Biblical Philosophy of Music*
The abstract nature of music automatically lends itself to a certain degree of subjectivity and personal judgment. Conversely, music is objective in the sense that it is moral in quality and absolute in principal so that we can form a solid, Biblical basis for our convictions and standards. By this paper, I intend, first to explain my philosophy concerning the objective aspects of music, second to discuss my understanding of the subjective facets of music, and finally, to explain my own personal music standards in light of these two discoveries.
The first objective fact that Christians must realize is that music was not essentially created; it originated with God because it is a part of God’s innate being. Therefore, music existed long before anything physical was created (Zeph. 3:17; Isa. 12:2). In that light, we must endeavor to reflect His character in the music we make, perform, and listen to. Such attributes would include His holiness (I Pet. 1:15-16), order (I Cor. 14:40), beauty (Ps. 27:4), excellence (Phil. 1:9-11; Col. 3:23), glory (II Cor. 10:17), and majesty (Ps. 96:9). By contrast, a Christian’s music should avoid any semblance of worldliness (I Jn. 2:15-16), ungodliness (Titus 2:12), sensuality and fleshliness (Rom. 13:14), chaos (I Cor. 14:33), and mediocrity (I Pet. 4:11).
Music may or may not reflect God’s character in many ways. The lyrics of a song are the most obvious and easily recognizable factor about music. The lyrics are concrete because words are concrete (Gerdt lecture). If the words are anti-God and pro-self, pro-world, or pro-Satan, then the music desensitizes the listener’s perception of God’s holiness and righteousness. If the words portray God in a frivolous, casual, “my buddy, my pal” type of manner, the song distorts the listener’s view of God’s supremacy and magnificence. If the words are colloquial, “back-street,” and vulgar, the lyrics are discrediting God’s beauty and excellence.
When we begin to flesh out these concrete, Biblical principals in the practical applications of the music itself, we begin to grapple with the less concrete, more subjective matters of music. I believe that there is nothing inherently wrong with a well-constructed, singable melody line and supporting harmony structure. However, the context of the melody must correspond with the text or atmosphere of the song. In his article “Music and Morality,” Dr. Gordon Dickson appropriately compares the lyrics of “Rock of Ages” with the tune “Twinkle, Twinkle, Little Star.” Although the metric lines coincide, the words and the melody convey conflicting messages (38)! On the other hand, many rock songs, devoid of their offensive words and overpowering beat, could be seen as acceptable, catchy, or even beautiful melodies. Granted, there are also many rock songs that are ugly and offensive no matter how much one tries to tame its surrounding effects. This product, however, is the direct result of the composer’s disregard for God’s natural standards of beauty and order. Essentially, the method and medium in which that melody is transported determine whether or not the music is God-honoring and acceptable for the Christian to listen to. For example, the appearance and manners of the performers should be an initial, though not determinative, indication of the character of the music, whether it promotes worldliness rather than godliness and separation (Rom. 12:2), or whether it promotes sensuality rather than holiness and spirituality(I Thess. 4:3-4). In addition the motive of the performer can be discerned by his drawing undue attention to himself, thereby lifting himself up and (intentionally or unintentionally) demoting God to the status of a peer or bystander. God is a jealous God, and He will not share His glory with another, indeed because no one else is worthy of glory and praise (Isa. 42:8).
Worldly music also involves various techniques that advocate unbiblical concepts. Music is a powerful language that can influence, though not control, one’s mind, emotions, philosophy, moods, and even behavior. A sensual, driving, or hypnotic beat is essential to rock music. It is the beat that appeals to our flesh and automatically makes us want to move and gyrate (Garlock 42-43). The fact that the music appeals directly to the physical side of our being is not in itself wrong because that is how God created us to respond; however, when that aspect is unbalanced and overemphasized, it becomes a medium to promote unhealthy sexual thoughts and desires.
Another technique often employed in secular music is the intentional misuse of the voice to create an extremely sensual, intimate sound. Singers purposely soften their voice to a breathy, whispery quality that gives the impression that they are two inches from the listener’s ear. Garlock and Woetzel call this invading the “intimate zone” (96). Again, this approach can excite the listener to engage in lustful thoughts and feelings on which he should not dwell.
Although the above principals are based on the Word of God and on clearly documented, normal, individual responses, the application of these principals in the average Christian’s music continues to be an issue of controversy and confusion. Here is where the detailed out-working of one’s personal beliefs and convictions must be allowed some reign of Christian liberty. While Christian liberty has been abused by many individuals, Christians must, to a certain extent, exercise their own consciences in personal music standards. Many good Christians differ and divide over what a sensual sound is, or what type of beat creates a wrong, sensual mood, or what motive can be discerned in the performer/performance. Personally, I believe that the closer one draws to the Lord; the clearer one sees the Lord for who He is as declared in the Bible; and the more one knows the Lord on an intimate, holy level, the further away that Christian will want to move from the questionable areas of music. He will gradually, through the Holy Spirit’s work of sanctification in his life, desire to avoid anything that is mediocre, damaging, or unnecessary for his relationship with the Lord.
