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The Teaching of Music:
A Biblical Perspective

This booklet is based on a lecture given at St Stephen’s Church Centre, Elswick, Newcastle upon Tyne, on Thursday 26 September 2002
by Mrs Ethne Bourn.

Mrs Ethne Bourn is Head of Music at Emmanuel College, Gateshead.

Come, let us sing for joy to the LORD;
Let us shout aloud to the Rock of our salvation.
Let us come before him with thanksgiving
And extol him with music and song.

For the LORD is the great God,
The great King above all gods.
In his hand are the depths of the earth,
And the mountain peaks belong to him.
The sea is his for he made it,
And his hands formed the dry land.

Come, let us bow down in worship,
Let us kneel before the LORD our Maker.
For he is our God
And we are the people of his pasture,
The flock under his care.
(Psalm 95: 1-7)


What is Music?

Music is considered to be the purest of the arts. Heinrich Heine declared: ‘Where words leave off, music begins.’ (Lindsay, 1992). In 1690, Purcell commented: ‘As poetry is the harmony of words, so Musick is that of Notes; and as Poetry is a rise above Prose and Oratory, so is Musick is the exaltation of poetry.’ (Lindsay, 1992). A quote from Cambara by Honore de Balzac states: ‘Music alone has the power to penetrate into ourselves; the other arts offer us only eccentric pleasures.’ (Lindsay, 1992).

Most people know instinctively what is meant by the word music, yet would be hard pressed to produce a satisfying definition of the word. In spite of differences in our ability to recognize, appreciate and create it, there is music of some kind within each one of us. It is an experience common to all people and all nations. It is identified in various ways in the rhythms and tunes of human invention, the songs of birds, the sounds of waters and winds, or even the supposed harmonies of the spheres in space and of each human being.

Religious belief is not necessary to accept that music is part of the natural order of creation. It is something that is there, whether one chooses to enjoy it or not. In the present day rationalism of Western culture, music is thought of as one of ‘the arts’, and thus relegated to parts of life (like religion) as decorative, perhaps enhancing, but inessential. But in many non-western societies, a different perspective puts music, along with dancing, painting and an innate sense of the supernatural, as the centre of life. In Bali, for example, there is no word for ‘art’, yet Balinese traditions of music, art and theatre are among the richest in the world. It is because these creative activities are inseparable from life. To most Eastern and African cultures, music is known to have a unique control over the senses.

Sydney Smith wrote, in a letter to the Countess of Carlisle in 1844: ‘If I were to begin life again, I would devote it to music. It is the only cheap and unpunished rapture on earth.’ And Henry Miller, in The Air-Conditioned Nightmare, declared: ‘Music is a beautiful opiate, if you don’t take it too seriously.

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The Subject of Music in Schools in the Second Half of the 20th Century

Music Performance has always been regarded as one of the main reasons why schools in England have a Music Department. Before the introduction of the National Curriculum and GCSE, Music was generally regarded as two separate subject areas: the academic and the practical. Music was either entirely academic: a text book approach to the learning of note reading and rudiments, harmony, and the history of western classical music and its main composers. Otherwise Music was practical: students were instructed in the singing of classical, folk, religious and traditional songs. The latter form of music lesson was offered to all students, the former was generally taken up by an elite group of students as a support to their private instrumental lessons that were taken independently to their schooling. The principle function for the school music teacher was to provide appropriate instrumental and vocal performances for the various special occasions: Christmas and Easter Services, Prize Giving, School Assemblies and Public Events.

In the past four decades teaching has become increasingly child-centred; students are encouraged to be active collaborators rather than passive recipients. In music, as with other subjects, practical and small group activities have become the trend. Another music trend has been the instrument ‘explosion’; students can possess and master skills on an instrument and can participate in a school ensemble. Massed singing has become less popular, especially in secondary schools. Consequently, many young people see choral singing as less glamorous and challenging than playing in an ensemble. It takes a music department with a strong belief in choral singing to promote it to their young people.

In recent years, the inclusion of Music within the National Curriculum strengthened the case for why music should be taught and why it can make a very strong contribution to many areas of school life, not merely in the traditional ‘shop window’ role. The Music Curriculum Orders state:

Music is a powerful, unique form of communication that can change the way students feel, think and act. It brings together intellect and feeling and enables personal expression, reflection and emotional development. As an integral part of culture, past and present, it helps students to understand themselves and to relate to others, forging important links between the home, school and the wider world. The teaching of music develops students’ ability to listen to and appreciate a wide variety of music and to make judgements about musical quality. It encourages active involvement in different forms of amateur music making, both individual and communal, developing a sense of group identity and togetherness. It also increases self-discipline and creativity, aesthetic sensitivity and fulfilment.
(1999: page 14)

Since its inception in 1997, the QCA (Qualifications and Curriculum Authority), has strongly supported the need for all children to experience the arts as part of a broad and balanced curriculum. The arts are an important part of creative development, which is one of the key areas of learning in the early learning goals.

