Adventist Music Guidelines

Music, “rightly employed,…is a precious gift of God, designed to uplift the thoughts to high and noble themes, to inspire and elevate the soul.”1 Music is a “gift of God to inspire pure, noble, and elevated thoughts.”2 Music is indeed a powerful gift from God, and it deserves a place in the church. However, some people speak against the “vagueness” of music as a language. Obviously, the message content of music is less specific than the spoken word; however, “interestingly enough, it is from this very quality that music gains power.

We might say that when words fail us, music transcends letter and words.”3

In music, believers accomplish a three-fold mission of “ministering to the Lord through hymns of praise and love;” “ministering to their fellow believers through songs of instruction, fellowship and encouragement,” and “ministering to the world through songs of witness and proclamation.”4

Bearing in mind the importance of music in the church, “church music” as an intrinsic part of the church will be defined–its use in the church programs, and the guidelines that should govern its use in the church, particularly the Seventh-day Adventist Church.

The main program of the church is the worship service, in which music plays an important part. First of all, the congregation participates in the singing of hymns during the worship service. Then the congregation also gets to listen to “special music” put up by choir groups and/or instrumentalists.

Congregational singing is that part of the worship service. When the congregation raise their voices in praise of God–or rather, that is the way it should be.

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Unfortunately, many worshippers treat hymn singing as a mere routine, something that is “accepted but not necessarily enjoyed. Yet other people in the congregation get so caught up in “the pleasure of making a joyful noise to God” that they often “obscure the words that are being sung, and thereby this essential part of worship loses its full significance.”5 These are the two extreme attitudes towards congregational singing, and they are both wrong. “Music forms a part of God’s worship in the courts above, and we should endeavor in our songs of praise to approach as nearly as possible to the harmony of the heavenly choirs.”6

However, this does not mean that the congregation must sing like the church choir in which there is–ideally–uniformity in tempo, expression, and interpretation. Derrel L. Billingsley, a minister of music in Tennessee, plainly states that the congregation is not a choir, and that “The singing of a hymn by a fine choral group and the singing of an average congregation are two different kinds of experiences.” He likens choral singing to the “execution of a well-coached high school football team”, and congregational singing to the “neighborhood touch football game”, in which “anybody can play, regardless of age, sex, height, or weight. We just choose up sides and use all available material.”7

Indeed, the congregation is not like the choir, but it does not imply that the congregation should not strive to sing as well as the church choir. Congregational singing can be a very powerful tool in worship, “yet we do not make the most of this branch of worship. The singing is done from impulse…,

and at other times those who sing are left to blunder along….”8 Perhaps the congregation has to realize that as a part of the worship service, “singing is as much as an act of worship as is prayer. Indeed, many a song is prayer.9

Special music has two general categories: songs or choral anthems sung by soloists or choir groups, and instrumental music.

“Where there is a choir, meaningful anthems…, sung by dedicated and well-prepared musicians will add much to the service and assist in elevating the quality of worship.10

Also, “Call to your aid, if practicable, instrumental music, and let the glorious harmony ascend to God, an acceptable offering.”11 Instrumental music

in the church bring up some questions. Quite a number of worshippers question the effectiveness of instrumental special music in the church. Mr. T. G. Staples, an Adventist missionary, says that even though a song with words–which must be audible, of course–present a direct message, instrumental music is every bit as effective. The difference is that instrumental music is mostly left to the listeners to interpret, while a song presents the message in a more straightforward manner, almost like speech in song.”12

Not only is special music an aid to worship, it can also be a “weapon of definite soul-winning effort” in evangelism. Special music “may be a vital drawing force which will attract people to a Christian service and thus bring them under the influence of the Holy Spirit.”13

Music in evangelism “is one of the most effective means of impressing the heart with spiritual truth.”14 In fact, “The melody of song…, is one of God’s instrumentalities in the work of saving souls.”15

I Heard Singing is a true story of how a tribal family is converted to Christianity, and it all started with Angawon, this little girl, who heard “beautiful music” coming from the newly-built Seventh-day Adventist Church in the village. The little girl’s conversion into Christianity, with along with her parent and siblings, stresses the role of music as a powerful evangelistic tool.16

Another account of the importance of music in evangelism comes from a pastor in Korea. This pastor attributes the fantastic growth of his church (350,000 and still growing) to the music ministry.17

Phil Kerr, a music evangelist, summarizes the role of music as the following:

l. as a testimony to non-believers.

