Archives For CCM

A Prophet, A Minstrel, and Resolving Today’s Worship Wars

December 20, 2014

To resolve today’s worship wars properly, all parties involved must profit fully from all divine revelation about music. To that end, this post examines a noteworthy passage about a prophet, a minstrel, and divine attentiveness to instrumental music.

Elisha’s Commitment to Separation from Those Who Had Compromised True Worship of the Lord

Second Kings begins by relating the miraculous end of Elijah’s prophetic ministry and the miraculous beginning of Elisha’s prophetic ministry (2 Kings 1-2). During the subsequent evil reign of king Jehoram over Israel (cf. 2 Kings 3:1-3), king Jehoram went with Jehoshaphat king of Judah and the king of Edom to inquire of the Lord through Elisha because Jehoshaphat knew that “the word of the Lord [was] with him [Elisha]” (2 Kings 3:7-12).

In this encounter with these three kings, Elisha initially rebuked Jehoram by protesting his seeking him out: “What have I to do with thee?” (2 Kings 3:13a). Elisha thereby made clear that he did not want to have contact with this evil king. He then instructed him to go instead and consult with the prophets of his parents (2 Kings 3:13b).

When Jehoram persisted (2 Kings 3:13c), Elisha testified to the all-important reality that he served in the presence of the living God (“As the Lord of hosts liveth, before whom I stand” [2 Kings 3:14a]). He then went so far as to say to Jehoram that he would not even have had anything to do with him had Jehoshaphat not been with him (2 Kings 3:14b).

These statements by Elisha attest to his commitment to separation from evil leaders who perpetuated horrifically compromised worship of the Lord (2 Kings 3:3). By divine design, we must therefore keep this reality in mind when we examine what Elisha did next in this encounter.

Elisha’s Request for a Minstrel to Play for Him and His Subsequent Prophesying

After he had rebuked Jehoram for seeking prophetic ministry from him, Elisha asked that a minstrel be brought to him (2 Kings 3:15a). When the minstrel played for him, “the hand of the Lord came upon him” (2 Kings 3:15b).

Elisha then prophesied what the Lord gave him to reveal on this occasion (2 Kings 3:16-19). The inspired writer of the book then records that what Elisha had prophesied took place the next morning (2 Kings 3:20).

Discussion

Why did Elisha request this musical ministry prior to his prophesying? Why did the Holy Spirit record this part of the encounter and what profit are we supposed to derive from it?

To understand the value of this revelation properly, we must first note that this passage does not say anything about the minstrel’s singing words to Elisha on this occasion. By divine design, this passage focuses our attention, therefore, on what resulted at this time from the playing of instrumental music.

Second, we must recognize that Elisha had no ability to bring about any divine response to the instrumental musical ministry that he requested and received. Because the Spirit has recorded that God did respond to that instrumental music, we learn that this passage is inspired revelation about divine attentiveness to and approbation of the instrumental music that Elisha received on this occasion!

Third, given Elisha’s intense commitment to separation from compromised worshipers of the Lord, the flow of thought in the passage points us to the truth of divine attention to and approbation of instrumental music ministered by a musician who is not a compromising worshiper of the Lord. By implication, we learn that both Elisha and God would have rejected instrumental music proffered by an ungodly instrumental musician (cf. Amos 5:23).

Conclusion

In a previous post, I treated a passage in Amos 5 that plainly teaches that God pays attention to the instrumental music that people use to worship Him. The account of Elisha, the minstrel’s playing, and God’s response to that playing similarly reveals divine attentiveness to instrumental music.

In discussions about issues concerning worship music, we must account properly for this vital biblical truth—God is not merely concerned with the words that are sung to Him; He also pays attention to the instrumental music that is used. In fact, through how the Spirit has chosen to inspire the revelation given to us in 2 Kings 3:15, we must accept the truth that He pays attention to and responds to instrumental music that is not accompanied by words!

Furthermore, the emphasis in the passage on Elisha’s separation from ungodly worshipers of the Lord directs us to scrutinize carefully the instrumental music that we use in divine worship and to reject instrumental music sourced in the evil activities of evil people, including people who profess to worship the Lord but compromise His worship. Attempts to resolve today’s worship wars that do not account for the truths revealed in 2 Kings 3, Amos 5, and other related passages will necessarily fail to resolve the issues involved properly.

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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A Helpful Critique of Contemporary Worship Music

December 13, 2014

I have found several of the articles that Jonathan Aigner has written to be helpful as I continue to study issues related to the debates about the use of contemporary worship music. His post Modernized hymns: Are you singing hymns, or just contemporary songs with old words? is particularly thought-provoking because of his valuable analysis of seven indicators of “singing contemporary songs with old words.”

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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God Does Pay Attention to the Instrumental Music Used to Worship Him!

