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Exodus 15 – Religious Movements and Music
Let’s begin with two questions. First, do you believe that the need and desire to believe and worship is innate? Anthropological studies reveal that the vast majority of cultures have religions. In arguing for the existence of God, this is called the Anthropological Argument , implying that God Himself put it within our created self the longing for something or someone greater than ourselves. It appears that religion is innate.
Second, is music innate? Again, a study of cultures, whether Western European, Eastern Hindi, or the African Pygmies, show that music in all its varied and distinctly different forms, is everywhere. It appears that music is innate.
Combining the two, religion and music, we should not be surprised that historically, religious movements often include an emphasis or reemphasis on music. In the Bible, we see God directing both spirituality in form and the music of that spiritual form. God has already directed how He wants to worship but it is not innate within man to know how.
And if you allow me to progress metaphorically to another innate creation of God, even nature began as and continues to be a religious movement:
Psalm 19:1-4 (NASB) (1) The heavens are telling of the glory of God; And their expanse is declaring the work of His hands. (2) Day to day pours forth speech, And night to night reveals knowledge. (3) There is no speech, nor are there words; Their voice is not heard. (4) Their line has gone out through all the earth, And their utterances to the end of the world. In them He has placed a tent for the sun,
J. Sidlow Baxter observes:
“Yes, ‘their line is gone out….’ That word, ‘line’, first meant a measuring rod, but it came to mean also a tightly stretched cord giving a musical sound. That is why the New Testament quotation of it reads, ‘Their sound went into all the earth (Romans 10:18). Perhaps the ancients were nearer the truth than we have suspected when they philosophized about the ‘music of the spheres’ – that the heavenly bodies make music as they move around in vast circuit; a gigantic orchestra in everlasting concert, producing mighty symphony and sublime harmonies in the ears of creation’s King! (J. Sidlow Baxter, The Strategic Grasp of the Bible, pp.20-21)
Nature making music? Don’t’ be too skeptical. (Sparks of Genius, chapter eight)
In Romans 10:18, many versions translate it, “their voice has gone out.” The word for voice is phthoggos which means, “musical sound, whether vocal or instrumental” (Thayer Definition). The universe is God’s instrument. I like to think that the human voice is God’s created instrument. Worshiping God in voice is worshiping God with His creation. Musical instruments are creations of man.
Also found in 1 Corinthians 14:7
Mr. Baxter calls this created music, “Nature’s Album of ‘Songs Without Words.’” (ibid., p.21).
After crossing the Red Sea, the Israelites burst into song (Exodus 15). When entering a new phase of the Israelite religious history, the “instruments of David” played a major role in the formation of the temple (2 Chronicles 7:6). And again in the religious revival under Hezekiah (2 Chronicles 29:26), and in the return under Nehemiah (Nehemiah 12:26) music “played on center stage.”
When Nature’s Creator and the New Moses became enwombed in Mary, she said what is commonly referred to as the Song of Mary or the Magnificat (Luke 1:46-55). Whether she sang or just spoke is unknown because the text itself simply says “said”. But singing in the Bible is referred to as “speaking” (Ephesians 5:19).
Ephesians 5:18-19 (HCSB) 18) And don’t get drunk with wine, which leads to reckless actions, but be filled by the Spirit: 19) speaking to one another in psalms, hymns, and spiritual songs, singing and making music from your heart to the Lord,
And again, when the angels celebrated up above the shepherds, scripture says,
Luke 2:13-14 – And suddenly there appeared with the angel a multitude of the heavenly host praising God and saying, (14) “Glory to God in the highest, And on earth peace among men with whom He is pleased.”
Luke 2:13-14 (HCSB)
13) Suddenly there was a multitude of the heavenly host with the angel, praising God and saying:
14) Glory to God in the highest heaven, and peace on earth to people He favors!
Whether this praise was just them shouting or singing is unknown, although we traditionally think of it as “Hark The Herald Angels Singing.” Considering the history of music and “new beginnings,” we should not be surprised if such speaking and shouting was indeed musical. Ralph Martin observes,
“There is yet one further section of the New Testament literature where the influence of the Old Testament lyrical writing is in evidence: this is the Nativity and Infancy preface to Luke’s Gospel. Four canticles in these two chapters (Luke i, ii) have a distinct poetic from and may be arranged in strophes as a species of early Christian hymnody which takes us back to the Jewish-Christian Church.” (Ralph P. Martin, Worship in the Early Church, p.43).
