Music Ministry Seminar Outline by Joshua Law @1998

MUSIC MINISTRY SEMINAR

OBJECTIVES OF THE SEMINAR:

 

      To produce a very positive and envisioning experience for the participants, and, through providing them with some practical skills and philosophical principles that will clear the way for them, the speaker will seek to enable them to become more effective in their music ministry.

 

PURPOSE OF THE SEMINAR:

1. To examine the biblical principles of music ministry.
2. To examine the history of music ministry.
3. To point out and clarify the problems and misunderstandings of music ministry that may have caused frustrations and failures in lives that are devoted to music ministry AND
4. To provide some insights and observations that may help solve some of these problems and make music ministry more effective and meaningful.

 

OUTLINE OF CONTENT:

1. Definition of Music Ministry
2. Biblical History of Music Ministry
3. Who Should be Involved in Music Ministry
4. Philosophy of Music Ministry

Historical, Social, and Cultural Influences on Church Music and Music Ministry

1. Tradition
2. Culture
3. The Professional Musician & the Amateur
4. Science and Technology and its Influence on Music Ministry

 

Problematic Musical Identity of the Chinese Church

      The Results of These Influences

Proper Attitudes Towards Church Music

      Practical Skills:

1. Song Leading
2. Singing
3. Keyboard
4. Music Fundamentals
5. Instruments
6. Music Arranging
7. Composition

 

1. DEFINITION OF MUSIC MINISTRY

      MUSIC MINISTRY, MUSIC EXPRESSION AND MUSIC WORSHIP

1. Music Ministry:

            By definition, the word ministry means “the act of serving.” Music ministry thus means “Serving with Music.”

      The word “Music” in the ancient Grecian culture refers to the Greek word “Mouseke” which means “the art of the muse (deep, reflective thinking).” The original meaning tells us that music is the marriage of melody and word in which the word and its meaning is most important. A gifted amateur poet rendering a Homeric epic while accompanying himself on a lyre or any instrument of the day was considered a musician, while a person who accompanied a poet on music instrument was not considered a musician. Music only serves to deliver and to enhance the message. Melodic lines were dictated by the words spoken and what was often sought was a path by which reason could be derived. In other words, the music played was thought to enhance one’s capacity to understand the poem or story. Music without the spoken word was considered to be unsuitable for the education of the young, as “it was the hardest of tasks to discern what wordless rhythm (rhythmic movement) and tone (tonal movement) signify.” ( Ref.: Collier’s Encyclopedia)

      In China, music was conceived much the same way. The “Yueji” (Record of Music) stated: “Music without poetry is not music.”

1. Music Ministry to God: serving God through music. Persons who believe that they are chosen by God to be servants whose duty are to serve God and man and whose means of service includes music.
2. Music Ministry to Man: serving man through music. Persons who want to be servants of man whose means of service includes music.

 

2. Music Expression:

      The act of conveying or making known ones wishes, ideas, feelings, and opinions through music.

 

3. Music Worship:

      The act of worship in which music is used to enhance the expression.

 

1. BIBLICAL HISTORY OF MUSIC MINISTRY
2. OLD TESTAMENT TIMES:

Songs, psalms, canticles has been associated with worship in all Hebrew-Christian history. They have been expressed spontaneously and ecstatically. Led by the Levites who were chosen by God for life to be separated from others and trained to be ministers (servants). After the dispersion, music in the synagogue became more emphasized. Cantors, soloists who may have been trained in the temple Levitical ministry, led the music ministry and the worship may have included some congregational participation.

2. OLD TESTAMENT ANNOTATED SCRIPTURE REFERENCES ON MUSIC:
3. Moses and Miriam: Exodus 15:20,21
4. A Spontaneous and Ecstatic Musical Worship: I Samuel 10:5,6; II Kings 3:15,16a
5. Music in Therapy: I Samuel 16:23
6. Music for the Temple: Music for the temple was formal and professional. David’s musical worship: I Chronicles 15:16. Professionals chosen by talent (I Chronicles 15:22) thoroughly trained, serving five years as apprentice before being admitted to the regular chorus or orchestra. Three professional composer-conductors who headed up all the Levites: Asaph. Heman, and Jeduthun. (II Chronicles 5:12) An orchestra accompanied the singing. (Psalms 150:4)
7. PSALMS, The Song Book of the Bible:
8. Three types of expressions offered by Psalms: (Salah: instrumental interlude.)
9. Praise. (Psa. 147:1)
10. Petition. (Psa. 80:1,2)
11. Thanksgiving. (Psa. 116:1)