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Music in Schools in 2002

Music in school today strongly affirms a balanced and progressive programme of performing, composing, listening and appraising. Students are taught to learn to appreciate the actual sound that is made and to appraise the character of the music in relation to the structure, dynamics, tempo, texture and musical timbre. There is less emphasis upon analysis and the acquisition of facts about composers’ lives and more emphasis on the development of one’s own musical ideas.

Obviously technology has opened up new worlds of sounds, effects and possibilities for us all with music software, synthesisers, samplers, multi-trackers, sequencers and even the plain old music keyboard! Pre-recorded music on cassette, disc or computer has encouraged us to become familiar with a wider range of musical styles and genres – Jazz, Rock, Folk and Ethnic as well as Classical, Romantic, Baroque and Traditional.

Generally, creative standards are being enhanced by this access to music from different cultures and eras. Unfortunately, however, the area of singing continues to suffer in most establishments. Children are entering school with a very limited repertoire of nursery and Christian songs as well as singing games and rhymes learnt in the home, and many primary schools lack the luxury of a full-time music specialist. Singing is the most natural way in which children obtain a first-hand experience of music and a very important means of expression for them, yet many young teenagers feel embarrassed to sing. Older people sing less spontaneously than in previous generations, except at football matches! We will deal with the issue of communal singing in assemblies at a later stage, as we need to seriously consider the precious natural gift of which our children today are being deprived. But let us take a look at the early development of the subject of Music.

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Music and Science

‘Picture to yourself, if you can, a universe in which everything makes sense. A serene order presides over the earth around you, and the heavens above revolve in sublime harmony. Everything you can see and hear and know is an aspect of the ultimate truth…And here on earth, too, no less than in the heavens and in the world of ideas, order prevails: every creature from the oyster to the emperor has its place, preordained and eternal. It is not simply a matter of faith: the best philosophical and scientific minds have proved that it is so.’
(James,J.,1995, page 3)

This is the universe that our own scientists, philosophers, and artists knew until the advent of the Industrial Revolution and the Romantic movement. It was in the nineteenth century that our culture became influenced by the leaning toward the earthly, the material, the sensual. Music was much more serious before this; its ability to give pleasure would have been considered a perversion of its real purpose. Science was very involved in the whole ethos of the culture. The assumption throughout centuries of science had been that there was a logic underlying the apparent chaos of creation.

The concept of the universe as a random, meaningless place was expressed by the theory of evolution. By the end of the nineteenth century, science was a powerful institution; governments invested money and forced scientists to ‘produce’. Science has drifted so far from its original aims that it may seem irrelevant to consider its relationship to music. Yet every science or music scholar can relate to the intimate connection between the two. In the classical view it was more an identity than a connection.

Music and science were closely connected from early civilization, with Pythagoras standing there at the source. Pythagoras was the inventor of a geometric theorem; he was also the formulator of laws of music theory and above all, he taught about the interrelatedness of human knowledge. He spoke of the musical universe, where music was number, and the cosmos was music. He distinguished three sorts of music in his philosophy: musica instrumentalis, the ordinary music made by plucking a string or blowing a pipe, musica humana, the continuous but inaudible music made by each human being, especially that between the soul and the body; and musica mundana, the music made by the cosmos, or to be known later as the music of the spheres. Pythagoras considered himself as a healer and he used music as a remedy for every type of ailment. When he stopped working at night, he cleansed his mind from the noises of the day with certain odes and hymns. But in music, Pythagoras is most noted for his discovery of the arithmetical relationships between the musical intervals. His discovery of the ratio links of harmonic intervals marked the beginning of science as well as the beginning of music theory.

In an attempt to rationalize these philosophies, the early Christian church accepted that Pythagora’s arithmetical links in science and music, was in line with universal order which in turn linked with John 1: ‘In the beginning was the Word’, because the Greek word for ratio is ‘logos’, but it also means word, thought, reason.

In the late second century, Clement of Alexandria used music to promote the perfect truth of Christianity as opposed to paganism. In his paper ‘Exhortation to the Greeks’, he referred to Psalm 98 ‘Make a joyful noise unto the Lord, all the earth: make a loud noise and rejoice and sing praise.’ (KJV) He interpreted the idea of musica humana. He likened the human body to a musical instrument and Jesus to the musician who, described by Jamie James in his book, ‘The Music of the Spheres’, ‘… arranged in harmonious order this great world… and on this many voiced instrument of the universe, He makes music to God, and sings to the accompaniment of the human instrument.’ (1995)

Music was an essential part of mathematics in European education until the nineteenth century. In the Middle Ages mathematics was divided into: arithmetic, geometry, music and astronomy and this dominated the curriculum for fourteen centuries. In fact, the idea of music as a performing art did not become established until the Renaissance.

