This is something the God-fearing person must learn how to discern. If we want to develop Christlikeness, we must have wisdom to discern which music truly glorifies our Creator. Otherwise, we will end up being swept up by the mainstream tide of sound permeating today’s worldly culture - the typical music which resounds in the marketplace, flows over most of the radio waves, and punctuates almost every arena of society.

We need to realize how much music affects us spiritually. After seeing, hearing is the most influential of our five senses, and music is definitely a direct avenue to the soul. It actually bypasses our reasoning processes, affecting our minds on a subconscious level. Our heartbeat, respiration, and hormonal production are all influenced by music and it deeply stirs our feelings and emotions. Whatever feelings are habitually stirred either this way or by other stimuli becomes a crucial factor to whether we are finally saved or lost, because “the thoughts and feelings combined make up the moral character”1 and “actions repeated form habits, habits form character, and by the character our destiny for time and for eternity is decided.”2

Music is chiefly made up of three basic elements - melody, harmony, and rhythm. There are other aspects as well - dynamics (changes in volume), form, and style or manner of performance. Then, of course, there are often words to the music, which would need to be analyzed separately. But in order to better understand just the sound factor in music itself and keep its study relatively simple for the layperson, we should begin by zeroing in on two of the most basic elements, melody and harmony:

Melody is governed by pitch; the notes of music go up or down, high or low (this is not to be confused with volume, as when one turns a radio up or down). Traditionally, the melody is the most noticeable element in music - it is the “tune.” Most tunes are either obviously cheerful or clearly solemn and usually tend to be pretty neutral in the effect they produce, being largely influenced by the other factors which accompany them - harmony, rhythm, and style. In music which appeals to the higher, more noble powers of the mind, melody predominates and rhythm is the least prominent element. The mind does not tend to be uplifted or ennobled when rhythm (the beat) is chief. An excessive repetition of a melody can end up as the vain repetition Jesus warned against in the prayers of the heathen (see Matthew 6:7). Yet melody that is repeated, but continually developed further by various changes, does not necessarily carry a hypnotic or vain effect. It simply adds to the unity and cohesion of the piece.

The psalms of David were originally songs, and in them we find systematic repetition and refrains. Unfortunately, the actual music from ancient times has pretty much been lost, although some of the flavor might conceivably be found in what is referred to nowadays as “Jewish” music, which is often characterized by a certain pathos and poignancy. (However, just as the Jewish religion at large today bears little resemblance to the faith of its early forbears, we can only assume the music has likewise taken a similar turn.)

We also know that ungodly counterfeit music existed in ancient times, instigating such notorious events as the idolatrous dancing around the golden calf (Exodus 32:18, 19) and when at Balaam’s suggestion the Israelites, “beguiled with music and dancing, and allured by the beauty of heathen vestals . . . cast off their fealty to Jehovah.”3

Harmony is the blending of two pitches played or sung simultaneously. In order to sound pleasing to the ear, they should “harmonize” nicely. It is interesting to see how harmony has developed throughout the history of western civilization. It first progressed into an artistic richness, but then eventually declined with the increase of wickedness in society. Why do we say this? Let us make a brief overview of the consecutive periods of music as an art form in the history of western civilization: Renaissance, Baroque, Classical, Romantic, and Contemporary.

1. The limited amount of music we have from Medieval and Renaissance times is plain and rather hollow-sounding to our ears today, with its limited harmony. It is often harmonized in open fifths, meaning a combination of two pitches five steps apart. On the other hand, the harmonies found in the later periods are based largely on the triad, best illustrated by playing three pitches simultaneously on the piano using your little finger, middle finger and thumb, not touching the empty keys in between. This “triad” type of harmony has a certain fullness that is pleasing to the ear.