            ­b. Special Psalms:

­      ­            1. Royal Psalms (21, 45, 101)

                  ­2. Processional Psalms (24, 95, 100)

            ­      ­3. Penitential Psalms (130)

            ­4. “Egyptian Hallel” Psalms (113-118)

1. Four Modes of Expressions:

            ­      ­1. Solo Psalm (46:1)

2. Solo and Choir (67:1,2)

            ­      ­3. Antiphonal Psalm by Two Choirs (103:1, 2, 20-22)

                  ­4. Litany or Repeated Refrain (80:2, 3, 6, 7, 18, 19)

            ­d. Worship Music and the Experience of God (II Chronicles 5:11-14)

            ­e. Worship included a discussion in the synagogue. (Acts 17:17)

            ­f. Since sacrifices were performed only in the temple, the sacrifice is ­replaced by “sacrifices of prayer and praise” (Hebrews 13:15) in the synagogues, which has the following components:

­            ­1.   Scripture Reading (Torah, the Prophets)

­      ­      2.   Homily – expository sermon and discussion.

­      ­      3.   Psalmody

­      4.   The Kedusha, “Holy, Holy, Holy!” (Isa. 6:3)

5. Prayers (Yotzer and Ahabah – praise the creation and love of God; ­Shema – a declaration of faith in God and a glad benediction, Deut. 6:4-9, 11:13-21, Numbers 15:37-41)

            ­6.   The Eighteen Benedictions (expressions of praise, petitions for ­material and spiritual blessings, and intercessions for many people, concluded with a united “Amen.”

­            ­7. Jesus’ worship: Mark 14:26. The practice stems out from the ­synagogue and temple worship, which is also mentioned in Col. 3:16, involved and in the congregational character of this gathering, all the people joined in singing the “Amen” and “Hallelujah.”

 

2. NEW TESTAMENT TIMES:

      The dispensation of grace (New Testament era) began with a praise song at Christ’s birth. Later in the Christian churches, singing was congregational. “Psalms and hymns and spiritual songs” were the new expression according to Paul. Early Christians apparently enjoyed the freedom to devise their own forms of worship. The general principle were: the scripture were to be read and the gospel were to be preached; certain types of prayer were encouraged and believers were expected to remember the Lord by participating in the Lord’s supper. Beyond this, it appears that people were to use their God-given intellects and artistic gifts to devise modes of expression, which would glorify God and edify man. (A purpose) (“..The true worshipers shall worship the father in spirit and in truth; for such people the Father seeks to be His worshipers. God is a spirit; and those who worship Him must worship in spirit and in truth.” NAS)

      ­      1. The birth of Christ was announced with an outburst of songs, since then, ­the Christian faith has been expressed with joyful music.

1. The Magnificat (Luke 1:46-55) A canticle
2. Benedictus (Luke 1:67-79)

            ­c. Gloria in Excelsis Deo (Luke 2:13,14)

1. Nunc Dimittis (Luke 2:28-32)
2. In the first century, the Christian worship took a very different path ­of change: It was no longer the work of the ordained priests or professional cantors, with the congregation largely spectators, in awe of the transcendent God. It is now social and congregational. House churches mushroomed and there was not much difference between their worship and a worship at any church, and the worship was free of form and ritual. (I Cor 14:26; Ephesians 5:19a; Colossians 3:16b.)

      ­3. PSALMS: The cantilations of the Jewish psalms and of the canticles and ­doxologies modeled on them.

4. HYMNS: Songs of praise of a syllabic type, i.e., each syllable is sung ­to one or two notes of the melody. Hymns were the “new” expressions in song, presenting the new Christology on which the new sect was based. Paul uses (composed) a few of these: I Timothy 3:16; II Timothy 2:11-13.
5. SPIRITUAL SONGS: Alleluia and other chants of a jubilant or ecstatic ­character, richly ornamented. The Koine Greek phrase for “spiritual songs” is “odaes Pneumatiaes” — “pneumatic odes,” possibly “odes upon the breath” since the same word is used for “breath” and “spirit.” Some have conjured that these were wordless songs like a vocalise, or possibly that they used a single-super word such as “alleluia.” They may have been soloistic and used in the experience of an ecstatic worship – “singing in tongues.”
6. USE OF MUSIC IN EARLY CHURCH:
7. Expressing Emotion of Joy. James 5:13
8. Sing Hymns with the Spirit and Spiritual Songs with the Mind. I Cor.­14:15; Eph. 5:19 and Col. 3:16.
9. Christian Songs as an offering to God in Worship. Hebrews 13:15.

