Encouraging a higher standard for Christian music

Archive for the ‘CCM’ Category

~ Chapter 3 ~ Music – The Sound and the Unsound


“A thought-provoking look at humanity’s most influential form of expression, MUSIC  – The Sound and the Unsound

Music

THE SOUND

AND THE

UNSOUND

 

C H A P T E R  T H R E E

MUSIC AND RELIGION THROUGH THE AGES

“As soon as they went out from the Presence of the Lord, they started building cities, they started making instruments, they started in science – making brass and iron, and they started playing music. Where did it come from? Who went out? Cain, the serpent’s seed. “9

Within man there exists an inherent impulse to worship. God even provisioned our physical beings with an instrument through which we can declare our devotion – the human voice. When we choose to vary  the  melody  and rhythm of our vocal sounds, the result is music, and nothing characterizes the very essence of worship like the unornamented songs of man.

The Bible gives us very few written clues concerning the first music  produced by man, but our oldest existent vocal traditions, such as that of the Jewish cantor, the Moslem muezzin calling the faithful to prayer, or even the chanting of the North American Indian, indicate that mankind’s first musical expressions were likely a part of his religious experience. As man’s musical skills developed, he began to fashion instruments from what he found in nature – bones, horns, willow bark, animal skin and gut – and he adapted these materials to suit his personal needs. Jubal, the great-great-great-great grandson of Cain, was “the father of all such as handle the harp and organ, ” (instrumental music) Genesis 4:21, reflecting the love of beauty and the arts, which was his birthright.

In time, as men developed their artistic abilities, music began to take on many forms and serve many functions, both sacred and profane. From generation to generation, musical expression played such a vital part in cultural development that the religious morals and social values of a given community reflected in the quality of the music that they produced.

Most music produced by the people of the Bible never developed beyond simple homogeneous songs and chants with basic accompaniment of harps, trumpets, and cymbals. Much of the Hebrew music was consecrated to the service of the Temple worship, but throughout the Scriptures there are numerous accounts of secular use also: songs of triumph after victory, songs at marriage celebrations and festivals, songs for shepherds and for kings.

In the great temples of ancient Egypt, the priests trained choirs in the singing of ritual music to pagan gods. Their songs were complemented by the clapping together of sticks and disks.

At the same time, in other parts of the world, more primitive societies evoked their deities in a wild abandon of religious fervor and emotional ecstasy, accompanied by the pounding of syncopated rhythms on a hollow log.

Music has always left behind evidence of its effect upon a given society. One can even trace the rise and fall of civilizations by making a parallel study of the types of music listened to during the corresponding era.10 Four hundred years before the birth of Christ, the Greek philosopher Plato said, “When modes of music change, the fundamental laws of the state change with them. Through foolishness they deceived themselves into thinking that there was no right or wrong in music, that it was to be judged good or bad by the pleasure it gave.”

At the time of Christ, both vocal and instrumental music were flourishing. Jesus and His followers participated in the traditional Jewish synagogue music, and undoubtedly this directly influenced early Christian songs. The ornamented cantonal melodies were adapted to the new teachings of Christ and absorbed into the fledgling Christian faith. It was common practice for a cantor to serve a synagogue on Friday evening and then place his skills at the disposal of the Christians on Sunday.11

Instrumental music played no part in the life of the early Christian church. Instruments had too many associations with the debauched life of Rome, and only the voice was considered to have the purity and nobility worthy of God’s ear. Cantorial chant evolved gradually into a slow-moving, unison singing called plainsong (later known as Gregorian chant), which dominated Christian worship for a thousand years. During the  Middle Ages, there was an attempt by the church-world to gain widespread control of music by deeming certain chords to be un-harmonious and therefore blasphemous and unworthy to reflect the glory of God. The church denounced all music that was unsanctified by a sacred text.

In 1517, Martin Luther nailed his Ninety-Five Theses on the door of the church at Wittenberg (accusing the Roman Catholic church of corruption) and the Reformation was born. Luther, an accomplished musician, threw out much of the old church music and wrote new hymns, bringing the language of the people (rather than Latin) into use for sacred songs. He declared, “ Nothing on earth is more powerful than noble music in making the sad joyful, the arrogant discreet, the despondent valiant; in charming the haughty to humility, and in mitigating envy and hatred.” Luther believed that music in the church served as a resounding sermon,12 and he is accredited with saying that he didn’t care who preached, as long as he wrote the song. By acknowledging the staying power of music in the worship experience, Luther single-handedly established congregational singing as an important part of the Christian church service. Elements of harmony, which had been reserved previously for highly trained musicians of the church, were now being mastered and sung by the common people. Music and religious worship became bonded into one, inseparable experience. It seemed that the fellowship of a common faith could be expressed through song far more effectively than through a formalized cannon, dogma, or ritual of the church.

In secular use, music was becoming a melting pot of sounds. The clash of cultures, which had been launched by the Crusades in 1096, brought many different musical traditions together, and increasingly these new harmonies and rhythms found their way into the music of Europe. Near the end of the sixteenth century, new printing methods and a newly developed system of musical notation made possible the duplication of every kind of music and placed it on the open market. It was the dawning of a new day for both the composer and the performer. Music was on its way to becoming a universal language.

With the passing of the centuries, there was also a darker, more sinister form of music finding expression and establishing its place within the musical brotherhood of mankind. This music involved a complex primitive theology embracing fetishes, totems, and magic. It was born in the sacrificial incantations to a river god, nurtured by the unimaginable horrors of slavery, and released upon the New World to wage war with the God of Christianity. It was called  ‘voodoo,’ and its throbbing beat prophesied of the evil fruit it would yield.