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The Purpose of Music

For those who believe in a divine Creator, the natural order that was the basis to all the philosophies concerning the music of the cosmos, has its origins in God and was no mere chance happening. The beginning of Scripture depicts it as being carefully planned and describes everything as being ‘very good’ (Genesis 1:31). No less than the earth and its resources, music is an integral part of God’s great act of creation. Like all manifestations of truth, beauty, goodness and love, it has its origin in God. With its place in His design, Music has a purpose.

At a basic level this purpose is communication. Like all other arts, it has a distinctive way of portraying ideas, thoughts and emotions. But music is the most accessible and universal language, being less limited than speech by social, intellectual, national or religious boundaries. It expresses, often better than words, our feelings and emotions.

That which is made reveals something about its maker. Music can be seen as telling us not only about its composer or performer, but also about the God who has given it. Like other creative gifts, it expresses something of the mystery, the order and the glory of creation and its Creator. Music shares in the goodness of the Creation and reflects different aspects of the divine nature. God uses music, both within and outside actual worship, to speak to us of Himself. Cheri Fuller states that when we sing to God, an amazing transcendence takes place – God instructs us, comforts us, inspires us and assures us of His love. She points out that He is even singing over us!

‘He will take great delight in you,
he will quiet you with his love,
he will rejoice over you with singing.’ (Zephaniah 3:17)

Through music we can catch sight of God’s majesty and His simplicity, His power and His gentleness, His mystery and His love, His righteousness and His mercy.

As well as speaking to us of God of course, music has other uses – medicinal, therapeutic, emotional, spiritual, boosting self-esteem, enhancing achievement and strengthening memory, and in special education. The fact that most people respond positively to music indicates that it is most probably among those things of this world, which are provided for our enjoyment. Not surprisingly, therefore, it is used to help people and animals to relax. It can undoubtedly assist in the process of healing. David was employed to play to help the demented Saul (1 Samuel 16:23). Through music we can also be challenged. Elisha summoned a minstrel to enable him to prophesy (2 Kings 3:15). Shakespeare describes music as the ‘food of love’ (Twelfth Night, I.i).

There is no doubt that it can stir emotions at a very profound level; it moves, inspires, uplifts. Many young teenagers love to listen to music as they are doing their homework. I am sure what they listen to is inspirational; whether it inspires them in their academic studies is very questionable!

Music making boosts self-esteem as it enhances co-operation and promotes a sense of team effort. Traditionally, music has played a significant role in the development of emotional connections between parent and child, even through adolescence, whether it is a song in the car or strumming the guitar together. In school, many students find music is a great way for them to have an identity; feeling part of a choir for an important music recital or school event gives a feeling of doing something special and worthwhile and makes a student feel more significant.

Researchers at the University of California believe that humans are born with certain brain cells that respond to musical sounds, hence babies recognizing and responding to music. Physicist Gordon Shaw says that these particular neurons work in patterns that can be expanded as a sort of ‘pre-language’ – even before the brain has developed verbal language skills. He believes that: ‘Music participation and training at an early age is some of the best “exercise” that helps develop logical and sequential thinking and higher cognitive abilities that boost achievement in maths and science.’ (Fuller, 1994, page 12)

Paul was a spiritual leader, he was not a psychologist, researcher, scientist, artist, or social worker. However, he knew how to motivate and encourage the Ephesians. When he instructed the Ephesians to live as children of light, and to be imitators of God, he also said to them,

‘Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord, always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ.’
(Ephesians 5: 19, 20)

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How do we ‘make’ Music?

Music does not just happen; it has to be made. Sometimes this working out is spontaneous, other times greatly laboured and time consuming.

‘As long as there are people there will be music’
(Best, 1993, page 6)

We can agree that creativity is not just for artists and musicians, it is a part of our humanity. Everybody, to one degree or another, is creative (the ability to imagine something and then make it).

In music this process can occur in two ways:
(i) music can be thought up in advance, notated or memorisedand performed (composition);
(ii) music can be thought up and performed simultaneously (improvisation).

Music is the product of imagining and crafting. The quality of crafting depends upon the technique and skill of the maker – where technique is the facilitator and skill is the level to which one can then refine. Of course, as imagination and skill become more mature, the end result will have more finesse and sophistication. Yet, true artistic skill is about simplicity as well as complexity; it is also about timing and spacing: knowing how much to make, when to stop, as well as how to make. We talk about the development of musical ideas as well as capturing the initial idea. ‘Amazing Grace’ is a short simple piece of music, or Brahms ‘Variations on a Theme of Haydn’ – easy to sing, it uses only some of the 12 different notes (Amazing Grace – pentatonic!). Yet it is memorable, consisting of well-shaped melodic phrases, patterns of rhythm and pitch that are used in sequence and sounds complete at the end. Yet to alter some of the intervals between the notes, or rhythm could make it sound very unmusical! When students begin to compose, we encourage them to think first of a tune that works. They are then asked to consider each of the ‘Elements of Music’ as they craft their piece, through experimentation, trial and error. Trouble often raises its head when children use the technical skills of a music computer program to insert some dots on a stave before they have actually worked out the melody, or harmony. The end result inevitably looks like a masterpiece on screen but is wholly unmusical to the ear. Computers are therefore little more than a sophisticated writing tool for the composer; the ideas must be human-generated!