      ­7. WORSHIP ELEMENTS IN THE EARLY CHURCH (MOST INFORMAL – I Cor. 14:26)

1. Singing (of various types probably without instrumental ­accompaniments) – Col. 3:16

            ­b. Scripture Reading – (Prophets, letters of Paul) – I Tim. 4:13

            ­c. Prayers – Acts 2:42

            ­d. Confession of Faith – I Tim. 6:12, Acts 8:37

            ­e. Homily (Exposition) – Acts 20:7

            ­f. Collection (Alms) – I Cor. 16:1,2

            ­g. Congregational Amen – I Cor. 14:16

­            ­h. Physical Action – I Tim. 2:8

      ­8. SERVICE OF THE TABLE (Upper Room – Supper)

1. Thanksgiving (The bread) (Luke 22:19)
2. Remembrance (I Cor. 11:25)
3. The Anticipation of Christ’s Return (I Cor. 11:26)
4. Intercession (John 17:1a, 9b)
5. The Kiss of Peace (a Jewish practice continued by early Christians) ­(Matt. 5:23,24) The Holy Kiss (Rom. 16:16, I Cor. 16:20, I Thess. 5:26, and I Peter. 5:14.)
6. WHO SHOULD BE INVOLVED IN MUSIC MINISTRY?
7. MUSIC MINISTRY IS FOR THE MINISTER WHO IS A MUSICIAN.
8. Selected Professionals (note 2.A. above)
9. For a particular purpose: to bring to all, the sense of the presence of ­God, “For the glory of God filled the house of God.” (II Chron. 5:11-14)
10. MUSIC EXPRESSION IS FOR EVERYBODY WHO HAS MUSICAL TALENT.
11. PHILOSOPHY OF MUSIC MINISTRY
12. FUNCTIONAL ART: Christian Music is a Functional Art: Church music ­performs similar function as the sermon, or otherwise, it supports the worship and its contents by being used as a means of expression and bringing worshipers to the sense of the presence of God.
13. The Function of Emotions: The Love of God and neighbor, the struggles ­with self and temptations, the personal experiences that is emotional. E.g. The reading of Isaiah 9:6, the answer that Marian Anderson gave, “If I have said it in words, I wouldn’t have sung it.” “Some things are better felt than telt.”

      ­1.   Symptoms that indicate that emotion is a determining factor in ­Christian music:

­                  ­a.   A tendency to overuse certain favorite music.

            ­b.   A lack of relationship between the music and the rest of the ­service in which it appears.

1. The failure to sing up to the full theology and experience of the ­ ­church.

      ­            d.   Resistance to new music selections, as well as to new forms of ­ ­music.

2. Function: to produce a change of behavior – Ethics in Christian ­Music:

      ­a. Music as means of expression reflects the mentality of the ­composer and the aspiring musician who identifies with the music and the composer. Therefore words and also music must be examined objectively before adaptation and usage.

­b. One must remember that music is only a means, and to express in ­music one must learn how to use this media, otherwise one must choose the proper leadership who is sound in doctrine and well trained in music ministry.

3. Aesthetic Nature of Music as a Function:

      ­            a.   Music must be best performed and perfect before it begins to ­ ­function well.

      ­            b.   An expression of the great attributes of God

1.   An expression of beauty of God
2.   An expression of Love of God
3. Functional Nature of Church Music, its objectives:

            ­1. Revival – envisioning and enabling

            ­2. Evangelism – converting, convicting, and reconciling.

            ­3. Discipleship – guiding, counseling, and leading

            ­4. Education – doctrine, theology, bible and communication.

5. As a Means of Communication. (Intentional and unintentional)

      ­1.   What is being communicated?