2. The Baroque era followed the great Reformation in Europe and reached its peak during the lifetime of Johann Sebastian Bach, who lived from 1685 to 1750. Bach was a God-fearing Lutheran who was a master at producing harmony. His harmonies are rich, artistic, and beautiful - you will find a nice example of his work in the hymn, “O Sacred Head Now Wounded.” Even with this advancing harmonic development, however, melody was still the most important factor in the Baroque era, as revealed in the music of Vivaldi, Telemann, and Pachelbel, composer of the famous “Canon.” Georg Frideric Handel wrote the great oratorio, “The Messiah,” best known for its “Hallelujah Chorus.” As some are aware, the Spirit of Prophecy speaks against “opera, with its fascinating display and bewildering music.”3 But oratorios such as “The Messiah” and the “St. Matthew’s Passion” of Bach are not opera. Today, although these masterpieces are often sung by singers with cultivated voices having the over-refined vibrato characteristic of operatic training, that type of singing is not actually the proper style in which these compositions were originally produced or performed. Opera in its truest sense evolved later in history as a worldly drama sung in a theater with elaborately changing sets, props, and costumes as in a play.

3. The Classical era was characterized by the music of composers such as Mozart and Haydn. Again, while not specifically designed as church music, because the music of Mozart is so well organized and orderly, it can nonetheless be considered a great blessing to western culture as its influence tends to be quite positive, uplifting, and ennobling. It tends to cheer up the mood without resorting to frivolity. The harmonies are almost never dissonant, but rather are refreshing and pleasant to the ear. The few dissonant tones found both in this era and in the Baroque era are in the form of “passing” tones, hardly noticeable - the emotional response to these tones is merely like that of quick, insignificant challenge on the road to clear victory. Scientific studies indicate that the music of Mozart is actually conducive to developing intelligence of babies and young children. High school and college students also find they perform better in school when they listen to Mozart. (His music is also a great accompaniment to motivate diligent housecleaning!)

4. The famous composer Ludwig van Beethoven was born during the classical era. He composed some sweet, orderly music (including works such as the “Pastoral” Symphony no. 6 which, to our ears today, radiates with a refreshing innocence so rarely found in this generation). Beethoven had a long career, and his later works are more contemplative, beginning to reveal the gradual transition into what is known as the Romantic era. During this time, all music became expressive of a much wider range of sentiments, sometimes encompassing anger and eventually contrasting peace vs. inner turmoil even to the wildest extremes (e.g., the symphonies of Gustav Mahler). Some of this music can be uplifting, but then other pieces become so emotionally mesmerizing that their music tugs very strongly on the heartstrings. This then becomes no longer healthy for a Christian, who should seek to live by principle, not passion. And this is where the very heavy opera comes in, and the dazzle and melodrama of it all can be found even in the purely instrumental pieces. There are, however, still some beautiful, noble pieces of music to be found from this era - some written by Beethoven, and others by composers such as Johannes Brahms (whose religious music is of a high quality), Felix Mendelssohn (who composed some fine works such as the oratorio “Elijah” and the “Reformation” symphony), and Sir Edward Elgar, whose famous “Pomp and Circumstance” march is often played with solemn majesty at graduation ceremonies. (There is a stirring nobility and beautiful dignity about this particular piece of music. How much more appropriate would it be, however, if its poignant solemnity would specifically honor God instead of always being a backdrop to honoring the achievements of mere mortals.) Other examples of music characteristic of the romantic period are found in the hymns of composer Joseph Barnby, some of which are found in our new hymnbook. “Sunset and Evening Star” in the old Church Hymnal was another nice one by Joseph Barnby.

Overall, in the Romantic era we find ourselves in an increasingly gray area for the Christian spiritually, a vague sort of borderline. The era began around the mid-1800’s. From that point on, it is interesting to observe the gradual decline of music as no longer being as uplifting an art form, now paralleling the similar spiritual decline occurring in the religious world. This is a huge generalization, of course, and there are clear exceptions to it, but the overall trend is nonetheless noticeable. In the music of the Romantic era, there can be such heavy tugging on the emotions that we must be reminded “it is unsafe to consult feeling or to trust to our own heart, for the wise man declares, ‘He that trusteth in his own heart is a fool’ (Proverbs 28:26).”4 This is reminiscent of the Spirit of Prophecy evaluation of the foolish virgins to whom Christ referred in Matthew 25: “When there was a revival in the church, their feelings were stirred; but they failed to have oil in their vessels, because they did not bring the principles of godliness into their daily life and character.”5 Music is great at stirring up the feelings or emotions, but only a certain kind of music can actually help to inspire godly behavior.

