rush by at an inappropriate pace. Singing in harmony provides a dynamic example of body life, which both inspires and edifies believers. (See notes on Singing in Harmony.) What a trained choir may do with a piece is a little different. Practice makes a quicker pace possible. But untrained singers, will do well to moderate the speed to suit their abilities.

Whether you agree in detail with my conclusions, I hope that I have prompted you to think carefully about this matter of tempo, and regulate it purposefully.

Singing in Harmony

Music plays a vital part in the life of the local church. And singing the praises of God in harmony is an important fellowship activity for the body of Christ.

Most of us are not professional singers; we are “amateurs.” But never be embarrassed by that title. A professional sings and plays as a profession–it is his way to earn a living. But on the other hand, the word “amateur” is related to the French amour–the word for love. It speaks of someone who does a thing motivated by love. Surely that is a fitting description of congregational singing. We have a love for God and for one another, and perhaps for the music itself.

In recent years, the trend in many churches has been to remove the hymn books from the pews, or to leave them unopened. Overhead projectors, or computerized “Power Point” presentations flash the words on a screen instead. But something is lost in this change. The musical notes. Though not all in the congregation are able to read music, some have a rudimentary knowledge of how to do it. Further, it is a skill that can be nurtured and developed, to the great benefit of all. It is of special value with regard to part-singing. And singing in harmony can be a special blessing for those in the local church. Here’s why.

1. A Picture of Body Life

Singing in harmony is a tangible illustration of the “body life” of the church–God’s people working together to achieve a common goal (Eph. 4:16). When each sings his own part, in his own range, no one needs to feel left out simply because some notes are too high or too low to reach. Each part makes its own unique contribution.

  • The sopranos usually sing the melody. They reveal the profile of the song and play a major role in communicating its message.
  • The altos support and enhance the melody with beautifying harmonies.
  • The basses provide a foundational note for each chord and an anchor for the music of the song.
  • The tenors add richness of detail to the foundation and build a bridge that unites the men’s and ladies’ voices.

2. A Time-honoured Tradition

Singing in harmony is a reminder of the connection of believers today with those who have gone before. Part-singing is a great and time-honoured tradition in the church. And singing the songs that are the heritage of the church from other times, and other lands, reminds us of the oneness of the whole family of God (Eph. 3:14-15).

3. An Experience of Mutual Submission

Singing in harmony provides and example of the kind of humility and mutual submission God desires in the body of Christ (Eph. 5:21). While each person contributes in a unique way, selfishness is out of place and independence is made subservient to the overall purpose. As with the playing of a great orchestra, there is a harmonious blending of gifts to create a “symphony” of ministry.

4. The Creation of Something Beautiful

The creation of something of beauty is a God-like activity. We are made in the image of God, and we honour how He made us when we create a beautiful sound. Such songs offered up to God are true acts of worship. Some may be inclined to say, “But you don’t know our congregation! We’re not singers!” In response, let me offer a couple of encouragements. First, the greater number of people that are involved, the more it tends to minimize the flaws in any one voice. And second, this is a skill that will improve with practice. With diligent work it is possible for any congregation to create beautiful music. And be assured that even if the “experts” criticize, the praises of God, sung from the heart, will be beautiful to Him.

5. An Effective Means of Edification

God’s Word instructs us to teach and edify one another in song (Col. 3:16). For this reason, our sacred songs should be strong in doctrine and biblical teaching. Then, as we beautify and adorn the message of our songs with harmony, we add to their effectiveness, and the uplifting influence of our ministry to one another. Such singing is a memorable experience. We will often find ourselves humming or singing the songs over, days later, recalling the experience of singing them together, and reinforcing the message.

6. A Useful Skill To Learn

Part-singing is training for mind and voice. The concentration and practice required are a good discipline for us–something that can carry over into other areas of life. The work is also a practical way to improve sight-reading skills, making the learning of new songs easier, and thus expanding our ability to honour and serve the Lord Jesus Christ in the future.

7. A Foretaste of Heaven

Someone has said that music is the only art of heaven we enjoy on earth, and the only art of earth that we will experience in heaven (cf. Rev. 15:2-4). The blended harmonies of sacred music can be a foretaste and a preparation for heaven. And this experience of fellowship, in the presence of the Lord, will leave a faint fragrance of the eternal in the air.

Lord’s Day Meditation – The Burden Bearer

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Cast your burden on the Lord, and He shall sustain you; He shall never permit the righteous to be moved.