By the early 1600s, the Western colonization of other lands was a growing concern. Spanish and Portuguese colonies in the New World and Africa were already well established, and an armada of ships operated by slave traders plied the waters from Western Europe to the coast of Africa. After picking up their human cargo, they would continue their voyage across the southern Atlantic to Brazil, Central America, the West Indies, and the New World. And wherever they were sent, the slaves took their music with them – an agonized inspiration that would become the cornerstone for virtually every American musical expression to follow.13

By the time the New World was being recognized as a blossoming mission field by the various progeny of Luther’s reformation movement, the rhythm and melody of Africa had already joined with the harmonies of European music, which the church had so carefully nurtured, and a powerful new musical form was born.

Taken from the magazine ONLY BELIEVE (no longer in publication). The regression of music amongst our churches is a cancer which, if not properly dealt with, will suck the true Life out of The Church. This downward spiral is caused by a lack of discernment and a general lowering of standards by a generation wanting something new and different rather than stand fast, and hold to what is tried and true, proven, and right. Many have failed to heed the warning expressed in this article. Innumerable groups, bands, and various musical artists spawned forth since Brother and Sister Smith published this article in December 1991, [Vol. 4, No 3].  No doubt the Christian artists she names here gave birth to groups like: MercyMe,KutlessNewSongSidewalk prophets The David Crowder band,Casting CrownsJeremy Camp, and Third Day to name a few. If Brother Branham called people like Pat Boone, modern day Judases, obviously these are too. What kind of person feeds off these groups, and promotes their demonic inspired lyrics and music within our churches? I pray this article will help someone. (the pictures are mine) – [DM – discerningMusic editor]
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Have we sold our soul for Rock ‘n Roll?


One of the most openly Satanic bands in all of rock is Black Sabbath. They have actually given invitations during their concerts for young people to receive Satan. One of their albums, is truthfully titled, “We Sold Our Soul for Rock’n Roll”. Their song N.I.B. (Nativity In Black) is one of the most openly satanic songs ever recorded. It is a love-song from Lucifer, in which Lucifer invites the listener to “please take my hand”, the lyrics:

Some people say MY LOVE cannot be true
Please believe me, MY LOVE, and I’ll show you
I will give you those things you thought unreal . . .
YOUR LOVE FOR ME has just got to be real . . .
Look into my eyes, you will see who I am
MY NAME IS LUCIFER, PLEASE TAKE MY HAND!”

Now surely, it’s NOT POSSIBLE — no CCM group would EVER go that far and do a song by Black Sabbath? Wrong. . . The CCM group, Deliverance, on their album “What A Joke”, have a song by satanist rockers — Black Sabbath — “After Forever!”

Here’s a short list of some so-called Christian Contemporary performers who sing “worldly-secular-rock” songs.

Amy Grant “PLAYS” Joni Mithchell
Johnny Cash “PLAYS” Danzig, Beck, SoundGarden, et. al!
Petra “PLAYS” Argent (ditto KISS)
77’s “PLAYS” Led Zeppelin.
DC talk “PLAYS” Doobie Brothers, Beatles, Jimi Hendrix, Nirvana, REM, et. al.
Audio Adrenaline “PLAYS” Edgar Winter
Point of Grace “PLAYS” Earth, Wind and Fire
Jars of Clay “PLAYS” Ozzy Osbourne
Rez Band “PLAYS” the Who, Jefferson Airplane
Holy Soldier “PLAYS” Rolling Stones
Rachel, Rachel “PLAYS” Kansas
Deliverance “PLAYS” Black Sabbath
MXPX plays Buddy Holly

Many, many more examples could be given. The Bible clearly commands us to “come out from among them, and be ye separate” and to “touch not the unclean thing” — CCMers not only “touch” it — they “honor” them by singing their songs!

Wherefore come out from among them, and be ye separate, saith the Lord, and touch not the UNCLEAN thing; and I will receive you, 2 Cor. 6:17

Where is the CCMers “NEW SONG, even PRAISE unto our God” from Psalms 40?

Why did the same God that gave me, Fanny Crosby, and millions of others a NEW SONG, not do the same for them, as He promised on Psalms 40 and 2 Cor. 5:17? Acts 10:34 says, “. . . God is no respecter of persons”. And I know ONE thing — GOD DOES NOT LIE!

In hope of eternal life, which God, THAT CANNOT LIE, promised before the world began; Titus 1:2

God is not a man, that HE SHOULD LIE; neither the son of man, that he should repent: hath he said, and shall he not do it? or hath he spoken, and shall he not make it good? Numbers 23:19

Therefore if any man be in Christ, he is a new creature: old things are passed away; behold, all things are become NEW. 2 Corinthians 5:17

1 I waited patiently for the LORD; and he inclined unto me, and heard my cry.2 He brought me up also out of an horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings.3 And he hath put a NEW SONG in my mouth, even PRAISE unto our God: many shall see it, and fear, and shall trust in the LORD. Psalm 40:1-3

CHRISTIAN MUSIC IS A NEW SONG — NOT AN OLD SONG.

“When Christian music carries the beat, instrumentation, and exact sounds of the lost crowd, it results in confusion and shame… It is shameful to use musicians who in shallow songs daze instead of praise, who entertain instead of train… They transfer the worship owed to Christ to ‘concert hopping’, money-hungry entertainers who have never left, the world far enough behind to stop sounding like it…”(Shame, a tract by Dr. Hal Webb, pp. 2,4,6)

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