Encouraging a higher standard for Christian music

Archive for the ‘spiritual singing’ Category

12 Keys in Our Choice of Music

Music choice is important. But how are we to evaluate the music in our lives? Here are twelve major principles, based on the Word of God, which can help us, as Christians, to do so. They can be applied to any music, but they are worth considering in relation to the music we use in the services of the church, both what is presented from the platform, and what is sung by the congregation.

1. HUMILITY. In the complexities of understanding and evaluating music, none of us has all the answers (cf. Rom. 12:3, 10; 14:1).

2.UNIQUENESS. We are each different as to the music in our lives, and with respect to how it affects us (cf. Rom. 12:3-6a; I Cor. 12:14, 27).

3. INTEGRATION. Earthly things can have a valid place in our Christian lives, as we assess them biblically and use them wisely (cf. I Cor. 7:31; I Tim. 6:17b).

4. ORIGIN. The source of a piece of music can affect it in significant ways (cf. Prov. 15:2, 28; Lk. 6:45).

5. TRADITION. The wise person appreciates the heritage of the past and will continue to employ it and be enriched by it (cf. Deut. 32:7; Jer. 6:16; contrast Acts 17:21).

6. PURPOSE. The purpose of the musician and of his music will influence how it is used, and therefore how it affects us (cf. I Cor. 9:25; 10:31; contrast Phil. 3:18-19).

7. BALANCE. Music with its various elements in balance reflects the nature of God and accomplishes the purposes of God (cf. I Cor. 14:33, 40; Tit. 1:5a).

Such elements include: melody, harmony, rhythm, tempo, and dynamics. If there are lyrics, the music should serve as an appropriate vehicle to enhance their message.

8. SEPARATION. We must not, with our music, encourage or glorify that attachment to this sinful world that God hates (cf. II Cor. 6:14-17; I Jn. 2:15-17).

9. ASSOCIATION. Communication problems arise if the music accompanying a Christian message is associated in the mind of the hearer with a corrupt and sinful lifestyle (cf. I Cor. 8:4, 7; 14:8; 15:33).

10. EFFECT. Music is a medium of expression (in a sense, a language) which can communicate with powerful effect (cf. I Sam. 16:23; Col. 3:16; and see Gal. 6:7).

11. MESSAGE. The message a song delivers depends upon several components working effectively together:

Words + Music + Performance + Musician’s known lifestyle + Social context = the Total Message of a Song (cf. Ps. 139:15-16; I Cor. 12:12; Eph. 4:16).

12. RESPONSIBILITY. Music is a stewardship from God that we are responsible to use according to His will and purpose (cf. Deut. 12:29-31; Lk. 16:15; and see Est. 4:14; Acts 13:36).

Editor’s note – This article was written and originally published by Robert Cottrill the editor of http://www.wordwisehymns.com.

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~ Chapter 4 ~ 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  F O U R

SPIRITUAL ROOTS

“Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms, and hymns and spiritual songs, singing with grace in your hearts to the Lord.” Ephesians 5:19

For three centuries, a flood of humanity poured into the New World. The willing came from Europe; the unwilling came from Africa. They were master and slave, and nothing has ever exacted such a heavy price on the conscience of a nation as the institution of slavery in America. But from the agony and suffering of the black captives was generated a heroic faith that, over the years, was given a voice that would echo across the land for all generations to come. To the slaves they were known as  ‘sorrow songs,’ or ‘anthems,’  but within white communities they came to be called  ‘spirituals,’  and in them America found its truest, most original, and most influential musical expression.

In the plantation states of the south, newly arriving slaves were expected to learn English and to adopt the professed religion of their owners. But the emotional and mystical ways of heathen, tribal worship could never be replaced by the bone-dry traditions of European faith. And neither could the rhythms, chants, and tribal stomps of the African culture be confined by the structured singing of psalms and hymns . “The spirit will not descend without a song,” was a saying the slaves carried with them from the motherland, and it was in music that the brutalized Negro found a means of liberation.