December 9, 2014

Every time that I read Amos 5, I am struck by what God says at the end of the passage concerning the instrumental music that His people offer to Him in their worship. Although I am still working on understanding the full significance of this passage for the debates about worship music in our day, I am convinced that it has great relevance to those issues.

Amos 5 and Divine Attentiveness to Instrumental Music

Because of the extreme offensiveness of His people’s religious hypocrisy, God made known that He intensely detested their ungodly worship. Tellingly, He said that He would not accept the things that they would offer Him:

Amos 5:21 I hate, I despise your feast days, and I will not smell in your solemn assemblies.

 22 Though ye offer me burnt offerings and your meat offerings, I will not accept them: neither will I regard the peace offerings of your fat beasts.

 23 Take thou away from me the noise of thy songs; for I will not hear the melody of thy viols.

 24 But let judgment run down as waters, and righteousness as a mighty stream.

Remarkably, God rebuked His people by saying that He hated the special occasions of divine worship that He Himself had ordained for them!

It is noteworthy that God specifies here that He commanded them to take away the noise of their songs from Him and made known that He would not listen to the instrumental music that they would offer up to Him in their hypocritical worship. By direct and necessary implication, verse 23 reveals that God listens intently to the instrumental music that His people use in their worshiping Him and any music that is part of divine worship must be music that is a delight to Him.

Conclusion

Contrary to the notions that some believers seem to have, this passage makes clear that believers cannot legitimately hold that God only cares about the words that are sung to Him and doesn’t pay attention to the instrumental music that is used to worship Him. God has made known plainly in Amos 5:23 (and in other passages) that He does pay attention to the instrumental music used to worship Him!

 

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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Why Psalm 40:1-3 Does Not Justify Using CCM to Evangelize Lost People

October 30, 2014

I have been closely following another lengthy online discussion about CCM. One participant in this discussion recently asserted that Psalm 40 justifies using CCM to evangelize lost people. He wrote,

The “new song” which God puts in our hearts may very well change with each generation. You have no right to determine subjectively what that means. You certainly have the right to hold to your position on music as preference, but if God has given us a “new song” which “many will see and fear, and put their trust in the Lord,” it destroys one of the key IFB arguments against CCM–“Music is never used for evangelism, only for edification.” With each generation, God has given a new song to communicate His truth to this generation. The style may not speak to the spirit of my heart, but it will speak to the heart of someone else who needs the message of the Gospel. I have no right to put God into a box and tell him He cannot use a certain style of music.[1]

A close look at two key aspects of the beginning verses of Psalm 40 shows why this argument is erroneous.[2]

The Identity of the Person Giving Testimony in Psalm 40:1-3

Psalm 40 begins with the following testimony:

Psa 40:1 <To the chief Musician, A Psalm of David.> I waited patiently for the LORD; and he inclined unto me, and heard my cry.

2 He brought me up also out of an horrible pit, out of the miry clay, and set my feet upon a rock, and established my goings.

3 And he hath put a new song in my mouth, even praise unto our God: many shall see it, and fear, and shall trust in the LORD.

From these verses, we know for certain that king David is the one who is giving this testimony.

Is this, then, an evangelistic testimony of how he became a true believer in the Lord or is it something other than that? Answering this question properly requires that we closely examine the precise nature of his testimony in these statements.

The Nature of the Testimony Given in Psalm 40:1-3

David begins by declaring, “I waited patiently for the Lord” (Ps. 40:1a). He then affirms how the Lord inclined Himself to David and heard his prayer (Ps. 40:1b-c).

Scripture never affirms that any unbeliever waits patiently for the Lord; in fact, they have turned away from Him and do not on their own want anything to do with Him (Cf. Rom. 3:10-18). The opening statement in Psalm 40, therefore, makes plain that this is not an evangelistic testimony that David gave about how he was saved—David is testifying of what he did as a true believer in the Lord and of the Lord’s response to him!

Not only is verse one therefore not an evangelistic testimony but also verses two and three therefore are also not verses relating David’s giving an evangelistic testimony; rather, they are his testimony as a believer of how God delivered him out of dire straits and filled his heart with a new song of grateful praise for His delivering him as a believer. This analysis shows that the reference to a “new song” in Psalm 40:3 does not have anything to do with giving lost people the gospel in song so that they will come to be true believers in the Lord.

Conclusion

Contrary to the confident assertions cited at the beginning of this post, the teaching about the “new song” in Psalm 40 does not provide any evidence that “destroys one of the key IFB arguments against CCM—‘Music is never used for evangelism, only for edification.’” A sound handling of Psalm 40:1-3 shows that it does not have anything to do with evangelizing lost people using a new song.

Psalm 40:1-3 does not justify using CCM to evangelize lost people. Those who believe that it is legitimate to use CCM to give the gospel to lost people cannot use this passage legitimately to support their view.