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Creator, Creation, Creature and Creativity.

Isn’t human creativity astonishing?
Before we can begin to understand why and how we have the ability to create in our own human way, we need to examine the link between Creator, creation, creature and creativity.

Weeks (1988), points out that God is the only one who has actually created out of nothing. True creativity does not actually exist. We imitate or reflect ideas that have already been there and we ‘re-present’ them in our created works. Imitation of another piece of work is even further from true creativity; creativity only occurs when imagination creates an idea and skill realises this new idea.

In the Bible, ‘God is both the supreme imaginer and consummate craftsman’ (Best 1993, page 13). For the Christian artist this is a very significant point. Equally significant however, is that we are all made in the unique image of God. Just as no two people are alike, so God gives to each one of us a unique creative style. Therefore, we need to be aware that all artists are bound by creation because we can never out-imagine our Creator. We, and what we create, are all part of the colours, textures, qualities, structures that the uncreated Creator first imagined and crafted. But being created in the image of God gives us a unique capacity for seeing into creation (without of course seeing all of it!). Perhaps we can begin to understand that even the most ‘radical’ music is merely a human paraphrase of what God did first.

In Colossians 1: 16, 17 we read:
‘all things were created by him and for him. He is before all things, and in him all things hold together.’

God is our Creator and our Sustainer. God chose to imagine and make the creation. God created in us the ability for understanding that we are authenticated to Him and what efforts we make do not change that. So, too, our music should be to glorify what God is and does, not to validate ourselves in any way. Just as God is not the creation, so we are not our music.

Dr Roy Blackwood recently spoke to me and explained that according to Scripture, God’s plea to us is not to try to sculpt Him, draw Him or paint Him; make no images of Him, but just sing to Him.

As artists, however, we must be wary of making music so large, so mystical, that it becomes more than us, exercising certain powers that it was never intended to have. Biblical ways of making music are rooted in a humbled and realistic sense of human work and creativity. David was a shepherd, who also composed and played. Jesus was a carpenter, not a composer; He is not mentioned as being much of a musician or even a singer! Yet he heard and made music throughout his life – the music in the streets, in the synagogue, the dance and the wedding feast. He heard and listened to music made by other humans, the very people he came to die for and save.

Music makers of other times and deeper beliefs such as G.F. Handel and generations of church musicians before and after him considered themselves to be simple craftsmen, given a job to do, doing it carefully, usefully and humbly and most of all, for the glory of God.

On hearing the ‘Hallelujah Chorus’, Haydn stated: ‘Handel is the master of all.’ Yet George Bernard Shaw wrote in a letter: ‘I think the Hallelujah Chorus might be improved by steeping in boiling water for ten minutes or so.’
Anyone who has participated in the rehearsals and performance of ‘The Messiah’ cannot but be touched by the chosen texts, and how they are set musically - all three sections of the oratorio. It reaches its zenith of course, in the ‘Hallelujah Chorus’ where tradition, since its opening performance in Dublin, raises everyone to his feet. Written in the Baroque period when music acted as a support or accompaniment to the text, Handel’s music enhances the meaning of the words through its restraint, rather than through its melodramatic powers.

Another overtly spiritual work is St Matthew’s Passion, by J.S. Bach, Handel’s contemporary. Again the listener is moved by something that is beyond the musical experience. Goethe admired Bach’s music and in a letter to Zelter wrote: ‘It is as if the eternal harmony were conversing within itself as it may have done in the bosom of God just before the creation of the world. So likewise did it move in my inmost soul…’ (James, 1995, page 190).

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The Change in Focus from God to man

There was a fundamental revolution in taste and artistic expression at the end of the eighteenth century. The notion of human expressiveness had first crept into music with people like Cicero and slowly built up in the music of the Romantic composers, where the voice of the individual became most important. The scale and emphasis shifted from the cosmic and spiritual to the human, concentrating more on the performer and composer as personality, and on the scope of the music itself. Even performances of older works like ‘The Messiah’ became much more aesthetic. In 1883 a peak was reached when this work was performed in the Crystal Palace in London, by an orchestra of 500 and a chorus of 4000!

Many Christian musicians believe this move began with the late string quartets of Beethoven. In much of the music of the late Romantics, there is a strong sense of self contemplating itself and the theme of the freedom and individuality of man took on a more pathetic tone.

In the book ‘A Gift of Music’, the authors describe Gustav Mahler as ‘… a medieval soul living in the nineteenth century struggling with the problems of how to find an artistic relationship to God.’ (Stuart Smyth and Carlson, 1995, page 174).