The enslaved people found much within the Judeo-Christian tradition to identify with and anchor their hope: The Hebrews’  four centuries of bondage in Egypt; the Israelites’ captivity in Babylon; Daniel in the lions’ den; and Elijah ’s journey to Heaven in a fiery chariot. They learned the hymns of their white masters then rewove them with the remnants of their African history to produce expressions of freedom through song that became the focus of both their spiritual and social life.

The majority of the slaves worked under the overseer’s lash, cultivating the cotton and rice that were the mainstay of southern industry. Often they were forbidden to speak to one another while working in the fields, but since their fieldwork required unified effort, they were allowed to utilize the African tradition of worksongs to coordinate their activities. These creative leader-and-chorus rounds were sung with so much musical mastery that they defied notation. Often the song was fashioned by combining verses from the Bible with portions of hymns, sermons or prayers they had heard in church. But in the fields there was also every opportunity to invent new songs and tunes, drawing from their new found faith in a Christian God who could not only break their bonds of sin and suffering, but offered Heaven as a homeland. Best of all, He wasn’t confined to a white church, nor did He negate the humanity of the black man. They heard a promise of freedom, and they made it the theme of their songs.

God told Moses, o’Lord!

Go down into Egypt, o’Lord!

Tell ol’ Pharaoh, o’Lord!

Loose my people, o’Lord!

In 1735 an English clergyman by the name of John Wesley sailed for the New World to proselytize the heathen Indians in the colony of Georgia. After three years, he acknowledged his failure as a missionary and returned to London, determined to find the missing element in his spiritual walk. Then one day, as he listened to a reading of Martin Luther’s preface to Paul’s Epistle to the Romans, he felt that his “heart was strangely warmed,” and a new dispensation of the church was ushered in.

Nowhere did they embrace the new tenets of a faith that was being called ‘Methodism’ more rapidly than they did in the colonies of the New World. Wesley’s teaching of a Second Blessing (also termed Christian Perfection or Sanctification) was “the fuse that set off a keg of repressed religious ecstasy throughout America.”14 Stoking the fires of the revival that came to be known as The Great Awakening was Methodist evangelist George Whitefield and other circuit-riding preachers who traveled endlessly throughout the colonies expounding the doctrine of absolute holiness and attainable perfection. Their preaching style was bold and dramatic, which gave them limited access to the pulpits of the more traditional churches, so they resorted to preaching outdoors. Camp meetings (or bush meetings, as they were sometimes called) changed the structure of worship services for most rural churches in the young nation.  ‘Fire and damnation’ preaching encouraged a new freedom of expression for the believers. They shouted, they prayed, they danced, and they sang like never before.

Once again, religious revival was accompanied by a stirring of the musical waters. Like Luther, Wesley was a songwriter and publisher. His first hymnal, The Charleston Collection of Psalms and Hymns, published in 1735, was the first hymnbook ever published in North America. Wesley’s greatest concern was that singing should be both spiritual and have good musical quality. His instructions to the congregation included admonishments to “ Sing All, Sing Lustily, Sing Modestly, Sing in Time and above all, Sing Spiritually.”15 And it was in the unstructured style of the frontier camp meeting that spiritual singing came of age.

Long before blacks themselves were admitted to white society, they shared a lively, if somewhat uncomfortable, coexistence that was brought about through the cohesive forces of shared religion and music. Along with the increasing number of traditional hymns which were being penned by proficient songwriters such as Charles Wesley and Isaac Watts, Negro spirituals were becoming a major part of the huge revivals and camp meetings of the 1800s. Here the spirit and personality of the black world was not segregated from the white culture. Although white and black worshippers were normally kept separate, “their voices and music could mix, echoing from camp to camp, feeding a musical union whose product would sweep the world.”16 One observer at an early camp meeting wrote:  “As the excitement increases, all order is forgotten, all unison of parts repudiated, each sings his own tune, each dances his own dance, as he leaps, shouts and exults with exceeding great joy.”