Psalm 55:22

Our “burdens” are the circumstances in which we find ourselves. Particularly difficulties, not of our own making, that beset us as we seek to do the will of God. The promise of His Word is that if we will bring such burdens to His throne, we’ll find that the Lord will sustain and nourish us so that we are not shaken out of our place. That is, the Lord will assure that the enemy is not able to hinder our work for Him, or render our service ineffective (cf. Ps. 37:23-24). It should be a settled habit with us that we bring our burdens to the Lord.

Can He handle them? Yes, of course. Surely the One who has strength enough to bear the government of the world upon His shoulder one day (Isa. 9:6) will hardly balk at supporting one weak saint in his or her extremity. He may not take away the problem–though He does this at times. But we can be assured He will at least sustain us in it, and bring us through it.

However, there are a couple of common problems with doing this. At least, I confess they are ones I have. Perhaps you do too.

  • First, there is that craving in our sin nature to be independent, and a root of pride that tells us we can handle whatever it is. This can lead to prayerlessness. Peter exhorts his readers to humble themselves before the Lord, “casting all your care upon Him, for He cares for you” (I Pet. 5:6-7). To bow at His throne and admit our need of Him, that is where we must begin.
  • Second, perhaps we do readily bring our burdens before the Lord in prayer. But when we leave the place of prayer, we often drag them away with us! Casting our burdens on the Lord means we entrust them to Him and look to Him for the resolution of the problems. Committing burdens to Him is not intended to be a brief moment of relief while we are at prayer. It is to be a lasting remedy.

David’s utter confidence in God, expressed in Ps. 55:22, is reflected in Ps. 31 as well. “I trust in You, O Lord; I say, You are my God, my times are in Your hand” (vs. 14-15). A practical example of such sustaining faith is found in the experience of Job (Job 2:20-22). And in more recent times, the trust that transcends circumstances was illustrated by Horatio Spafford and his wife, at the loss of their four daughters in a tragic shipwreck. Out of his steadfast assurance Spafford, he gave us the hymn:

When peace like a river attendeth my way,
When sorrows like sea-billows role;
Whatever my lot, Thou hast taught me to say,
“It is well, it is well with my soul.”

Hold That Applause…Please

Applause has its place. But for some it seems out of place in the worship services of the church.

The sanctuary lights dimmed, as costumed young people made their way to the platform. The story of Joseph began to unfold. His coat of many colours, the dreams, the jealousy of his brothers. The youth group of the church my wife and I attended some years ago was presenting the familiar account in the form of a contemporary musical. Eventually, they came to his time in Potiphar’s house and Joseph’s encounter with Potiphar’s wife. A teen-age girl slunk across the platform singing a song called “Mae East”–a take-off on Mae West, the movie vamp of the thirties.

It was an impossibly difficult task, singing that song. Not musically, but dramatically. Play it for laughs and it trivializes the conflict between holiness and wanton wickedness. Play it too sensually and it crosses the border of good taste. My impression was that the singer came perilously close to the latter. With the sexual innuendo in her walk and her look, she left no doubt as to what this was all about. At last she ended her siren song, on a spectacularly high note. “Praise the Lord!” proclaimed a gentleman seated in front of me, in a voice loud enough to be heard rows away.

It was startling. Disturbing, that note of praise. What was he lauding? This woman’s wicked seduction of a godly young man? No, not that. His attention was on the performance. What thrilled him was that sensational finishing note. It was the singer’s ability to climb higher up the musical scale than the average person. And in that moment, a deep concern was ignited in my mind and heart.

Will you excuse me if I “stops preachin’ and goes to meddlin'” for a moment? It sometimes distresses me when we applaud the ministry of music in our church services–especially during those times designated for worship. What are we applauding? I am sure that in many cases it is the skill of the performance. I know there is a breezy style abroad that says, “Let’s give the Lord a hand,” but I wonder. Are we sincerely worshipping when we applaud at the end of a song. “My Jesus, I love Thee…”–and we clap enthusiastically. What? Whom? Jesus? In the majority of cases, I doubt it.

Those of us who serve publicly in this way need the attitude of John the Baptist who said, “He must increase, but I must decrease” (Jn. 3:30). And the outlook of the one on the platform ought to promote a similar response from those in the pew. Augustine once said, “When I am moved by the voice of him that sings more than by the words sung, I confess I have sinned.” Let’s determine to direct our attention to what the words communicate. Let’s respond to the sentiment of the message, not assess the competence of the performer.

