“Turn that music off, it sounds terrible…. Why do you have to play it so loud….You can’t even understand what you’re singing….It doesn’t witness right in my spirit…. You call that Christian music?….Where’s the melody and the harmony….I can’t exactly explain why, I just know it’s not good music….“

 

Sound familiar? I’m sure most people have made such comments themselves at one time or another, and if they have been challenged to explain their reasoning, I think most people would conclude with the last comment above, “I can’t exactly explain why, I just know it’s not good music.” This is a fair and valid comment that seems to be justified, if not by reason and evidence, (though I will argue it should be), at least by the collective consciences of people everywhere who affirm and agree that certain things are right or wrong.

It is important to note that when evaluating and judging music and song, one necessarily makes certain generalisations. Not all music must have counterpoint or melodic harmony to be called good music. Not all words must rhyme at the end of every second or fourth line to constitute good lyrical form. There will be differing qualities within certain styles of song and music, but this is not the same as saying that all genres of music have the same quality and goodness, especially in reference to being used in Christian ministry.

Dr. Karen De Mol, Professor of Music at Dordt College, USA, says,

 

“Every person is created with an aesthetic dimension- an ability to appreciate nuance, expressiveness and beauty. Although “aesthetic” is hard to define, it includes the ability to perceive and appreciate balance, order and expressiveness in the things we see and hear.”

Dr. De Mol lists at least three general norms that must apply in evaluating music:

 

1/ Technique/Craftsmanship - i.e., playing notes right and in tune; reliable rhythm; good articulation; lovely tone quality; and with regards to craftsmanship, “consistency in the handling of the musical materials (the themes, harmonies,

rhythms).”

 

2/ Expressiveness - Though hard to define, De Mol says “expressiveness is at the aesthetic heart of that shaping of sound we call music” It includes knowing when to bend a pitch and how much; stretching notes (without drastically changing the tempo), i.e., sensitive timing as well as accurate timing.

 

3/ Matching the Intended Purpose - i.e., does the music match the purpose or function. Is it suited for a funeral, a wedding, a dance, a march, a worship service.

 

 

Leonard J. Seidel says good music is characterized by “a beautiful melody, supported by a rich harmony, carried along with a subtle rhythm that comes to a conclusion or a resolution, and has meaningful communication.”

 

 

Francis A. Schaeffer believes “there are four basic standards” by which we can judge a work of art. We can apply these to the art of music:

 

1/ Technical Excellence - consideration for “the use of the colour, form and texture of the paint.” (notes, rhythms, melodies, harmonies, tempos, dynamics, tuning, etc…)

 

2/ Validity/Honesty - Whether an artist, (musician), is “honest to himself and to his world-view, or whether he makes his art only for money or for the sake of being accepted.”

 

3/ Intellectual Content -the world-view which comes through - For the Christian, “the world-view that is shown through a body of art [including music] must be seen ultimately in term of the Scriptures.”

 

4/ Integration of content and vehicle - “The greatest art [music] fits the vehicle that is being used, to the world-view that is being presented.”

 

The Christian musician must personally know and experience the gospel, and in humility, grow in his/her understanding of it. A right understanding of the gospel and of the fear and love of God in Jesus Christ, will absolutely govern the way music is played and sung. Johansson states: “Every piece of music in any given church [or Christian] situation, communicates a certain degree of affirmation or denial of the gospel”

 

 

Relativism: Conforming to the world’s way of thinking

 

“But...” one argues, “Who has determined these principles or standards? Who says they constitute good music? Why can’t music have notes that are off key and tones that are dull? Who says rhythm can’t be out of time, tempo always fast and volume always loud? Why can’t phrasing be distorted and uneven? It’s all relative to the listener as to whether it’s good or bad…”

 

Unfortunately there are Christians, even in teaching positions, who think like this. They justify extremely loud, distorted thrash music by denying any absolutes in music. Their reasoning is simply an extension of the unbelieving world’s philosophy of relativism and the denial of any absolutes whatsoever!

 

The right thinking Christian, however, knows that God has given us words that have absolute meaning. He has also given us the ability to discern and appreciate what certain words mean. So too with regards to the communication of music. As Dr. De Mol says above, we have been given the ability to discern and appreciate that which is excellent as opposed to not excellent; lovely as opposed to unlovely; good as opposed to bad.

 

God’s word tells us not to conform to the patterns of this world, but to be “transformed by the renewing of your mind.” (Rom.12 :2). Our thinking has to be different from the non-believer, and when our thinking is different, the way we live out our lives will be different. Holiness, not worldliness.

 

 

The music must fit the words

 

This is just common sense. For example, I will not play a slow, minor sounding ballad to the lyrics, “I’m so excited I could fly“. On the other hand, I will not play an up-beat, major (happy) sounding style to “I’m so lonely and I feel like giving up“.

 

How much more important is this when dealing with the gospel; Biblical and holy words. The mood of the tune must fit the mood of the words. If we’re singing Christian songs , i.e., words about Christ and gospel themes, then because this is such an awful, (full of awe), solemn, reverent, joyful, humble and holy theme, the music or tune must fit this; so natural intelligence and prudence would not lead us to use an over loud, raucous, distorted pop rock tune. Why? Because such modern pop music (by its very definition, “popular”), is that which has it focus on pleasing the culture with sensual entertainment. It engages, first and foremost, the flesh and not the mind.

 

In contrast to entertainment being the main consideration for church and Christian music, Calvin M. Johansson, professor of music at Evangel College in Springfield, Missouri points out that:

 

“Music that stirs reflection and invites a free response is much more consonant with Jesus’ method of communicating. Church music characterised by decibel overkill, a raucous driving pulse, noisy instrumentation and hedonistic assimilation should be replaced by music that exhibits gentleness, contemplation and thoughtfulness.”

 

Whether sung at a church service, house meeting, or school assembly or concert, songs sung by Christians that speak of Christ and gospel themes must be sung and played with an attitude of humility, and in such a way that promotes contemplation and thoughtfulness of the message. Our music must be done in such a way as to incite in us gospel and biblical thoughts and characteristics. Once again the Word of God is our guide:

 

“Let your gentleness be evident to all…and the peace of God…will guard your hearts and minds in Christ Jesus. Finally brothers, whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable- if anything is excellent or praiseworthy- think about such things.”

 

“But…” one argues, “this has nothing to do with music because the Philippians passage is all about what is moral not what is aesthetically good or bad; the music itself is amoral.” This is not true. A musical note, e.g., a B flat note, in and of itself is amoral. However, if combined with other notes, rhythms, melodies, tempos and volumes, then what is produced is music, which necessarily communicates thoughts, feelings, actions and ideas, all of which have moral connotations.

 

Along with the doctrine of creation, Johansson refers to the doctrine of the incarnation, and in particular, its unity of form and content in communication:

 

“Church music’s form (i.e., its notes, melodies, rhythms and harmonies, which are the formal rhetoric of music) must faithfully typify the true, the honourable, the just, the pure, the lovely, the gracious, the excellent and the worthy (Phil.4:8). Then medium and message become incarnate in a beautifully unified musical statement of gospel intent. Music that shows these traits has integrity and adheres to the universal artistic principles of coherence, unity, continuity, dominance, variety and tendency gratification established by God in creation.”