Mahler, described his music, throughout and always, as a sound of nature. Yet it is full of unrest and nostalgia. He dedicated his Ninth Symphony ‘to the good Lord’, yet, by the Finale, the listener feels drained and tense as if having had an appointment with a psychiatrist! In his eighth symphony, a programmatic work, Mahler had the idea of an infinite, cosmic music. But unable to understand the infinite, personal God, as revealed to us in Jesus Christ, he dived into a mystical, humanistic religion that ends in emptiness and despair. Mahler spent his life trying to escape from a torturing question, ‘For what?’ He remained a doubter, yearning for the true joy of faith, and the ‘wholeness of soul’ that comes from certainty, and his music reflected this turmoil.

By the beginning of the twentieth century, the forces of revolution and change of the Romantic period began to fall apart. Freud followed Darwin with the philosophies that man and his life are more like a series of accidents. Mathematics experienced a revolution when Einstein published his Special Theory of Relativity in 1906; this helped restore an order to the universe. Schoenberg, in the same year, caused an equally profound revolution in music with his composition ‘Kammersymphonie, Op.1, No.9. In one blow, he abandoned the system of related keys, upon which music harmony had been built for three hundred years. Atonality caused an uproar in audiences then because of the instability and unrest the sounds produced. It is this extreme level of dissonance that many Christian musicians question as it does not reflect the beauty, order and consonance of God’s creation. Schoenberg and his followers (Berg and Webern) later tried to create a new musical order – serialism. Schoenberg wrote a poem for an oratorio he started, but never completed, called ‘Die Jakobsleiter’ He was a devout Jew, but seems to try and set out a new religion in this work, his own religion. The text explores the great theme – the relationship between man and God through the power of prayer, but in a very obscure, perhaps mystical way.

Another German born composer, Hindemith, promoted ‘Gebrauchmusik’ It developed around the ideal that if the peoples of the world could listen and be moved by the same music, war and strife could be a thing of the past. He wrote an opera called ‘Die Harmonie der Welt’ based upon the life of the astronomer Kepler. Once again we see a composer dealing musically with the great theme of the musical cosmos but with an increasing humanist view. Composers of Gebrauchmusik intentionally wrote to attract a wide audience; a principle that has driven popular music to this very day.

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The Christian Musician in the Classroom

Contemporary Western societies deny any great relevance to the spiritual. The qualities of individualism, independence, self-importance and self-reliance are to be promoted in child development. According to contemporary thought:

‘The purpose of work is to create economic security and material affluence primarily for individuals and nuclear families.’
(Walsh,B. and Middleton,J. 1984)

All schools aim to nurture their students, motivating them to learn, comprehend and communicate. Our aim is that we help them to mature into responsible adults, parents and members of the community.

As Christians, we believe that God brought each of the school children into our lives and our care. It is our duty to try and encourage our students towards being responsive disciples, just as it is to instruct and enthuse them in our specialized subject area. We may only have a short time to influence them with biblical love, understanding and discipline, as well as to educate them in the curriculum.

In his book, Van Brummelen describes teachers in several ways – also, as disciples:

‘Disciples are followers who grasp the vision of their leader and then apply that vision in their everyday lives.’ (p13)

He also sees the teacher as a guide:

‘We are shepherds: pathfinders, mentors, coaches, and counsellors’ (p40).

Music clearly has great power and influence, therefore, as Christian artists, we are morally responsible for the art we do in the classroom. Equally true is that God examines the intent of the heart before the content of the art. Because of the very communicativeness of music and the position it holds in society today, the Christian music teacher must be even more responsible for the attitudes he expresses in his lessons; how he views and actually uses his art form, how he conveys this to his students and how he approaches his teaching.

‘Happy is he who does not condemn himself in what he approves.’
(Romans 14:22b,NASB)

Van Brummelen adds:

‘You set the tone of the classroom on the basis of your personal beliefs’ (p57)

In school, our attitude to, and use of, our own musical gifts are frequently exposed to the public and affect so many other people with whom we come in contact. It is one thing to write, arrange, produce and perform music. It is quite another thing to know how to teach respectfully, perform with humility and practise biblical disciplines in the process.

‘For the LORD takes delight in his people,
he crowns the humble with salvation.
Let the saints rejoice in this honour
and sing for joy on their beds.’
(Psalm 149: 4, 5)

The final verse of a chorus by Stuart Townend also comes to mind:

‘I will not boast in anything, no gifts, no power, no wisdom.
But I will boast in Jesus Christ, His death and resurrection.’

Because music reflects worldviews, the teaching of music has to relate it to major cultural, historical, political and spiritual movements of the different eras. For GCSE and ‘A’ level, we study music ‘in context’ as well as in relation to ‘continuity and change’.