So, is there a place to encourage the one who sings? Certainly. Time enough later, after the service, to express personal appreciation for the ministry. It is entirely appropriate to approach a soloist after the meeting, and say how much the ministry has blessed us. God’s servants need our support. But as Ecclesiastes reminds us, “to everything there is a season” (Ecc. 3:1). Worship celebrates His worth-ship. In services designed for such a purpose, we must be careful not to confuse emotional excitement with spiritual energy, or worship with entertainment. Hold that applause…please.

Historical Hymn Issues

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Over the centuries there have been a number of issues confronting the church with regard to sacred music. Sometimes these have aroused contention and rancour. But even when this has not happened, local congregations have needed to decide on what their policy will be. Here are several of the issues involved.

Issue #1 – The Use of Instruments

Nothing is said of musical instruments being used in the worship of the New Testament church. In fact, the early church fathers (Clement of Alexandria, Chrysostum, Ambrose, and Augustine) strongly opposed the use of instruments in sacred singing. This is in spite of the fact that extensive use was made of instrumental music in the Jewish temple (I Chron. 25:6-7, etc.) and we are told the heavenly courts will resound with music accompanied by “harps” (Rev. 5:8; 14:2; 15:2-3).

Israel had been more or less a homogeneous cultural unit, with some consensus as to the meaning of its music. The church, made up of many nations, is quite different. After Pentecost, believers had to be concerned with how their practices were being received and understood by a diversity of cultural groups. Since there is nothing in the New Testament that forbids the use of instruments in Christian worship, it is likely that in those times instrumental music had, for many, a strong association with pagan worship, or sensual activities that Christians wanted to avoid. In The Ministry of Music (p. 50), Ken Osbeck states that “instrumental music was associated with boisterous Roman paganism.”

Currently, most churches do not have a problem with instrumental music, if it appropriately and effectively supports congregational singing. But we must still be cautious of the danger of seeking to entertain, rather than edify, and of the possibility of secular associations tainting our music.

Issue #2 – Congregational Singing

Pope Gregory I (540-604) disapproved of congregational singing. In his time, much of the music of the church was turned over to the priests. As well, the formal liturgy of the “Mass” took shape. Attending church involved more observation than participation in singing God’s praises. There is some beautiful church music from the Middle Ages, but it was largely written for trained choirs, not the congregation. It took the Reformation to restore hymn singing to the people. This is an avenue of fellowship the people of God should carefully guard.

Issue #3 – Non-biblical Lyrics

One of the prominent arguments of an earlier time–along with whether to use musical instruments or not–was over what should be sung. Some said only Scripture should be sung by God’s people. Others said that newer songs could be used as well. (This debate actually continued off and on for over a thousand years.) To show how seriously this was taken, consider what happened to the bishop of Antioch, in 260 A.D. He was hauled into court, accused of “suppressing the chanting of psalms.” His defence was that he only meant to forbid the singing of new songs. On that basis, he was acquitted!

Isaac Watts, known as “the father of English hymnody,” finally convinced the church of his day that it was appropriate to introduce new hymns not directly taken from the Word of God. Since his day, thousands of wonderful hymns and gospel songs have been written, songs that have greatly blessed the church.

Issue #4 – The Use of Secular Tunes

In the early 1800’s, another controversy surfaced which has never been entirely resolved. A man named Joshua Leavitt published a hymnal in which the words were set to well-known secular melodies of the day. This is not the first or last time this was done. A number of hymn tunes we use are taken from secular sources. (Far fewer than some would contend, but most hymnals do contain a few.)

There is nothing inherently wrong with doing that. But one danger we must guard against is using tunes which are associated in people’s minds with lyrics or activities that dishonour God. In the words of one critic, Leavitt’s tunes were “current love songs, vulgar melodies of the street, the circus and the ballroom.” It was to combat this perceived drift into secularism that Lowell Mason and Thomas Hastings published several new hymn books for church use, with tunes that had been written specifically for use with hymns.

Issue #5. The Place of Traditional Hymns Today

I’ve been a pastor, and a church musician, for about 40 years. But in recent years I’ve observed a disturbing trend–the abandonment of the hymn book. It’s either left to gather dust in the pew. Or taken away altogether, replaced with songs projected on the wall. Mostly a multitude of simple choruses.