5. Contemporary or “modern” music. Sadly, here is where melody and harmony actually degenerated into chaos. While some composers still held onto at least the Romantic style well into the 20th century (composers such as Elgar, whom we mentioned), the big innovation which prevailed during the 20th century was the twelve-tone system, pioneered by Austrian composers Anton von Webern and Arnold Schoenberg and imitated by many others. There is supposed to be great order in this method of composition - after all, it is carefully organized so that no pitch can be repeated until 11 different ones are sounded. But the result? To the average listener, there is absolutely no distinctive melody that one can readily follow, no sweet harmony - the whole sound is nothing short of painful to the ears. The dissonance and blatant discord are emotionally troubling, even to the point of being downright depressing. Yet this type of music is played before thousands of people at a time in major concert halls around the world, in large cities having sophisticated galleries of modern art on the same boulevard. If you’ve ever seen the modern art, you can pretty well imagine the music.

Where does this all take us? Clearly we are living in the last days of earth’s history. Society is not getting better, it is getting worse; it is not becoming more sane, it is becoming more irrational. And the religious world is declining hand in hand. “When the Son of man cometh, shall he find faith on the earth?” (Luke 18:8).

We have discussed the history of music purely as a general art form to reveal more clearly and objectively what has also happened to it within the realm of sacred music. If you browse through our new church hymnal, as well as the older Church Hymnal, you will find that the vast majority are written in the Classical style, with some in the Baroque and a few in the Romantic style. (One interesting hymn, “O Come, O Come, Immanuel,” is actually a medieval plainsong harmonized at a later period.)

In view of all we have just shared about the downward spiral of art music which began roughly after the mid-1800’s, consider for a moment: Do you think the enemy of souls would launch his attack only on the world’s music in general? Has he simply allowed the church to glide along in peace during this Laodicean era which began in 1844? Not according to the True Witness to the Laodiceans! If anything, the church is under a subtler, more dangerous attack from the enemy than even the world is! It clearly stands to reason that music to be presented in churches needs to be carefully scrutinized as to whether or not it truly glorifies God.

In discussing music in the concert hall, we did not yet touch upon the other places where live music is performed. Aside from churches, it is also heard in dance halls, nightclubs, bars, discos, brothels, and shopping malls aimed to do whatever it takes to sell you something. And as society constantly integrates into more of a melting pot of various cultures, religions, and customs, musical styles also merge. Much of what is called the “Gospel” music style of today traces its roots to the tribal rituals of pagan animism (spiritualism), and much of the “Contemporary Christian” music is being written and performed by rock ’n roll stars. Even if these musicians have supposedly converted to Christ, where did they get their training and how did they develop their musical tastes and abilities? Was their musical foundation grounded in that which is straightforward, upright, and pure? Usually not, and the fruit clearly reveals it as such to the discerning ear.

There is indeed a troubling array of temptations that beset our pathway in the realm of music. We have only scratched the surface of the topic so far. Our next article will focus on musical style and rhythm - important factors we need to understand. As we approach the end of this world’s history, we must develop ever keener discernment. In this Laodicean era, the True Witness bids us “anoint thine eyes with eyesalve, that thou mayest see” (Revelation 3:18) and He declares that His faithful ministers “shall teach my people the difference between the holy and profane, and cause them to discern between the unclean and the clean” (Ezekiel 44:23). “Thus saith the Lord, Stand ye in the ways, and see, and ask for the old paths, where is the good way, and walk therein, and ye shall find rest for your souls” (Jeremiah 6:16). We can only thank the Lord that even with all the corruption which prevails today, we can still find some “old paths” to obtain a small taste - catch a faint glimmer - of what godly music should sound like: Ennobling, uplifting, and pointing heavenward. “But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him” (1 Corinthians 2:9).