Some music can be very powerful in promoting modern secular worldviews, which oppose biblical principles. We have already discussed this in part in relation to cultural music (or what is commonly known as classical music). It is important that we do not ignore how the changing attitudes in society have affected the styles of music produced, particularly in the field of popular music, and we certainly cannot ignore the music that is so much part of the lives of our young people. We need to clearly explain the differences and connections musical styles have with particular extra-musical contexts. We will deal with Styles of music in a little more detail shortly, but a helpful biblical verse is:

‘Do your best to present yourself to God as one approved, a workman who does not need to be ashamed and who correctly handles the word of truth.’
(2 Timothy 2:15)

Thankfully, through the blessing of common grace, God gifts and enables all people to behave morally and to make beautiful music. All music therefore, can be good, but all good music should be offered to our Creator. As musicians, we should encourage and enthuse our students to develop their musical talents, but never regard any one talent as higher than another. Gifts are natural, but skill requires commitment, discipline, determination and consistent effort. Performance should be accessible to all students; this is possible through voice and recorder for example. Singing is a natural means of expression for all students; we just have to work at getting them over their conditioned embarrassment!

Music performance and composition could be regarded as ways in which a student expresses his pure subjectivity. But instruction is essential so that creativity is structured. As soon as order enters a composition, he is imitating and reflecting the order of God’s creation. As soon as chaos, unrest and extremely disturbing rhythms, pitches or timbres enter a composition, we lose sight of God’s purpose of creating things to His glory.

It is necessary, therefore, to teach skills. The ‘how to’ rudiments of music need to be taught to all, especially to give the child of lower aptitude the chance to produce what he wants to do. Music intertwines with Christianity so there are certainly opportunities to question secular culture. Because we create through imitating others, we need to be sensitive to what influences inspire our children’s creative thoughts. Yet it is crucial to direct them towards music that we consider to be positive and constructive.

Harro van Brummelen emphasises the necessity to build, teach and enforce a positive learning environment and a caring approach to discipline, for the benefit of student, community and obviously teacher! Clear discipline practices are essential in the music classroom, but students need to feel they are special, that they have gifts and they are made in the unique image of God. Music is academic but students will only respond if the environment is non-threatening, accepting and encouraging. Discipline must be maintained especially in practical group activities; again establishing and enforcing standards, encouraging obedience to biblical principles, so students feel valued and apply themselves enthusiastically to the individual or group creative task.

‘Students need to feel as well as think, do as well as reflect.’
(Van Brummelen, 1998)

It is important that we, as teachers nurture a sense of community in the classroom where students interact and develop their communication skills. Community is central to Choirs and instrumental groups; feeling a valued member of the team encourages students to commit to weekly rehearsals. Discipline to regular practice is essential for progress on any instrument and music requires support, so the music teacher must develop a rapport with parents, other students, teachers and the wider school community.

Finally, I quote van Brummelen from his book, ‘Walking with God in the Classroom’:

‘Jesus holds you responsible for what you teach. He graphically warns persons against causing little ones to sin…Jesus expects all teachers to choose, design and adapt curriculum with care.’
(van Brummelen,p141)

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Musical Choices

Like all God’s good gifts, music can be trivialised – background noise for people meeting together, in shops and supermarkets, in hotel lobbies. But it can also be abused. Music is a language and is therefore able to be used to express that which is evil, as well as good. As previously discussed, the Bible speaks clearly against idolatry and we must never allow our art to dominate us. There is essentially nothing wrong with becoming a star or being famous, but stardom and fame can make things, which then impede the flow of moderate creativity. With this in mind, we need to question our attitudes to all styles of music, including the whole popular culture.

But we cannot presume that all Christian music is good music and all non-Christian music is bad music. What is Christian music? Do we tend to consider the Western church music traditions to be the ‘correct’ form of Christian music? (which in itself evolved from many different ethnic and cultural styles). Bluegrass, gamelan, opera, rock, classical, music by Buddhists, capitalists and Christians are all written and performed by musicians of the fallen race. The views and state of mind of those who compose and perform it obviously influence the content and effect of music – but how?

Music is relative. Association of ideas is a powerful element in musical language, and so a piece of music can mean something very different to various people. Take the tune ‘Austria’ by Haydn. It was first used as the imperial national anthem. Later Haydn used it as the theme for a movement in the Emperor Quartet – secular and suited to the concert hall. It is also the tune for the German national anthem, which for Jewish people, has powerful associations with the holocaust. Yet many of us know it as the tune to the wonderful sacred hymn ‘Glorious Things of Thee are Spoken.’

Many argue that music in itself is actually morally neutral, yet is very capable of carrying strong moral messages. But music is also the most context friendly of all the arts in that it attaches itself easily to what surrounds it, and this is the danger. Even if music is morally neutral, the people creating it are not. The more a piece of music is repeated in the same context, the more it will begin to represent that context, and even equate with the context. Through its power of expression, the music will then appear to possess that particular context. When lyrics are added to music, of course the context becomes even more direct.