The four canticles are: Luke 1:46-55; 1:68-79; 2:24; 2:29-32.
In the New Testament, “The Christian Church was born in song” says Ralph Martin (Worship in the Early Church, p.39). From a religio-historical point of view we should not only be uno surprised, but we should expect it. A.B. Macdonald observes,
“A priori, we should expect that a movement which released so much emotion, and loyalty, and enthusiasm, would find expression in Song….So it would have been strange indeed if the Church had remained songless in that first glorious dawn when the light from Christ came breaking across the horizons, making all things new.’” (i.e., Martin, p.40).
We see this musical influence throughout the New Testament when the Psalms – which are songs – are quoted (how many times?). Possibly, Paul even incorporated some uninspired hymns within his inspired writings:
Romans 11:33-36
Ephesians 5:14
Philippians 2:6-11
Colossians 1:15-20
1 Timothy 1:17
1 Timothy 3:16
2 Timothy 2:11-13
· Hebrews 1:3
If you want to study why scholars believe these to be first century hymns, please see the arguments found in Ralph P. Martin, Worship in the Early Church in the chapter “Hymns and Spiritual Songs.” Of course, the book of Revelation is filled with singing too (i.e., chapters 4,5,14,15).
It is even possible that singing commonly accompanied the individual “religious movement” begun in baptism. As already cited, Ephesians 5:14 might be a familiar first century hymn. Paul writes, For this reason it says. What is the “it?” It is not the Old Testament. According to respected scholar Ralph P. Martin,
“As a whole the verse contains an invocational appeal addressed to the Christian and summoning him to action. At the same time it offers him the promise of Divine favour (sic.) and aid. The first two lines are a rousing summons to moral activity; and the third line is the accompanying promise of God.”
“In view of these contents, couched in the language of exhortation and using a combination of metaphors (sleep, death, light) applied to the spiritual life of the Christian at his conversion and entry into the Church’s fellowship, the most natural event with which the verse is to be associated is Christian baptism. The lines would then be the accompanying chant to the actions of the baptismal service when the believer was buried in the water with Christ and raised again to newness of life (Romans 6:4ff; Colossians 2:14); and this leads one commentator on the text to submit that such a verse as Ephesians 5:14 would be fixed indelibly upon the heart and mind of the covert as he emerged from the baptismal water.” (ibid., Martin, p.48)
Today we share in that excitement. How often do we today start singing after witnessing a baptism? As James says, “if anyone is cheerful, he should sing” (Jms.5:13). In fact, right after Paul’s reference to awake and arise, he speaks of walking wisely (i.e., moral action), and singing (5:19). Singing is part of the Christian experience of joy.
It is an undeniable fact that during the religo-historical movements of Israel beginning as a nation, building the temple, restoring the temple and such, there is an emphasis on the musical instruments being used. There is also another undeniable fact, when looking in the New Testament, there is no emphasis at all on musical instruments being used by Christians.
Very briefly (more information will be in the next chapter), there have been several religious movements where this emphasis on music can be seen.
Rise of Catholicism introduced instrumental music around 600 AD. That means historically, the first, second, third, fourth, and fifth century churches were acapella. Such should not surprise us considering Catholicism is a mixture between Christianity, Paganism, and Judaism.
The Reformation Movement brought a move back to “a cappella” music. Most of the Reformation leaders thought instrumental music to be an unscriptural addition by the Roman Catholic Church. Men such as Calvin, Erasmus, Hus, Knox, Wycliffe, and Zwingli all believed instrumental music in worship to God to be unauthorized and therefore unscriptural. This continued for a couple of hundred of years within the Reformation. The consensus greatest Baptist preacher of all time, the “prince of preachers,” C.H. Spurgeon, had his church singing only “a cappella” music in worship to God. Spurgeon lived in the 1800’s – (June 19, 1834 – January 31, 1892). Music was so important to the Reformation that “a Jesuit priest complained that Martin Luther’s hymns had “damned more souls than all Luther’s sermons put together.”