2. provides focus on spiritual things.

3. provides opportunity for non-believers to accept the spiritual message through music.18

Music in evangelism is not for entertaining the audience. According to Webster’s, to entertain is “to make hospitable”19–or to make the audience feel comfortable. Yes, the music in evangelism might do that, but it must not stop at that. Instead, the music should fulfil a deeper purpose; the music should express the gospel message. After all, the main point of evangelism is to touch the hearts of non-believers with the message of salvation. Therefore, is it not fitting that the music used in evangelism should do that?

In a hymn, the text and the tune are equal, abut the text is more equal;

after all, the “…words are the primary reason for the hymn’s being written….”20 Since the text of the hymns and songs used in the church play such an important role, it is vital that the text be closely examined bearing in mind the several guidelines involved.

The words of the hymns and songs should be in harmony with the Scriptural teachings in “clearly stated language rather than a vague allusion.”21 The Words of God is the ultimate source of guidance in the church; surely it should be an important reference when it comes to making sure that the hymns and songs are sound for church use. In fact, many hymns and songs have texts quoted or paraphrased from the Bible, illustrating the importance of the hymn or song text being compatible with the principles, ideas, and concepts given to the Christians by God, the Being to which worship in the church is–and should be–directed.

Not all hymns and songs have texts based on the Bible. Just as many hymns and songs have original texts which are based on Christian principles.

For example, there are majestic hymns and songs to praise God, and other hymns to encourage Christians in their walk with God. However, songs with “poor lyrics, non-sense,…or frivolity”22 which distract the Christians from the teachings found in the Bible should not be used in church. These original texts deserve close examination. First determine if the original text advocates the teachings of the Bible; then question the worthiness of the text to be sung. The text should not speak of trivial things. After all, God is the Listener.

Not only should the text of hymns and songs be in tuned with the biblical teachings, the text must also be compatible with the specific doctrines of the church, in particular the Seventh-day Adventist Church. Here is a good example to show how original texts can disagree with one doctrinal belief of the Seventh-day Adventist Church. One verse of this sacred song goes: “For those we have loved and gone on before, Through that bright shining celestial door….”23 The text sounds quite poetic, but it clashes with the Seventh-day Adventist belief that those who die are “at rest” or “asleep” until the day of Jesus’ second coming, when they [the righteous dead] will be resurrected.24

The above excerpt from John Ness Beck’s Thanksgiving , however, implies that the dead go “through that bright shining celestial door” to Heaven. Therefore, that song is theologically unsound in the context of the Seventh-day Adventist Church, no matter how poetic the text, or how lovely the melody.

As mentioned earlier, the text is indeed more equal than the musical element. However, without the tune, the text could never have “the impact that comes from being coupled with good music that adds a new dimension.”25

Even though the musical part plays an important role in church music as a whole, “…the message of the text which should not be overpowered by accompanying elements…” must take precedence.26 This means that when the congregation sings they should not be excessively caught up with that catchy melody and/or rhythm; the singers should strive to sing out as clearly as possible, so that the text of the hymns or songs is very audible.

Therefore, the hymns and songs should be sung in a clear, natural voice. “It is not loud singing that is needed, but clear intonation, correct pronunciation, and distinct utterance…, so that God’s praise can be sung in clear, soft tones, not with harshness and shrillness that offend the ear.”27

Mrs. White mentions that “The long drawn-out notes and peculiar sounds…are not pleasing to the angel….The songs in which every word is uttered clearly, in a musical tone are the songs that [the angels] join us in singing.”28

Singing clearly is not enough, though. The singing should also be done with conviction and understanding–the singers should know and believe what they are singing. “God is glorified by songs of praise from a pure heart filled with love and devotion to Him.”29 In other words, the singers must not sing for the sake of singing, but they should sing from the heart. Only then will the hymns and songs become worthy of glorifying God. “…And the nearer the people of God can approach to correct, harmonious singing, the more He is glorified….”30

The vocal treatment of the songs and hymns is just as important as the “performance” of the music. This applies mostly to the “special music” part of the worship service, when the congregation listens to the music being performed up front. The music itself might glorify God, but so must the singers and/or instrumentalists in their performance. In fact, “The nuance which the performer brings to the presentation of a particular piece is a most important contributor to its power as a communicative medium.”31 The performers of music in the worship music must be careful not to let themselves be the “stars”, or get all the limelight. They should keep one thing straight: they are singing (or playing whatever instruments) for the Lord, not performing just to get the attention, praise, and admiration of the congregation. Therefore, they must bring across the right message that they are praising God in their music. It is very important that the right Person is exalted in the church: God, not man himself.