They had found something real, and it was a revelation inspired by a new understanding of Scriptural truth. And that, in turn, generated a new brotherhood of holiness and sanctified churches – forerunners of the twentieth century Pentecostal Revival that was to explode on Azusa Street in 1906.

But not every abused and humiliated black man found solace in Christianity. There was just too much magic in the  ‘old ways’  that wasn’t compatible with the new-found faith, so the old faith endured, hidden until the late nineteenth century and the period of Reconstruction that followed the Civil War. Then, a new branch appeared on music’s family tree, and it was called ‘The Blues.’

Although it descended directly from the emotional fervor of the spirituals, the only thing the blues had in common with its spirit-pleasing parent was its ancient roots. Every type of carnal indulgence became the theme of the blues singer: Crime, adultery, prostitution, gambling, alcohol, and imprisonment. Ties with the African elements of syncopation and rhythmic momentum were renewed, taught, and performed by both black men and white men who had listened and learned from this new musical voice. “It is here that the blend of cultures once again began to generate something permanent and prophetic, a rhythmic vitality and melodic gift that would eventually produce ragtime and jazz.”1

Coinciding with the beginnings of blues, ragtime, and jazz, religious music was also undergoing a metamorphosis. In 1875, songwriter Ira Sankey published a hymnbook entitled Gospel Hymns and Sacred Songs and the term ‘gospel music’ was born. Sankey and his partner, the revivalist Dwight Lyman Moody, intended for their songs  “to implant the gospel in the hearts of the people”18 by suppressing emotional outbursts and passionate singing.

But, while Sankey and Moody were able to influence their initial development, gospel songs soon developed a character of their own, and this time it was  “a coolly calculated commercial endeavor designed to capitalize on the enormous appeal of the Negro spiritual stylings.”19

In 1921, a young blues and jazz piano player by the name of Thomas Dorsey attended the National Baptist Convention and was overwhelmed by the force of the music he heard being performed. For “Barrelhouse Tom,” it was the handwriting on the wall. He would write religious music, and he would call his songs ‘Gospel.’

Dorsey wrote over a thousand tunes, including  “Peace In The Valley”, “Search Me Lord,” and “Precious Lord Take My Hand.”  “It was music that not only reflected the preaching and testifying heard in black Baptist and Methodist churches as well as the growing number of  ‘sanctified’ congregations across the country. It also made brilliant and liberal use of the melodies, harmonies, and rhythms of Dorsey’s blues and jazz background.”20

Touring the Midwest and South in the late 1920s, he performed his music and sold the sheet music for a few pennies apiece. But Dorsey’s voice lacked the conviction and excitement that was necessary for gospel singing, and he knew that if he was going to succeed he needed a new sales technique. He created the first female gospel quartet in history, and soon became a promoter of gospel performers as well as a publisher of black gospel music. He was well on his way to earning for himself the title “Father of Gospel Music.”

By the mid-thirties, several styles of gospel music were being popularized on the church and revival concert circuit. One of the most enduring was the gospel quartet – four or five singers who established their identity through vocal stylizing (such as a featured bass or falsetto) or through dress (porter’s uniforms, white tuxedos, etc). There was also the ‘gospel chorus’ of all-female hand clappers, dressed in choir robes and backed by a thundering piano or organ. And soon the professional gospel artists, such as Mahalia Jackson and Rosetta Tharpe began to make a name for themselves.

By the beginning of  World War II, the careful repackaging of slave spirituals was complete. This new image of  ’gospel music’  had been sprinkled liberally with the glitter of  Hollywood and parlayed into a powerful and wealthy musical empire.