            ­a.   Theology

1. Life style
2. Philosophy

      ­d.   Emotions

      ­e.   Musical beauty

      ­f.    God

­      ­2. How to Communicate:

1. Through a common ground (I Cor. 9:19-23)
2. From the known to the unknown (II Peter 1:5-8)

      ­c.   Start from where the audience is (I Cor. 3:2) in terms of ­musical style, format, theatrical effect and tradition.

1. Highest standard of excellency in worship music, give God the ­best, demonstrate Gods perfection and utmost beauty.
2. BASIC ATTITUDES
3. Persons are most important, music second
4. Positive mental attitude

      ­3. Non-competitive

4. Ministry preferred to artistry

      ­5. Inspired and inspiring rather than conforming and imitating.

6. Involving as many as possible rather than eliminating people

      ­7. Ministering (serving) rather than driving and manipulating.

8. Shepherding (leading ahead and developing an example)
9. Goals set with the people ­achievable) .

 

A MINISTRY, NOT A PROFESSION.

1. Called to be servants of God and man.
2. A sacred office
3. A ministry rather than a duty
4. An opportunity rather than an obligation
5. Music as a means, not an end

­      ­a.   God called us to convey a message through music. He changes lives, ­ ­we don’t, and certainly music doesn’t. Music stirs or arouses and highly enhanced the message. If there was no authority in the message or if the message was not from God, lives will not be changed. We can only change people’s ideas and emotions, but God changes lives.

1. HISTORICAL, SOCIAL, AND CULTURAL INFLUENCES ON CHURCH MUSIC

      Why doesn’t church music to day seem to obtain its expected results? Music and worship are often dull, lifeless, perfunctory and void of meaning? Is reformation needed? What direction should we take? The contemporary scene is fill with lots of activities but more weeds than flowers. Where are the contemporary counterparts of the great hymns of faith? Most music writers today are producing for the moment, for immediate pleasure, without proper perspective and most music reflect only us and not God. Why can’t we find well-written songs for the purpose of evangelizing the unchurched? Songs of praise and missions are not very popular there is only a small market for them. How can we set commercialism dictate our lives even in the field of music ministry?

1. TRADITIONAL CHURCH MUSIC
2. Paves a way for music ministry
3. Collection of experiences to refer to

      ­3. If blindly followed may lead to activities without purpose:

1. Living on past glories
2. Blindly adopts meaningless music and ceremonies

            ­c. Activities that are out of context with the contemporary culture and ­thoughts

            ­d. Activities only to fulfill the need of the “fans of antiquity” or as ­a pure art form

 

1. MEANING OF MUSIC IN CULTURE

      What is music? How does music communicate?

      What does music communicate?

      What makes them “beautiful” and nice to listen to?

      Why are there differences in appreciation and in standards of musical beauty?

      Music is not a universal language, it is a universal means of expression for there are many symbolic musical languages in this world, and each of them is best understood by its own culture or sub-culture. It is known that one do not have to learn in any formal way his own music in order to understand it. It has basic meaning to its own people simply because they have grown up hearing them.

      The communications of the word has precise meaning but the communication of music does not, except some songs. Music in one culture in some cases even sub-culture may have more or less (and differing) meaning to individuals in that culture or sub-culture, but it has little or no meaning to those outside it.

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1. Music is conditioned by culture:
2. Culture is never static; it is constantly changing and growing.
3. Presently the acculturation process is much faster than the past. ­(Due to the fast advancement of science and technology.)
4. Culture is more of a shared product than the past. Music naturally will have to be shared. This produces an identity crisis for musicians whose culture has to share more from other cultures.

 

THE PROFESSIONAL MUSICIAN AND THE AMATEUR:

      Starting from the Middle Ages in western history, a unique movement is evident that artistic expression began to exist in two levels, the professional and the amateur. (The Bible stated that music was to be performed by those who “understood it” – I Chron. 15:22 – i.e. professionals,) The amateur artist produced things of beauty such as the folk songs up to the sixteenth century; the German chorales and the French metrical psalms were frequently based on secular folk poetry and melodies.

      The onset of the Renaissance, the rise of humanism turned the artists attention toward the common people. Artists wrote music both for the concert and for the common worship. The two levels of music began a slow process of merger. By the nineteenth century, recital performed with fine orchestras and brilliant soloists were also available to the middle class.

      In America “folk music” became a professional art devoted largely to entertainment. The American minstrel show, the Viennese operetta and the traveling ballad or gospel singer were all indications that the ordinary person had gain sufficient financial security to be able to spend money on “musical pleasure.” By the late 20th Century, “popular music” became the prevailing aesthetic of much of the western world.

