Transcript Arrangement
MUSIC and WORSHIP Music I. References II. Technical Development A. Musicology B. Beauty C. Physiology of Music III. Biblical Development A. Directive/Descriptive/Principle B. Textual Exposition IV. Sacred Music—Standards and Hymnody V. FAQs VI. Summary/Conclusion Standards A. Content B. Arrangement C. Instrumentation Arrangement A. Melodious B. Complementary of Content C. Edifying (vs. Entertaining) D. Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming) Arrangement A. Melodious B. Complementary of Content C. Edifying (vs. Entertaining) D. Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming) Arrangement A. Melodious B. Complementary of Content C. Edifying (vs. Entertaining) D. Emotions-sanctifying (vs. Emotions-indulging/inciting/inflaming) “The study of music and its influence confronts the Christian with a complicated paradox. The less he studies and thinks about music, the more he imagines he knows about it. However, the more he studies and thinks about music, the more he realizes how little he actually knows about it.” (back cover) The Secret Power of Music David Tame “Like human nature itself, music cannot possibly be neutral in its spiritual direction.” pg. 187 Music in the Balance Frank Garlock & Kurt Woetzel “It is a strange phenomenon indeed when the world recognizes principles which some Christians refuse to accept.” pg. 6 The Secret Power of Music David Tame “...virtually all of them [as] the music of, at best, materialistic humanism devoid of genuine regenerative spiritual value.” pg. 29 Music in the Life of Man Julius Pontroy “Music is now the primary weapon used to make the perverse seem glamorous, exciting, and appealing. Music is used to ridicule religion, morality, patriotism, and productivity—while glorifying drugs, destruction, revolution, and sexual promiscuity.” pg. 95 Rock Reconsidered Steve Lawhead “When the rhythms of rock are put to use with the intention of worship, praise, edification or any other higher purpose, it becomes a distinctly different animal than the raging, devouring beast roaming at large though most rock albums. It is different because it is infused with a different purpose.” pg. 107 “This Is What Happens When Hip-Hop Lets The Saints In” Jon Ward February 20, 2014 “Upon This Rock” GQ Magazine, February 2004 John Jeremiah Sullivan “Well, Christian rock works like that. Every successful [lousy] secular group has its Christian off-brand, and that's proper, because culturally speaking, it's supposed to serve as a stand-in for, not an alternative to or an improvement on, those very groups. In this it succeeds wonderfully. If you think it profoundly [stinks], that's because your priorities are not its priorities; you want to hear something cool and new, it needs to play something proven to please…while praising Jesus Christ. That's Christian rock.” Rock music used to be a safe haven for degenerates and rebels. Until it found Jesus “What is the significance of these statements in the light of sacred music? It is absurd to think that one can unite Christian lyrics with the medium of the world (rock music) and expect the meaning and communication to remain the same. Furthermore, this kind of rationalization is in conflict with Scripture in that it proposes that right or wrong is established by oneself—one’s own motivation. Man becomes the judge and jury of that which is right or wrong, since he is the only reliable source as to the purpose of his actions.” pg. 31