The Great Awakening (1730’s-1750’s) introduced “hymns of human composure” by people such as Isaac Watts. Music was used to stir the emotions of people to respond. Instruments again began to become prevalent within Protestant denominations.
The Restoration Movement, which arose out of the Second Great Awakening, again emphasized a return to “a cappella” singing. When instruments once again intruded into gospel music within the Reformation churches, the Restoration leaders emphasized once more the pure spiritual worship of “a cappella” music. Leaders such as Barton W. Stone, Alexander Campbell, Benjamin Franklin, David Lipscomb, J.W. McGarvey, and more, all agreed that instrumental music in worship to God to be less than scriptural.
The Mega-Church Movement moved churches from single instruments or a few instruments, into a whole new attitude where music became a draw to the “unchurched.” In this sense, the Mega-Church movement is similar to the use of instruments within the First Great Awakening – although the target audience was different. Both were intended to emotionally and spiritually awake the audience, whether “unchurched” (The Mega-Church) or the “churched” (The First Great Awakening).
As we can see, music “plays” a great role within religious movements and revivals. This is true not only with how songs were sung, whether accompanied or not, but also what types of songs were sung. Music has always been active within spiritual revivals, whether the musical choice was scriptural or not. The reason is the unique and powerfully influencing place within the human psyche that music has.
Religious Movements and Cycles
Music is not the only mark of spiritual reformations. A study of religious history suggests that cycles of religious revival are also part of the regular pattern. As seen in the above historical review, the cycle consisted of: non-instrumental (early church); instrumental (Catholic Church); non-instrumental (early Protestants); instrumental (later Protestants); non-instrumental (Restoration Movement); instrumental (later Restoration Movement).
Even today you will find a few churches of Christ, who historically and traditionally are non-instrumental, cycling around to becoming instrumental – or at least not objecting is not practicing instrumental music. Therefore it should also not be surprising to us to find some instrumental churches returning once more to the original gospel music. The historical norm is cyclical.
Religious Movements and Reactions
In the last generation, the “Mega-Church Movement,” religious music has changed dramatically and some say drastically. In 2005, Edward Donnelly said,
“Evangelical worship has changed as much in the last twenty years as in the previous two hundred.” (Foreword in Old Light on New Worship, p.?)
“Worship Wars” – how’s that for an oxymoron – have erupted and disrupted many churches and denominations to where brethren cannot or will not worship together. The fight between “traditional” and “contemporary” can be seen on church signs where they advertise both. I wouldn’t mind our sign saying, “Neither Traditional nor Contemporary Worship – Come Try Original Worship.”
Just as there was a Mega-Church Movement which emphasized music, there appears to be an Anti-Mega-Church movement reacting back. What will be the shape of this movement? I personally believe that because the Mega-Church Movement emphasized music, and music has cyclically changed, the reaction to that movement will also emphasize music in form or de-emphasize it where music is not upfront and definitional. What shape that will be is still unknown, but I offer a Biblical solution to the “worship wars.”
Movements away from movements, reactions against actions, whether personally, congregationally, religiously, or even politically can be called “The Pendulum Effect.” While the following overview will be over simplistic, it will serve the purpose.
Historically, gospel music was “a cappella.” All biblical scholars agree. Later single instruments were added to the singing with the argument that they were simply aids. At first, these instruments were not wind instruments, and therefore the players could also sing as they played. Also, the instruments were played at the same time and the same notes as the singers. Later multiple instruments were added, including wind instruments making it impossible to sing and play simultaneously. Now we have the music scene found today, a change that has happened only within the last generation. This is a change where more people play than are singing, if they sing at all. This is a change where the instrumentality receives a greater focus than the words. Sometimes, the only thing offered is instrumental music, used as a mood setter. It has crept into prayers, sermons, and during the Lord’s Supper.
Oftentimes we can react to the wrong thing. However, as a reaction to such a dramatic swing, an extreme swing to the other side can be the result. We can become guilty of enforcing more than what the Bible does. Too often, such Pendulum Effects lead to simply another wrong extreme. That is a danger I personally fight against, retaining balance, but a biblical balance, influenced not by moods or movements, but by the moving of the Holy Spirit through the Word of God. Righteous reacting can lead to a search for the original way, a search for what has been lost. It is this honest search that we are looking for – and honest searchers.
