Freed-Hardeman University - Preacher's Forum on "No Harm In Musical Instruments"

Another piece of evidence comes from the writings of Clement of Alexandria around A.D. 150. "Even if you wish to sing and make melody to the accompaniment of the kithara or lyre, there is no blame." (Bill Swetmon, Instrumental Music, Faith or Opinion, Freed-Hardeman University

In the Apocalyptic stories of Adam we understand the Jewish view of music as worship about the time of Christ or perhaps later. Describing how mankind fell from "God's Holy Mountain" they tell the tall of Satan coming into Genun in his youth. He is taught how to make intoxicants, how to invent and play musical instruments, how to organize mixed-sex choirs and how to use these to seduce those who listen to the Word as a Being off the mountain.

When the Sethites are finally seduced after about a year to gradually tippy-toe into musical worship, they come down into the valley only to discover that Satan and his "elders" want to seduce both male and female.

The Sethites were warned that they would never be able to get rid of the music once they fell from God's grace.

Even Genun (a composite of Jubal, Jabal, Tubal-Cain and Naamah) understands that he has fallen and can't get up. He wants to repent for his own sin and for leading spiritual people down into the dark valley. However, he cannot.

Once he is resolved to having the "organ" as a permanent fixture in his "church house" his only consolation was to try to seduce everyone else into musical worship because misery loves company. There is no other tradition other than that Satan taught mankind how to make musical instruments to overpower the emotional or "body" nature of mankind to destroy his spiritual nature. See the sorry story for yourself.

Now those who use or tolerate musical worship will go to any length to try to force non-musical churches to join them. This may be because when the rational nature is seduced, it is easy to see those who do not try to worship God with mechanical or vocal noise as passing judgment upon those who do. They forget the Lockian freedom that the flow of authority is not from god -- through the clergy and worship team -- and then to the "audience." Rather, in Christianity every person has a choice of how and with whom they will spend their hour a week in collective worship. After all, it is a fool's delusion to believe that you are so God-like that you can fellowship everyone.

Now, listen to Clement tell the truth:

Ante-Nicene Fathers, Vol. II

How to Conduct Ourselves at Feasts: The True Story

Let revelry keep away from our rational entertainments, and foolish vigils, too, that revel in intemperance. For revelry is an inebriating pipe, the chain of an amatory bridge, that is, of sorrow. And let love, and intoxication, and senseless passions, be removed from our choir.

Burlesque singing is the boon companion of drunkenness. A night spent over drink invites drunkenness, rouses lust, and is audacious in deeds of shame.

For if people occupy their time with pipes, and psalteries, and choirs, and dances, and Egyptian clapping of hands, and such disorderly frivolities,

they become quite immodest and intractable, beat on cymbals and drums, and make a noise on instruments of delusion; for plainly such a banquet, as seems to me, is a theatre of drunkenness.

For the apostle decrees that, "putting off the works of darkness, we should put on the armour of light, walking honestly as in the day, not spending our time in rioting and drunkenness, in chambering and wantonness." (Rom. xiii. 12, 13.)

Let the pipe be resigned to the shepherds, and the flute to the superstitious who are engrossed in idolatry.

For, in truth, such instruments are to be banished from the temperate banquet, being more suitable to beasts than men,

and the more irrational portion of mankind.

For we have heard of stags being charmed by the pipe, and seduced by music into the toils, when hunted by the huntsmen. And when mares are being covered, a tune is played on the flute-a nuptial song, as it were. And every improper sight and sound, to speak in a word, and every shameful sensation of licentiousnes"-which, in truth, is privation of sensation-must by all means be excluded;

and we must be on our guard against whatever pleasure titillates eye and ear, and effeminates. For the various spells of the broken strains and plaintive numbers of the Carian muse corrupt men's morals, drawing to perturbation of mind, by the licentious and mischievous art of music. (Tatian, cap. xxxiii. p. 79, supra)

The Spirit, distinguishing from such revelry the divine service, sings, "Praise Him with the sound of trumpet; "for with sound of trumpet He shall raise the dead. "Praise Him on the psaltery; "for the tongue is the psaltery of the Lord. "And praise Him on the lyre." ( Ps. cl. 3, 5. )

By the lyre is meant the mouth struck by the Spirit, as it were by a plectrum. "Praise with the timbrel and the dance," refers to the Church meditating on the resurrection of the dead in the resounding skin. "Praise Him on the chords and organ."

Our body He calls an organ, and its nerves are the strings, by which it has received harmonious tension,

and when struck by the Spirit, it gives forth human voices.