Since God is the One being glorified, He deserves the attention. Therefore, “anything which calls for undue attention to the performer(s) such as excessive, affected bodily movement or inappropriate dress, should find no place in witnessing.”32 Also, there should be no “theatricality and prideful display” when the singers and/or instrumentalists perform. If they perform with the objective of impressing the congregation with their “refined abilities,” then they are in the wrong place”33–they should not be playing music in church.

Most, if not all, the music guidelines in worship service also apply towards music in evangelism. The songs should contain texts which are compatible with the Biblical teachings and beliefs of the church; the songs should be sung clearly. One point has to be stressed in this context: the performers–the music evangelists–should bear witness for Christ, not bring glory to themselves. However, one aspect unique to evangelism is the audience.

In evangelism, the audience can be considered as the “target group”; after all, the audience in this case are the people to whom the gospel message is directed. Therefore, it is vitally important to consider the audience as a whole in the choice of music. Factors like the general age-groups and religious backgrounds should be examined. The point is to identify the audience.

Evangelism is like a bridge in some ways. The Christians are reaching out to the believers with the gospel message. Therefore, in evangelism the appropriate music is like an effective bridge, because the music then becomes a proper evangelistic tool. However, no matter who the audience is, the music must be “honest and sincere. It must be…music which rings true to itself. There must be no falseness and pretense about it.”34 Simply said, the music must tell of the gospel message in a clear, unambiguous way.

In this section about evangelism, the focus will be on youth as the audience. In youth evangelism, evangelists have chosen certain musical idioms which the youth can relate to. One of these musical idioms is rhythm, or better known as the “beat.” Most musical scholars agree that music is a combination of three things: melody, harmony, and rhythm. To be complete, the music needs to keep in equilibrium all the three components; for example, the beat should not dominate to the extent of overpowering the tune and the lyrics of the song.35 Therefore, in the use of “youth-related” musical idioms

like the strong sense of beat, there must be a balance between the main tune of the song and its other components–rhythm and harmony.

It is not wrong to use carefully selected contemporary music in evangelism, agrees Mr. Staples, a missionary, as long as the music does not bear too much resemblance to secular music–complete with the overtones of violence, drugs, and sex.36

However, whatever the music chosen for evangelism, the guidelines must still apply, because “The desire to reach…youth where they are with the gospel of Christ leads to the use of certain questionable musical idioms.”37 These “questionable musical idioms” should be carefully examined with the music guidelines to church music as the standards. As a matter of fact, Mrs. White had something prophetic to say back in l900 when she heard certain kinds of music to which she was against. She wrote:

“Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing. The sense of rational beings will become so confused that they cannot be trusted to make right decisions. And this is called the moving of the Holy Spirit. The Holy Spirit never reveals itself in such methods, in such a bedlam of noise.”38

Even though it is fine to use selected contemporary music elements, the music evangelists must be careful not be overly occupied in the music as to the extent of “breaking the rules” (i.e. guidelines) in the effort to evangelize.

In youth evangelism, there should be no compromise of standards, in particular, the standards of church music. “Never compromise high principles of dignity and excellence in efforts to reach people where they are.”39 In their evangelistic efforts the evangelists “are not follow the ways of the world.”40 Mrs. White said that instead of bringing “the truth to a low level in order to obtain converts,” they should “seek to bring the sinful & corrupted up to the high standard of the law of God.”41

Music has been around for ages. It has also been used in the church for a good period of time; and in more ways than one, it has been (and no doubt will be) an important part of the church. However, times have been (and still are) changing, therefore the context and circumstances of church music have not remained stagnant. But the important thing to remember is that the guidelines must be kept in sight so that the ultimate goal of the Christian of glorifying and praising God is not blurred through the years.

Since music is a medium in which “the blending of the best and the worst can be done more subtly than through any other media form,”42 the christians will have to be extra careful in the selection of music for church use. In conclusion, Dr. Lickey, a church musician, has this to say about judging the music for church use: “Responsible Christians would not seek to see how close to the edge of purity they could get but would rather turn their backs to the world….”43