As Christian teachers, we have to be careful when we consider popular and world music to which our young people listen. We must avoid branding particular musical styles as ‘wrong’, as this is actually giving the created work greater power over us, than it actually has. Yet we must be aware of the context a piece of music has adopted and how it can influence our thoughts and actions, and those of our influential young people, to whom much undesirable music is directed.

In his book, ‘Can We Redeem Popular culture? (1993, page 17), Chuck Colson states:

‘Children raised on good culture are better at resisting crass popular culture.’

The young person’s mind is saturated with messages of the world’s acceptance of crass culture. It is our duty to balance this by educating them with music that promotes good, positive culture.

In another book, ‘Pop Goes the Gospel’, John Blanchard believes strongly that music is not neutral. He discusses music in which the beat, volume and incessant repeat without variation is actually destructive. The unresolved dissonance discussed earlier is also regarded as having a very negative effect on behaviour. There is evidence that judges in America are currently researching music that encourages good and evil behaviour. One contemporary church in the U.S.A. has been threatened by the courts that they may be held accountable for certain juvenile delinquents who could be influenced by the heavy rock music used in the church. Research has discovered that club dance music with a particular number of beats per minute gets the dancers’ heart-beats beating at a rate that instils an ecstasy which can be accentuated further with drugs. In America, a recent experiment on a certain beat, which is known to affect the kidneys, was used to dissipate a crowd … and it worked!

Music can entertain, it can gratify. But like literature, we ought to critique the music we listen to. If we regard our art as a medium of divine self-revelation, where the intrinsic relationship between God and beauty of creation is revealed, the idea of music should not be to glorify sin and its consequences. Generally, lyrics that cannot be understood, speak about the composition as well as the performer.

‘Whatever is true, whatever is honourable, whatever is right, whatever is pure, whatever is lovely, whatever is of good repute, if there is any excellence and if anything worthy of praise, let your mind dwell on these things’
(Philippians 4:8 NASB)

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Music and Worship

The association of music with the sacred is taken for granted in the religious sense of most Christians. Music has always been at the centre of life in Eastern cultures and plays a crucial role in worship – to the land, to their ancestors and to the god of their beliefs. Many psychologists and psychiatrists in the West are now acknowledging that religious awareness and artistic endeavour may be essential to mental well-being.

A neurologist Oliver Sacks points out the similarity of the benefits offered by worship and music. He believes that the links between worship and music are strong, for they both spring from a God-given desire to search for truth and order.

‘Music is a manifestation of that search in the mental and physical realms, while worship is its expression in the cosmic.’
(Wilson-Dickson, page 14)

Martin Luther was extremely positive in his evaluation of music. He agreed with the old and medieval theory that the right kinds of music can directly affect the human heart.

Quoted by Viladesau in his book, ‘Theology and the Arts’ Luther believed:

‘It is music alone, according to God’s Word, that should rightfully be prized as the queen and ruler over every stirring of the human heart.’
(2000, page 25)

Almost all Christian traditions include the use of music in their worship, although the early church had severe restrictions on the use of music.

They were aware of the associations of music with superstitious and pagan worship, and suspected music for moral reasons!

The Old Testament however, not only spoke approvingly of the use of music in worship, but even commanded it. St Paul had exhorted the community to ‘address one another with psalms, hymns and spiritual songs, singing and making melody to the Lord.’ For many centuries, simple monophonic singing was permitted in worship, as long as the text was not lost in elaborate melody. Female singers were very uncommon as they were suspected of loose morals. This is why male church choirs, using boys’ voices for soprano parts, have prevailed until today!

Worship can undoubtedly happen without music, but the recognition that music is one of God’s gifts that we have to offer, has ensured its place in all styles of Christian worship.

Music is used in worship to give glory to God. Music, however, is neither an aid to worship nor a tool for producing it. It is an offering, uniquely given over to God, who is both the means and end. What begins as our offering to God often becomes his giving to us. God accepts our offerings and returns it to us transformed and enriched for our benefit. It may be that He reveals something of Himself, but it can also be for other purposes.

The singing of spiritual songs in the school is an essential means of evangelism to students. They may not actively participate in the singing, they may even actively choose to switch off from being part of the singing, but we cannot imagine how God may be using a particular moment or verse to reveal something of Himself to an individual present. For the Christians too; they may have developed an embarrassment towards singing, yet God can speak to them through the lyrics. Children themselves, learn an enormous amount of information through music; many of them can sing complete pop songs before they actually understand what they are singing about!

Music is a right-brained function and speech/language a left-brained function; that is why music combined with words aids the listener to remember the words. How many times has a verse of Scripture come to mind when you hum the tune? Memories of my grandmother and her faith immediately flow when I sing: ‘When the roll is called up yonder’ and ‘What a privilege to carry everything to God in prayer.’

Worship songs impart to students biblical values such as love, understanding, obedience and compassion. It can reveal to them the importance of God’s Word and work in our lives.