While it would be preferable for all of us to never find ourselves in reactionary movements, sometimes that is the only way to move us. The original thought and practice can be so forgotten that it is only discovered once again when people start reacting against that which in their opinion, “has gone too far.” I pray that my conclusions will not go “too far:”
2 John 1:9 – Anyone who goes too far and does not abide in the teaching of Christ, does not have God; the one who abides in the teaching, he has both the Father and the Son.
2 John 1:9 (HCSB) 9) Anyone who does not remain in Christ’s teaching but goes beyond it, does not have God. The one who remains in that teaching, this one has both the Father and the Son.
Religious Movements and Society
I have given reasons why there might be a trend back to the original gospel music. Now let me give one reason I could be wrong – the effect of society and culture on churches. In evangelistic efforts on a college campus, one objector to “a capella” music basically said, “You have to be part of what is going on in society to have an impact.”
Religious movements are not only religious, they are societal. Reformations, restorations, and revolutions react against, but also react with. And what they react with is oftentimes the culture in which the church is imbedded. As someone observed, the problem is not when the boat is in the water, but rather when the water is in the boat. Likewise the problem is not when the church is in the world, but when the world is in the church.
And yet the church has always existed within cultures and there is not a single society culture that should define Christianity. Being all things to all men (1 Cor.9:22) includes adjusting to culture. Yet within that same thought Paul added, though not being without the law of God but under the law of Christ (v.21). The law of Christ does not discuss musical styles, but it does mention musical worship.
Having said that, one of the reasons for the Mega-Church style of music is that many churches are embracing many modern forms of gospel music such as Contemporary Christian Music; Christian Alternative Rock; Urban Gospel; Southern Gospel; Christian Rap; etc. Secular culture has had a dramatic effect upon church music. Because we live in such a musically inclined society – there’s even elevator music – society as a whole would deem “a cappella” music as being just too odd. Are people willing to be thought of as odd?
Religious Movements and A Solution
The “Christian” religious world is divided. The “Christian” religious world is united. No, that is not a contradiction, but rather a contradistinction. There is no denying that churches across the spiritual spectrum disagree on a host of important, indispensable and defining issues; yet if we truly want to fulfill Jesus’ prayer of unity (John 17), I know where we can start – where we agree. Sound simple? Sound too simple? Sound radical? Sound radical enough, yet simple enough, to work? Does that sound bold?
So where do we all agree? The original gospel music was “a cappella.”
Walk into the services of some congregations and you will hear and can participate in “a cappella” music where the only instruments being used are God-made – our hearts, souls, minds, and bodies. Did you know that is something all “Christians” already agree on? All agree that singing is scriptural (Ephesians 5:19; Colossians 3:16). Have you ever heard someone say that singing is unscriptural?
Listening to denominational diatribes nowadays concerning music and one hears controversy and sees division: Traditional or Contemporary? That question is dividing churches totally, or dividing churches into offering different types of assemblies.
That question is nothing new (Ecclesiastes 1:9). Arguments concerning styles of music are ancient. Erasmus, born in the 15th century, dealt with the same question:
“We have brought into our churches certain operatic and theatrical music; such a confused, disorderly chattering of some words as I hardly think was ever in any of the Grecian or Roman theatres. The church rings with the noise of trumpets, pipes, and dulcimers; and human voices strive to bear their part with them. Men run to church as to a theatre, to have their ears tickled. And for this end organ makers are hired with great salaries, and a company of boys, who waste all their time learning these whining tones.” (Erasmus, Commentary on I Cor. 14:19)
Four hundred years ago…and yet just like today. When Christians worshiped 2000 years ago, in the days of Peter, Paul, and John, all Christians were united in singing. In fact, historically speaking, instrumental music did not start being used until six hundred years later (Chambers Encyclopedia, Vol. 7, p. 112).
For hundreds of years, Christians sang. Even two thousand years later we all can agree that praising God with only our voices is scriptural.
Are you willing to agree to do what you agree is scriptural? If so… join in the original gospel music – “acappella.”
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