THE LORDS OF LAODICEA
by
Stephen T. Nieman

Chapter 5

This continuum of thought promoted by the elitist to his enlightened clientele (note the economy of CCM and publishing houses) is that the "Bible does not restrict its covenantal community to a specific style of music." The idea conveyed here is that music, used as a vehicle for the worship of God, is relative to the societal culture in which the worship is administered. Therefore, building upon the erroneous supposition that music is amoral, the purveyors of Christian enlightenment would have us utilize the musical forms found within a given society. The legalism which prohibited the early Protestant missionaries from employing the bawdy rhythmic inflections of the African villagers would be frowned upon as restrictive of "grace." The periodic wisdom which we are experiencing leads us to believe that a variety of cultural music styles should be employed in worship services. Lyrical expressions of Christian theology should be applied where once pagan ideologies existed.

To bolster the argument of the elitist, it is commonly written by the "lords over God's heritage," that Martin Luther employed this tactic when penning "A Mighty Fortress Is Our God." The charge made to Martin Luther's account is that he simply plagiarized a lewd barroom song of his day and, giving it Christianized lyrics, transformed it into the epitome of worshipful expression. The writer has been unable to find corroborative documentation to support this claim. In fact it is common to find similar argumentations presented without concise documentation. Could this indicate that much of the self-perpetuating nature of Christian scholasticism is based on prejudice instead of fact? Regardless, the fact remains that Western musical culture was, until recently, deeply influenced by Christianity. The writer will concede that much of the influence came from the idolatrous format of the Roman Catholic Church. Yet, there was an attempt to impose upon European societies a sacral Christian morality, so that society at its lowest denominator still would have recognized in its musical intonations this Christian idealism. It is the writer's contention that it is a quantum leap into the vast abyss of self-serving unreasonableness to assert that there is a lineal relationship in applying Christian lyrics to a folk melody in a "Christian society" to using the music from a demon-oppressed, pagan society, steeped in everything from cannibalism to child sacrifice, and giving religious lyrics to their rhythmic pulsations. This lineal relationship the elitist must concede if he is going to be consistent in his defense of CCM and the scope of its manifestations. A further elaboration on musical genre will be set forth later in this thesis.

The question at hand is the apparent apathy of the prophetic Word toward the issue of music. Is our Lord entirely unconcerned about music and its perceived effects on mankind, or, is it simply a foregone conclusion that the Biblical principles set forward in all other areas of the Christian walk apply to the area of music as well? The writer will naturally contend for the latter, while not conceding the charge of apathy within the Scriptures regarding music. There is a motif of music given to us in the Scriptures, which we have no authority to supersede. Furthermore, those times in the Biblical narrative of events where the design of music was elaborated man's sinful nature was often evidenced.

If the Biblical motif of music is in agreement with the writers assertion that musical styles, or genre, designate communicable truth, we can expect to find it well supported in the Scriptures. We are not disappointed. Note for example 1 Corinthians 14:6-11.

Here in verse seven, the Apostle Paul, under the inspiration of the Holy Spirit, gives us a brief lesson in musicology. Note that the issue is addressed as if it would be common information. The idea conveyed here is that there was an accepted truth regarding musical intonations that they carried with them distinctions which could result in communicable knowledge.

Interesting to note here that the Holy Spirit, speaking through the Apostle Paul, tells us that a lack of distinctiveness in musical intonation results in confusion. He relates this confusion in musical styles to a general lack of spiritual discernment on the part of the Corinthians regarding sign-gifts.

It is ironical indeed that the Holy Spirit inscripturates a lineal comparison between the confusion the Corinthians were experiencing regarding sign-gifts and the confusion resulting when musical styles relay confounding messages. If there is in this passage a comparative truth to our day, then we would expect to find empirical evidence to support it. And, of course, we find that CCM finds a major market share among those desiring sign-gifts to display their spiritual inclinations.

There is a subject divulged in the text of verses 10-11 which demands our attention. In the lineal comparison between confusing sign-gifts and musical styles, there appears a third issue which controverts the issue further. Here, the Apostle Paul writes that this confusion is a result of "many kinds of voices in the world." He is led to further elaborate on these voices by saying that each of them is significant. These voices are not without purpose or meaning. Yet it is not until verse 11 that the real message is capsulized into an applicable format. In verse 11 we have what might best be described as an admonition, or, if verse 37 is to be taken within this context, a commandment from the Lord. The Spirit of God tells us through His servant, Paul, that if there is confusion around the meaning of the voice, then we are to consider that person as a barbarian, or foreigner. Please note that the Greek word underlying the word translated "meaning" is dunamin (dunamin). This word carries with it the implication of power or causative force, so that when the Corinthians read this word they understood it to have a spiritual relation. So that within the context of their local church, they were to consider someone carrying a confusing message to be a foreigner.

A barbarian, or foreigner, is someone who does not carry with him the inherent citizenship which bonds him to the community. A harsh prospect indeed for someone who would venture to carry a confusing musical style or sign-gift into the context of a local church. Yet, do not church communities welcome these foreigners into their midst? Should not the label of barbarian be given to the CCM artist who displays an unabashed association with unrighteous music styles? Barbarian seems a light term when these performers are viewed in all their syncretic glory. From Hollywood imaging techniques to heavily tattooed bodies, CCM displays a lack of Christian distinctiveness which fully warrants the term "barbarian."

Other passages which clearly dictate the music structure for the local New Testament assemblies are Ephesians 5:16-19 and Colossians 3:16. Of particular interest is the principle established for musical worship found in Ephesians 5:19

Note that the Spirit of God, speaking through the Apostle Paul, provides for us His principle for the worship of New Testament local assemblies. Understanding that hymns are simply Psalms put to melody, we see that the emphasis is on the recitation and singing of Scripture. Added to this are spiritual songs. The identifiable trademarks of these spiritual songs is that they result in singing and making melody in your heart to the Lord.

We will examine the impact of Rock music upon the hearer in the next chapter. Suffice it to say, the genre of Rock music, which encompasses CCM, is identifiable by an inordinate emphasis on the rhythm or beat. Therefore, a church or some other religious endeavor which utilizes these Rock styles in its assembly has superseded this Scriptural guideline and should be considered to be in defiance of the Spirit of God .