Editors note:
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]

~ 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]

Remind Me Dear Lord

Engraved Blessings

Someone has said that memory is a sepulcher of broken bones. Someone else has said that memory is a nursery in which children who have grown old play with their broken toys. Memory is the library and the treasury of the mind. Psychiatrist Rollo Mays says, “Memory is not just the imprint of the past upon us; it is the keeper of what is meaningful for our deepest hopes and fears.”
Memory is selective. Often we forget what God has done for us. Charles Spurgeon said, “We write our blessings in the sand, and we engrave our complaints in the marble.” Memory becomes impressed with burdens. The word remember is used 14 times in Deuteronomy, and 9 of those warn of forgetting.
True praise ought to come from the heart, not the memory (Matt. 15:8). Worship is the believer’s adoring response to all that God says and does.
Engrave God’s blessings in your heart, and you’ll never grow weary of praising Him.

* * *

Never forget God’s blessings. Praise Him for all He has done.

Don’t load your mind with past burdens but enrich it with a memory of His blessings.

Author: Warren Wiersbe | Source: Prayer, Praise and Promises 
 Scripture Reference: Matthew 15:8 Psalm 103:1-12
 
 
 

~><~

Remind Me, Dear Lord

Words and Music by Dottie Rambo
The things that I love, and hold dear to my heart
Are just borrowed, they’re not mine at all
Jesus only let me use them to brighten my life
So remind me, remind me dear Lord
 
Roll back the curtain of memories now and then
Show me where You brought me from
And where I could have been
Remember I’m human and humans forget
So remind me, remind me dear Lord
 
Nothing good have I done to deserve God’s own Son
I’m not worthy of the scars in His hands
Yet He chose the road to Calv’ry to die in my stead
Why He loves me, I just can’t understand
 
Roll back the curtain of memories now and then
Show me where You brought me from
And where I could have been
Remember I’m human and humans forget
So remind me, remind me dear Lord
 
So remind me, remind me dear Lord
 

 

 

Trust And Obey – The Token of Integrity

The Token of Integrity

 

  

“With a servant, a warrior, a child, a subject,” writes Andrew Murray in The New Life, “obedience is indispensable, the first token of integrity.” 

God is my Master, my Captain, my Father, my King. I am servant, warrior, child, subject. What have I to do in any of these cases but obey? 

Integrity means wholeness, unbroken condition, the quality of being unimpaired and sound. An integer is something which is complete in itself, an entity. No one can serve two masters. Divided loyalty will mean impaired obedience. “A soldier on active service will not let himself be involved in civilian affairs; he must be wholly at his commanding officer’s disposal” (2 Tm 2:4 NEB). 

O Christ, be Master and Captain of my life. Give me a whole heart united to do your bidding and to do nothing else. Let me hear your voice and no other. Make my life an integer for your glory. Amen. 

 

Trust and Obey

Hymn Writer ~ John H. Sammis, 1846-1919  |  Hymn Music ~ Daniel B. Towner, 1850-1919
When we walk with the Lord in the light of His Word,
What a glory He sheds on our way!
While we do His good will, He abides with us still,
And with all who will trust and obey.

Refrain

Trust and obey, for there’s no other way
To be happy in Jesus, but to trust and obey.

Not a shadow can rise, not a cloud in the skies,
But His smile quickly drives it away;
Not a doubt or a fear, not a sigh or a tear,
Can abide while we trust and obey.

Refrain

Not a burden we bear, not a sorrow we share,
But our toil He doth richly repay;
Not a grief or a loss, not a frown or a cross,
But is blessed if we trust and obey.

Refrain

But we never can prove the delights of His love
Until all on the altar we lay;
For the favor He shows, for the joy He bestows,
Are for them who will trust and obey.

Refrain

Then in fellowship sweet we will sit at His feet.
Or we’ll walk by His side in the way.
What He says we will do, where He sends we will go;
Never fear, only trust and obey.

Refrain

 

 

 

 

 

Praise Him!