Well, something else was written on a wall, many centuries ago: “You have been weighed in the balances and found wanting” (Dan. 5:27).  I just wonder if those words won’t be written one day about the modern church. Some of the newer songs are fine, of course. And they’d work if they were occasionally included in a service. But there are churches sing them exclusively–and repetitiously.

Among the reasons given for the change, we are told that hymns are so old fashioned, and out of date we can’t understand them. But most hymns are understandable with a bit of explanation. Maybe the lack of understanding comes from a lack of spiritual insight–or from a lack of proper education. Don’t capitulate, educate! We still study authors like William Shakespeare, and Charles Dickens. Why not study the work of our hymn writers? Truth is never out of date!

I don’t know what the practice of your church is, but I beg you not to discard the hymn book! It’s so important to our Christian faith. We need to preserve the wonderful heritage of sacred music that’s been developed by the church, over 2,000 years. And that means not abandoning the old songs. They’re a part of our history. They’ve comforted and challenged the saints for generations. Used with care, they can do so again.

Cutting Up the Pie

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There used to be a cute TV commercial depicting a young girl sharing out pieces of a dessert with two friends. Then a voice-over says, “And a big piece goes to her little brother”–who stands by, looking hopeful. Clearly she had not intended this. But when the voice insists, “And a big piece goes to her little brother,” she sighs and passes him a helping.

That got me thinking–that we sometimes view our lives like a pie. And a big piece goes to our family, and a big piece goes to our employer, and a big piece goes to our recreational pursuits, and so on. But if we are Christians, there is another issue. How big a slice of the pie belongs to God? Maybe we plan to fill the other plates first. Then, if there are left-overs, we will see they are passed on to Him. Or perhaps we readily cut him a large piece.

But all of this falls short. In truth, the whole pie belongs to Him! All we are and have comes from God, and ultimately belongs to Him. We are stewards of these things, no more. King David recognized that when he prayed regarding his people’s offering to the Lord, “All things come from You, and of Your own we have given You” (I Chron. 29:14). The Macedonian believers did too, whom Paul commends because “they first gave themselves to the Lord, and then [gave] to us by the will of God” (II Cor. 8:5).

Mary Dagworthy James reached a point in her life where she grasped that essential truth. Mrs. James (1810-1883) had been a Sunday School teacher since she was thirteen years old. But in later years she offered herself to God as a “living sacrifice,” releasing every part of her life to His control. Her service for God included assisting in the meetings of a leading evangelist of the day. Mary also penned about fifty hymns. One of these, entitled All for Jesus, reflects her commitment.

All for Jesus, all for Jesus!
All my being’s ransomed powers:
All my thoughts and words and doings,
All my days and all my hours.

All for Jesus! All for Jesus!
All my days and all my hours;
All for Jesus! All for Jesus!
All my days and all my hours.

Let my hands perform His bidding,
Let my feet run in His ways;
Let my eyes see Jesus only,
Let my lips speak forth His praise.

Lord’s Day Meditation – Godly Giving

I can do all things through Christ who strengthens me….And my God shall supply all your need according to His riches in glory by Christ Jesus (Phil. 4:13, 19).

Verse 13 is not intended as an absolute. Even God cannot do everything. He cannot do that which is contrary to His holy nature. (For example, He cannot lie.) In the context, the “all things” involves God’s enablement to be content both in times of privation and of plenty. Paul explains that he has learned to handle being in physical want or in abundance (vs. 10-20).

But certainly the statement may be applied more broadly to anything that is within the will of God for us, anything that a wise and loving Providence sends our way. By the grace of God we are able not only to endure it but to flourish in the situation. This is, in fact, the secret of rejoicing–the apostle’s theme throughout the epistle. Joy is inwardly motivated (Gal. 5:22), so it can be present even at times when happiness is not being outwardly stimulated.

The Philippian church had been supporting Paul’s ministry financially, assisting him over and over (vs. 10, 14-16, 18). We get the sense that this was done sacrificially, beyond what would normally be expected of them. (He pictures it as a “sacrifice,” vs. 18.) And even when no one else aided Paul’s ministry in this way, they did (vs. 15).

They had given much. But on the basis of his own experience Paul could assure them that the Lord would meet their needs. (Not their greeds, but their needs.) And notice it is not merely a wish or a prayer, but a bold statement: This is what God will do. Where there is a great need, there is, from His throne, an infinitely greater resource to meet it.