      Some say that western culture is not truly aesthetic because it is obsessed with industrialism and materialism. As compared with indigenous oriental and historical folk cultures, art has apparently been removed from the center of life for most people. We tend to worship music rather than to integrate music to life! The atmosphere of the concert hall usually is that of a worship, quietness and seriousness, with transcendent sounds and transcendent performers.

4. ADVERSE INFLUENCE OF SCIENCE, AND TECHNOLOGY:
5. The development of the “Great Spectatorship” much more people enjoy ­watching than participating. (Music should be a producer’s art rather than a consumer’s art.)
6. Commercialism:
7. Music written for the monetary returns

            ­b. The “Hit” philosophy that equates popularity to quality

1. Extreme Professionalism – let-the-pro’s-do-it mentality.

            ­d. Information and Knowledge Explosion – most people tend to accept what comes to them without much evaluation and time to make a choice. Individual uniqueness is lost.

 

 

6. PROBLEMATIC MUSICAL IDENTITY OF THE CHINESE CHURCH

      ­A. The Identity Crisis: China is emerging at a rapid pace in the modern ­world; the same is with its cultural identity including music. However, Chinese Christians, music is still facing a serious identity problem.

1. The extreme under development of music: Church music often reflects the ­­culture to which it belongs. There are very few Chinese Christian musicians and the Chinese churches are not promoting music as yet. Interest in music often is because of western influences particularly by the media, and the choice of music is often due to exposure. Chinese Christians often feel indifference to American Christian music but yet majority of them cannot feel at home with the extremely underdeveloped Chinese indigenous Christian music.
2. Among the Chinese American Church: The American Chinese churches share a much more serious problem because if the lack of musical talents found in the immigrants. Their culture is transitional (mixed) and so is their taste of music.
3. The multi-ethnicity of the Chinese: Identity problem is also caused by ­­the multiethnicity of the Chinese people. This problem is more serious overseas than in the mainland. e.g. All hymns are translated to Mandarin and they are not suitable for Cantonese speaking churches. (Which constitutes great majority of the Chinese churches in the US)

­E. Developing a Christian musical identity requires time and the ability to ­­accept change. The more conservative overseas Chinese (compare to the mainland and Hong Kong and Taiwan, the overseas Chinese tends to be more conservative, preserving the culture they brought from old China) are reluctant to accept change due to their own lack of identity themselves.

 

 

7. THE RESULTS OF THESE INFLUENCES:
8. General decrease in musical competency
9. Quality and quantity loss in church musicians

      ­b. Lack of competent Christian musicians due to low or no pay and less ­or no prestige. (a fleshly desire)

1. Music is left to a few professionals and often they are undesirable or ­else not affordable by churches. Many music ministers resorted to train for and accept pastoral positions for practical reasons.
2. Music worshiped instead of God.
3. Musician (or vocalist) worship rather than God. Musicians leading people ­to worship themselves rather than leading them to worship God,
4. General loss in personal meaningfulness in worship and in the service ­of God.
5. Objectives and purposes of church music misdirected
6. Tremendous frustration and guilt in the part of the Christian musician ­because of wrong motives and undefined objectives.

 

 

8. PROPER ATTITUDES TOWARDS MUSIC USAGE:
9. There is solemnness in worship; music in worship is no exception. ­Psalm 92:1-3. Solemn means serious, sober, deeply earnest, arousing feelings of awe and devotion. It can be happy, fast, and it does not mean sad, slow or superficial and ritualistic.
10. Music should be performed in the presence of God. Psalm 71:22,23; 139:7.
11. Loud music is encouraged by God: Psalm 33:3; II Chron. 5:11-14

      ­D. Do not criticize another’s taste of music:  Romans 14:1,4,10,13,17,19.

14. Its alright to use that which has been served to idols! Romans 14:5, 6, ­­8, 14.

­      F. There is a risk of offending others in our music!  Romans 14:13, 15, 20, ­­21.

1. There is a better way: (I Cor. 12:31)
2. Originality vs. borrowing

            ­2. New-Holy Spirit-wave music vs. New Wave Music, focus on worship

3. Christ-minded Christians produces Christ-minded music; Worldly Christian produces Worldly music.

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