 

Glory in the Highest

Stop, Look, Listen

 by Chris Tomlin

 How amazing are the deeds of the Lord! All who delight in him should ponder them. Everything he does reveals his glory and majesty. His righteousness never fails. He causes us to remember his wonderful works. How gracious and merciful is our Lord

Psalm 111:2-4, New Living Translation

 

See This Verse In Context

 

ll the earth together declares/ Glory in the highest to You, Lord/ All the earth will sing Your praise/ The moon and stars, the sun and rain

God’s presence is everywhere. Evidence of His greatness is all around you. All you have to do is look and see it. It’s possible to go through everyday and miss it, but if you open your eyes and your heart, you will recognize His majesty everywhere.

• In the sunrise and sunset. How He has timed everything to be perfect, and made it beautiful.

• In rain and snow. How he provides for us in such simple ways.

• In fields of crops and flowers. Giving us beauty and fulfilling our needs.

• In dogs, cats and other pets. Providing unquestionable companionship when we feel like people let us down.

• In friends and family who are our support and speak truth to us.

• In the moon and stars. He placed each one in their place and knows how many there are, and that tells about God’s greatness. But yet He still knows who you are and cares for you.

Take a look around and see how many things in your life show how great and loving God is. And praise Him.

How Great Thou Art 

O Lord my God, When I in awesome wonder,
Consider all the worlds Thy Hands have made;
I see the stars, I hear the rolling thunder,
Thy power throughout the universe displayed.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

When through the woods, and forest glades I wander,
And hear the birds sing sweetly in the trees.
When I look down, from lofty mountain grandeur
And see the brook, and feel the gentle breeze.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

And when I think, that God, His Son not sparing;
Sent Him to die, I scarce can take it in;
That on the Cross, my burden gladly bearing,
He bled and died to take away my sin.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

When Christ shall come, with shout of acclamation,
And take me home, what joy shall fill my heart.
Then I shall bow, in humble adoration,
And then proclaim: “My God, how great Thou art!”

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

The Birds Sing!

Although we have no claim on God’s mercies, and although they are altogether undeserved, nonetheless they never cease. We have done much to provoke God and give Him cause to cut off His mercy in our behalf. We have abused His mercy, ignored His mercy, even at times ungratefully accepted His mercy. Still, while God’s mercies may not always be visible, they are always present. The mercies of God may change their form, as the morning light varies from the evening light, but the mercies of God will never cease to give their light. Even chastisement is mercy in disguise; and frequently, under the circumstances which make chastisement necessary, it proves to be more merciful than if God had not chastised us at all.
 
In the ray of sunlight presented by Lamentations 3:22-23 we learn that not only are the mercies of God not consumed, “They are new every morning,” proving the great faithfulness of God.
 
There is great novelty in human life. Each day brings to us new and difficult problems, new and exciting challenges. God’s mercy is ever-present, but the form it takes is ever-changing. God adapts His mercy to our immediate needs of each day. His mercies are not chiseled in stone but are vital and vibrant. We need not exhume the antique mercies which God showered on Moses, Jeremiah, or John. God’s mercies on our behalf are fresh and alive today. As God renews His world by greening it every spring, so too He refreshes and invigorates His people by renewing His mercies to them every morning.
 
With every new morning nature offers a tribute of praise to God’s mercy. The sun rises; the birds sing; the trees sway in the breeze. Shall we alone be silent and ungrateful? Shall the Christian, who has the most reasons to praise God for His mercy, be slow to acknowledge that God’s mercy is renewed to him each day? Will we allow the natural creation of God alone to praise its Creator?
No matter how dark our day may appear to be, let us remember this with Jeremiah, “It is of the LORD’s mercies that we are not consumed, because His compassions fail not. They are new every morning, great is Thy faithfulness” (Lamentations 3:22-23).

~Hymn~

Great is Thy faithfulness, O God my Father!
There is no shadow of turning with Thee;
Thou changest not, Thy compassions, they fail not
As Thou hast been Thou forever wilt be.
Great is Thy faithfulness! Great is Thy faithfulness!
Morning by morning new mercies I see;
All I have needed Thy hand hath provided
Great is Thy faithfulness, Lord, unto me! 

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