Concerning the exercise of Christian liberty in the realm of music standards, a small excursus may be in order at this point. It is interesting to note that, when the Scriptures refer to a Christian’s liberty, it speaks mainly of the restriction of one’s liberty for the sake of love and serving, rather than the obstinate holding on to one’s preferences because “the Bible doesn’t say it’s wrong” (Gal. 5:13). Further, music should not become an area of argument or judgment when no clear Biblical principle has been violated (Rom. 14:3).
In light of the Christian’s responsibility in Christian liberty, the Christian must also use discretion in matters such as association and appropriateness (Phil. 1:9-11). The concept of association deals largely with the issue of Biblical separation and worldliness. This principle calls the Christian to determine the philosophy, attitude, or mindset that is predominant in the compositions of the performer/author. What is he known for in the Fundamental Christian realm? Does he portray a materialistic, self-glorifying atmosphere? Does he actively seek to be like the world in order to win the world? Do most Christians automatically think of that stigma when they hear one of his songs? With much of today’s “milder” Contemporary Christian Music, the Christian almost has to evaluate songs on an individual basis. Furthermore, even if the piece is acceptable in quality and standard, often the principle of deference needs to be enacted for the sake of other Christians who may be offended by the association factor.
In addition to the issue of association, the godly Christian needs to learn the tricky shades of appropriateness in various situations and circumstances. The Bible frequently speaks of our songs being sung “as unto the Lord,” but that does not necessarily mean that this excludes all kinds of secular singing. In ancient times, soldiers prepared themselves for battle at the blowing of the trumpet—hardly appropriate for a church service. However, when returning from a triumphant battle, it was acceptable to sing, dance, and play the trumpet in victory “unto the Lord” (II Sam. 6:14-15). There ought to be a “distinction in the sounds” depending on the circumstance (I Cor. 14:7). In practical terms, “Yankee Doodle” would not be out of place if it were sung at a ball game rather than in Sunday school. To an extent, even Christian music may have different levels of appropriateness. There is “a time to weep, and a time to laugh; a time to mourn, and a time to dance” (Ecc. 3:4). Somber funeral hymns would not be appropriate on Resurrection Lord’s Day. Similarly, some styles of camp praise songs may not be fitting for a Sunday morning worship service but may be appropriate in a lighter setting of joy and thanksgiving.
Realizing the objective and subjective natures of music, I have begun to formulate my own convictions regarding music standards. First, when any music, including secular and sacred music, adheres to Biblical guidelines in order, beauty, creativity, etc., and avoids any sensual techniques or sounds, I believe it can bring glory to God regardless of who wrote the piece (e.g. Beethoven, Tchaikovsky). Second, since music is a powerful, yet subtle, form of communication, I believe Satan delights to use music to unite Christians with the world. It is ludicrous for Christians to think they can put religious words to a rock beat and still maintain its integrity. William Kilpatrick, in his book Why Johnny Can’t Tell Right From Wrong, quotes, “The music is its own message. No matter what the words might say, the music speaks the language of self-gratification. Rock can’t be made respectable. It doesn’t want to be respectable. A respectable rock is a contradiction in terms” (182).
Again, I believe that the more I get to know my God, the more He will enlighten me in areas of questionability, at least in my own convictions. Good Christian music ought to promote true, godly worship that leads to “a sense of God’s presence, a conviction of sinfulness, a reminder of God’s grace, and an inspiration to serve” (Russell 46-51). The only way I can glorify God in my music is through genuine worship, but worship through music must be conducted God’s way and on His terms. He desires that Christians worship Him “in spirit and in truth” (John 4:24). I must strive to glorify God through music that conveys God’s truth and His perfect, holy character.
Works Cited
Dickson, Gordon. “Music and Morality.” FrontLine Mar/Apr 2004: 38.
Garlock, Frank, and Kurt Woetzel. Music in the Balance. Greenville: Majesty Music, 1992. 42-43, 96.
Gerdt, Barry. Class Lecture. Biblical Philosophy of Music. Northland Baptist Bible College, WI. 5 April 2004.
Kilpatrick, William. Why Johnny Can’t Tell Right From Wrong. New York: Touchstone, 1992. 182.
Russell, Bob. When God Builds a Church. West Monroe, LA: Howard Publishing, 2000. 46-51.
Written by Chariti H. Fox
April 13, 2004
College Paper
*While the above is my personal philosophy of music, I do not try to "push" my
views on any of my students. My teaching is a very sound, pedagogical approach
that equips my students with the abilities and knowledge of note-reading, theory,
sight-reading, timing, self-discipline, expression, and passion for music. I teach
specifically the genres of classical, traditional, and sacred music.