Music and the Christian Standards and Systems
David C. Paul

Part 1 , The Christian World

When we talk about Christian music, we need to consider it in the context of Christian worship. It should be noted that there the Lord taught us to pray,

“Our father, who art in heaven. Hallowed be Thy name. Thy kingdom come. Thy will be done, on earth as it is in heaven. Give us this day our daily bread, and forgive us our debts as we forgive those who debtors. And lead us not into temptation, but deliver us from evil. For thine is the kingdom and the power and the glory forever, Amen.

Ephesians 1 teaches us some of the “as it is in heaven” context. We see in that very long paragraph a presentation of the Trinity and how each person of our God is involved in our salvation and the care and control of the cosmos. We notice that the Father has planned our salvation from before the world was. He has sent His son into the world to do the work of redemption. The Son did not send the Father and the Father did not suffer on the cross. Finally the Holy Spirit seals us and keeps us until the Day of Redemption. The Spirit is sent by both the Father and the Son. He (the Spirit) has no body. He did not suffer on the cross. He has never sent either the Father or the Son.

Each member of the Trinity has a job description that is it is described for us. Not one is to be confused with the other. This is the way it is in heaven. It is not the only description, but it is the fundamental place to begin our conversation about all things on earth that should speak of the heavenly reality.

Music for a Christian must also speak of heaven, and the God of that habitation. He is in three persons and one being, and both the division and the unity are real. St. Paul talks about the distinctions in his tri part blessing in Ephesians 1. His thoughts are divided by the phrase “To the praise of the (or his) glory…” (vs. 6, 12, 14).

Thus the Father has blessed us with all spiritual blessings (v. 4-7, 10,in heavenly place in Christ Chosen us in him before the foundation of the earth

So we may be holy
Without blame
Before Him in love
Predestined us to adoption of children
According to the good pleasure of His will

By the Son, Jesus Christ v. 7-9

In whom we have redemption (an economic term) through His blood"

The forgiveness of sins

According to the riches of His grace

Wherein He has abounded to us

In Wisdom and

Prudence

Having made known the mystery of His will

According to His good pleasure which He purposed in Himself

And were sealed with that Holy Spirit of promise v. 13-14

Which is the down payment of our inheritance

Until the redemption of the purchase possession

Much more could be said, and it is in our material on Ephesians and studies on the Trinity. Let it suffice here to notice that the Father sent the Son… and both the Father and the Son sent the Holy Spirit.

I propose this should inform how we do music. Music is made of three parts. They are all there when the music is happening and each one has a distinct purpose. These three parts are the melody, the harmony and the rhythm.

The melody is first. It should be fist in composing and in our memory. It determines what the other parts are to do, and the “proceed” for it. This is not an exact representation of the Trinity, but it is a reflection of it.

The harmony is a representation of the melody and determined at least in its boundaries or imitations by the melody. One cannot have a harmony that contradicts the feeling and direction of the melody. The harmony will reveal the melody, even as in Pachabell’s Canon a melody is given, then variations on that melody are brought forth to reveal the beauty, intricacy and “story” of the melody. As the Son reveals the Father, so the melody reveals the beauty, glory, beginning, purpose of the melody, and more.

The rhythm comes from both the melody and the harmony. It is not the first in inspiration (concept) nor is it the first in performance. It serves to enhance both the melody and harmony. It brings emphasis, tension, conclusion and relief to the melody and harmony. It makes both more memorable and enhances the joy in both performing and listening to the piece.

It is noteworthy that when the church is having troubles and not coping well with them, as in the days before the Great Reformation, the music does not follow the above pattern. Note the chants of the middle ages. They have some words which are fine, but they seem to be going nowhere. The same can be said for the art. As Ruchdoony said, in the beginning of the Middle Ages people in church art looked joyful and had an upward aspect. At the end, they seemed sorrowful and were looking downward.

At the beginning of the Reformation, even with its instigator, Martin Luther, the music was both majestic and inspiring. A Mighty Fortress gives the vision of victory when there was very little to feel victorious about, when the Pope and the Emperor ruled all Europe and seemingly could smash the little reformation. In contrast it was Luther’s view that the true church would be victorious even though it seemed impossible. Further, the music had a strong melody, a supporting harmony and a marshal marching rhythm that gave the impression of invincibility.

Concept
Words
Music

Words
Music
Performance

Words
Meaning (in the mind of the author)
Material (words, phrases, idioms, how what is in the mind of the author is transmitted)
Interpretation Presentation

(emphasis, silence, speed)