True, many children will listen and reject the message they hear spoken and sung, but at least they are informed about what they are choosing to reject. As Christian teachers, we should pray for the students as they play in worship groups, and whether they choose to participate in singing or not. When dealt with sensitively and positively, it is surprising how many children soften to the idea of being part of the worship group. As responsible educators, it is important to introduce students to the rich heritage of older hymns and gospel songs as well as to the wealth of Christian songs composed today.

Music used in worship can lead the mind to the holy in three distinct but interrelated ways. First, by acting as an accompaniment to sacred words. Second, by associating with emotions that are characteristic of religious mental state, such as awe and desire. Third, by manifesting beauty and order which itself is godly. The Christian believes that this is the actual goal of one’s spirit, and therefore leads us toward God. While the aim is to perform worship music as skilfully as possible, one must be aware that the more ostentatious the performance is, the easier it is for the music to overwhelm the message, portraying rather than engaging, thus affecting the true religious and responsive states of the listener.

In a passage from the novel ‘Doctor Zhivago’, Pasternak (p. 44), says of his heroine, Lara:

‘Lara was not religious…But sometimes, to be able to bear life, she needed the accompaniment of an inner music. She could not always compose such a music for herself. That music was God’s word of life, and it was to weep over it that she went to church.’

Let us break for a moment for part of an appropriate song composed by Matt Redman: ‘When the Music Fades…’

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Concluding Thoughts

Tony Hall, the recently appointed Executive Director of the Royal Opera House in Covent Garden believes strongly in getting young people involved in group activities.

‘One of our key jobs is to get out there to enthuse … and get to young people who don’t have a chance to perform.’
(Voice and Vision February 2002)

To conclude, all human beings are spiritual, all human beings are religious. As Christians, it is vital that we do not remain comfortable and in acceptance of worldviews as they shape the education of today’s students. It is essential we move away form the current secular, individual, safe values and look to the Bible as our reference point for establishing righteous and ethical principles which honour God and His creation. While the content of our lessons is important, we must carefully examine the philosophies we follow because the strategies we use for teaching and learning are as important as content. We are ambassadors for Christ. This means more than knowing the facts about Christ, accepting forgiveness and salvation and learning Scripture. We must live and work, decide and do, with the mind of Christ, so that we are actually enabled to test and approve what God’s good, pleasing and perfect will is (Romans 12:2), equipping us for every good work (2 Tim 3:17). We must not simply integrate our faith into our learning and teaching when it is convenient, instead of the reverse. We must not create a coating, which looks like integration as long as everything is moving and busy.

As created beings, we are entirely dependent and we are to strive to adopt the characters and attributes of God in all that we are and do – holiness, love, mercy, wisdom, graciousness and justice. Our music making must always bear witness to our union with God, our createdness and our redemption.

Therefore, as God’s chosen people, holy and dearly loved, clothe yourselves with compassion, kindness, humility, gentleness and patience. Bear with each other and forgive whatever grievances you may have against one another.
Forgive as the Lord forgave you. And over all these virtues put on love, which binds them all together in perfect unity.
Let the peace of Christ rule in your hearts, since as members of one body you were called to peace. And be thankful. Let the word of Christ dwell in you richly as you teach and admonish one another with all wisdom, and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God.
(Colossians 3: 12-16)

‘Let everything that has breath praise the LORD!’
(Psalm 150: 6)

Amen.

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Bibliography

  1. QCA (1999). Music: The National Curriculum for England
  2. The Holy Bible, New International Version
  3. Bray, D. (2000). Teaching Music in the Secondary School. Heinemann
  4. Fuller, C. (1994). How to Grow a Young Music Lover. Harold Shaw Publishers, Illinois
  5. Best, H. (1993). Music Through the Eyes of Faith, Harper, San Fransico
  6. Viladesau, R. (2000). Theology and the Arts. Paulist Press, New York
  7. Stuart Smyth, J. and Carlson, B. (1995). A Gift of Music. Solway- Paternoster Publishing, Cumbria
  8. Kaiser, G. (1994) The Responsibility of the Christian Musician. Corner Press, Chicago
  9. Lindsay, J and M. (1992). Music Quotation Book. Robert Hale Ltd, London
  10. Van Brummelen, H. (1998). Walking with God in the Classroom: Christian approaches to learning and teaching. Medina, WA: Alta Vista College Press
  11. Walsh, B.J., and Middleton, J.R. (1984). The Transforming Vision: Shaping a Christian Worldview. Downers Grove, IL: InterVarsity Press
  12. Weeks, N. (1988). The Christian School: An Introduction. Edinburgh: The Banner of Truth Trust.
  13. Wilson-Dickson, A. (1997). A Brief History of Christian Music. Lion Publishing
  14. Burke, J. (1983). Musical Landscapes. Webb and Bower, Exeter
  15. James, J. (1995). Music of the Spheres. Abacus, England

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