Aren’t you grateful for those in your congregation who give sacrificially to support the work of the local church? And are you such a person yourself? In giving, we can be assured of two things. First, that as we give generously and wholeheartedly to the Lord, He will see that our needs are met. And second, as this becomes the norm in a Christian assembly, there will always be sufficient to carry out any ministry the Lord has planned for that group of believers.

William Walsham How speaks of the stewardship of our resources in an 1864 hymn, based on a prayer of David’s (I Chron. 29:14).

We give Thee but Thine own,
Whate’er the gift may be:
All that we have is Thine alone,
A trust, O Lord, from Thee.

May we Thy bounties thus
As stewards true receive,
And gladly, as Thou blessest us,
To Thee our firstfruits give.

Bad People…Good Music

How can bad people produce good music? It’s a relevant question. Because not all wholesome, God-honouring music was produced by born again believers. That may be almost too obvious to state, but it is an important place for us to start. There are even fine hymns, true to Scripture, written by unbelievers. For example, what do you think of the following lyric?

All hail to Thee, Immanuel, we cast our crowns before Thee;
Let every heart obey Thy will, and every voice adore Thee.
In praise to Thee, our Saviour King, the vibrant chords of heaven ring,
And echo back the mighty strain: All hail! All hail! All hail Immanuel!

All hail to Thee, Immanuel, our risen King and Saviour!
Thy foes are vanquished, and Thou art omnipotent forever.
Death, sin and hell no longer reign, and Satan’s pow’r is burst in twain;
Eternal glory to Thy name: All hail! All hail! All hail Immanuel!

D. R. Van Sickle wrote that hymn in 1910. Not only was he an unbeliever at the time, he wrote the song specifically to prove you don’t need to be a Christian to write a hymn! But some years later, by God’s grace, a strange thing happened. Van Sickle was in a church service when the choir sang his hymn, and the Lord used it to bring him under conviction and he got saved!

There are other examples that could be cited, but this one surely makes the point. So, how is it that bad people can make good music? Here are a few thoughts.

The Image of God

One factor is that all human beings still possess something of the image of God in their beings, distorted though it is by sin (cf. Gen. 1:27; 9:6; Jas. 3:8-9). The creativity with which God has gifted man has certainly been hampered and hindered by the fall, but it was not utterly destroyed.

Universal Principles

It is also true that the principles upon which God governs His universe are practical and self-validating. That is, anyone, whether saved or unsaved, can put the force of gravity to the test. And anyone, whether saved or unsaved, may discover that “a soft answer turns away wrath” (Prov. 15:1). Music–and lyrics–built upon God’s universal principles will benefit the hearer, no matter who wrote them.

The Restraint of the Holy Spirit

Another factor is the restraining power of the Holy Spirit working in society, especially through the people of God. Whether they admit it or not, the unsaved are benefited by the sanctifying influence of godly individuals. Much beauty and grace in the arts is due to this purifying impulse. When that is taken away at the coming rapture of the church, a tide of unmitigated evil will sweep across the earth (I Thess. 4:16-17; II Thess. 2:6-12).

In Spite of the Messenger

Finally, God honours the proclamation of His Word. When Scripture is quoted or its truths are framed in song, that truth has a life and power of its own through the Spirit, irrespective of who composed the music (Heb. 4:12).

Years ago, I got to know a famous Canadian agnostic. In his early years, he was an eloquent and effective preacher of the gospel. People were saved under his ministry–including one of my fellow-pastors. But he told me later, quite frankly, that he never believed a word of what he preached. It was all an act, feeding his own ego. And that may be so. But the Spirit of God can work through the Word of God, sometimes in spite of the messenger!

No Excuse

Obviously this does not mean the spiritual condition of the messenger is irrelevant. None of these factors is meant to suggest that it does not matter whether a person is saved or unsaved, carnal or spiritual. These things are of critical importance–certainly to the individual and, in the particular case under discussion, to the music he creates and presents. However, it is demonstrably true that wicked men are capable of doing some good in temporal terms, and of  producing things of lasting value to both saved and unsaved.

By the sovereign grace of God, He sometimes uses unregenerate or unholy instruments, as He did Pharaoh in Egypt (Rom. 9:17), and Cyrus King of Persia (Ezra 1:1-2). But that is no excuse for us to ignore the matter of our own holy walk, or the use of sanctified means and methods in His service. Blessings will be multiplied when we give attention to these things.

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