"Praise Him on the clashing cymbals." He calls the tongue the cymbal of the mouth, which resounds with the pulsation of the lips.

Therefore He cried to humanity, "Let every breath praise the Lord," because He cares for every breathing thing which He hath made.

For man is truly a pacific instrument;

while other instruments, if you investigate, you will find to be warlike, inflaming to lusts, or kindling up amours, or rousing wrath.

In their wars, therefore, the Etruscans use the trumpet, the Arcadians the pipe, the Sicilians the pectides, the Cretans the lyre, the Lacedaemonians the flute, the Thracians the horn, the Egyptians the drum, and the Arabians the cymbal.

The one instrument of peace, the Word alone by which we honour God, is what we employ.

We no longer employ the ancient psaltery, and trumpet, and timbrel, and flute,

which those expert in war and contemners of the fear of God were wont to make use of also in the choruses at their festive assemblies;

that by such strains they might raise their dejected minds.

But let our genial feeling in drinking be twofold, in accordance with the law. For "if thou shalt love the Lord try God," and then "thy neighbour," let its first manifestation be towards God in thanksgiving and psalmody, and the second toward our neighbour in decorous fellowship. For says the apostle, "Let the Word of the Lord dwell in you richly." ( Col. iii. 16.) And this Word suits and conforms Himself to seasons, to persons, to places.

In the present instance He is a guest with us. For the apostle adds again, "Teaching and admonishing one another in all wisdom, in psalms, and hymns, and spiritual songs, singing with grace in your heart to God." And again, "Whatsoever ye do in word or deed, do all in the name of the Lord Jesus, giving thanks to God and His Father."

This is our thankful revelry.

And even if you wish to sing and play to the harp or lyre, there is no blame.( Here instrumental music is allowed, though he turns everything into a type.) Thou shalt imitate the righteous Hebrew king in his thanksgiving to God. "Rejoice in the Lord, ye righteous; praise is comely to the upright," ( Ps. xxxiii. 1-3) says the prophecy. "Confess to the Lord on the harp; play to Him on the psaltery of ten strings. Sing to Him a new song."

And does not the ten-stringed psaltery indicate the Word Jesus, who is manifested by the element of the decad?

And as it is befitting, before partaking of food, that we should bless the Creator of all; so also in drinking it is suitable to praise Him on partaking of His creatures.(Giving thanks before meals [Even the heathen had such forms. The Christian grace before and after meat is here recognised as a matter of course. 1 Tim. iv.3, 4.]) For the psalm is a melodious and sober blessing. The apostle calls the psalm "a spiritual song." ( Eph. v. 19; Col. iii. 16.)

Finally, before partaking of sleep, it is a sacred duty to give thanks to God, having enjoyed His grace and love, and so go straight to sleep.( Besides the hymn on lighting the lamps, he notes completory prayer at bedtime.)

"And confess to Him in songs of the lips," he says, "because in His command all His good pleasure is done, and there is no deficiency in His salvation." ( Wisd. Sirach (Ecclus.) xxxix. 15, 16.)

Further, among the ancient Greeks, in their banquets over the brimming cups, a song was sung called a skolion,

after the manner of the Hebrew psalms,

all together raising the paean with the voice, and sometimes also taking turns in the song while they drank healths round;

while those that were more musical than the rest sang to the lyre.

But let amatory songs be banished far away, and let our songs be hymns to God. "Let them praise," it is said, "His name in the dance, and let them play to Him on the timbrel and psaltery." ( Ps. cxlix. 3.)

And what is the choir which plays? The Spirit will show thee: "Let His praise be in the congregation (church) of the saints; let them be joyful in their King." ( Ps. cxlix. 1, 2.) And again he adds, "The Lord will take pleasure in His people." ( Ps. clxix. 4.)

[Observe the contrast between the modest harmonies he praises, and the operatic strains he censures. Yet modern Christians delight in these florid and meretricious compositions, and they have intruded into the solemnities of worship. In Europe, dramatic composers of a sensual school have taken possession of the Latin ceremonial.]

For temperate harmonies are to be admitted; but we are to banish as far as possible from our robust mind those liquid harmonies, which, through pernicious arts in the modulations of tones,

train to effeminacy and scurrility.

But grave and modest strains say farewell to the turbulence of drunkenness.

Chromatic (progression of semitones) harmonies are therefore

to be abandoned to immodest revels, and to florid and meretricious music.

That means what you will hear in church this Sunday, with or without instruments.

Kenneth Sublett.

Musical Worship Index Two

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