[1] Comment posted on October 14 at 10:08pm in the discussion, “The Sacred Cow” of CCM! 2-Part Discussion Question:”; https://www.facebook.com/groups/319245621580408/permalink/331652423673061/

[2] I am indebted to my pastor, Dr. Mark Minnick, for how his treatment of this passage in a message helped greatly to provide me with this proper understanding of the true nature of the testimony given in Psalm 40:1-3.

For more help with issues concerning CCM, please see the resources that I provide here.

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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Another Lengthy Online Discussion about CCM

October 11, 2014

This evening, I read all 437 posts in another lengthy online discussion about CCM: “The Sacred Cow” of CCM! 2-Part Discussion Question.” I did so because I want to understand as much as I can about how people who support CCM think and argue for its propriety.

Although there are many things that I read that I would like to interact with, I just do not have the time or inclination at present to become part of this discussion. If you are interested in this subject, you might consider browsing through the posts here.

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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What A Sound Theology of Sound Teaches Us about Music That We Should Reject

February 2, 2014

Because biblical revelation about sound abounds, a sound theology of sound must account for all that Scripture reveals about sound. Attention to several passages about one specific aspect of certain sounds points us to another reason to reject the use of certain music.

Thunder as God’s Voice

At least seven passages directly identify thunder as the voice of God speaking, either through paralleling the two or by more directly linking them:

2Sa 22:14 The LORD thundered from heaven, and the most High uttered his voice.

Psa 18:13 The LORD also thundered in the heavens, and the Highest gave his voice; hail stones and coals of fire.

Psa 29:3 The voice of the LORD is upon the waters: the God of glory thundereth: the LORD is upon many waters.

Job 37:4 After it a voice roareth: he thundereth with the voice of his excellency; and he will not stay them when his voice is heard. 5 God thundereth marvellously with his voice; great things doeth he, which we cannot comprehend.

Job 40:9 Hast thou an arm like God? or canst thou thunder with a voice like him?

Psa 77:18 The voice of thy thunder was in the heaven: the lightnings lightened the world: the earth trembled and shook.

Psa 104:7 At thy rebuke they fled; at the voice of thy thunder they hasted away.

These passages should teach us to consider the very real possibility that when we hear thunder, we may actually be hearing God speaking but not understanding what He is saying. A key passage in the NT supports the validity of our need to be mindful of this possibility.

Human Misidentification of Sound as Merely Thunder

On an occasion when He was in the midst of a crowd, Jesus prayed, “Father, glorify Thy name” (John 12:28a). In response, “then came there a voice from heaven, saying, I have glorified it, and will glorify it again” (John 12:28b).

The crowd that was standing by Him heard it and “said that it thundered: others said, An angel spake to Him” (John 12:29). Jesus responded to them, “This voice came not because of Me, but for your sakes” (John 12:30).

Several commentators explain what took place at this time:

The Father then spoke from heaven in a thunderous voice, confirming His working in Jesus both in the past in the future. The voice was audible but not all understood it . . . The voice from heaven confirmed faith in the spiritually perceptive but to the unspiritual it was only a noise (1 Cor. 2:14).—Edwin A. Blum, BKC: NT, 318; bold is in the original

He alone could distinguish exactly what the voice said . . . If Jesus hears the voice distinctly, the crowd that was there does not. Some, presumably those less open to observable supernatural intervention, said it had thundered; others recognized that the sound was speech, a voice, and not just noise, but there is no evidence that they could make out what was being said.—D. A. Carson, The Gospel according to John, 441

The form in which the answer to Jesus’ prayer Father, glorify thy name (28) is conveyed (apparently a loud noise, interpreted by the materialists as a clap of thunder and nothing more, and by the more spiritually-minded as an angelic utterance) brings home to those standing near Jesus (for this, He states, was its primary purpose) the truth that Jesus really is engaged upon His Father’s business.—R. V. G. Tasker, TNTC: John, 149-150.

They heard the sound from heaven without distinguishing the words. . . . The astounding sound coming from heaven was called “thunder” by those who sought a natural explanation. Perhaps the sound resembled thunder to their ears. Others, nearer the truth, connect the sound with Jesus and imagine that an angel from heaven has spoken to him. The thunder hypothesis would be offered by the skeptics of today, who deem any but a natural explanation of supernatural phenomena “superstition.” —R. C. H. Lenski, The Interpretation of John, 871-872

These commentators all note that the passage shows that when many people in the crowd thought that they had heard thunder, they actually had heard the sound of divine communication from the Father to the Son. What many of these people, therefore, thought was just a loud noise in the heavens was actually specific communication.

Additional Relevant Passages

Three other passages also relate times when people heard loud sounds and did not understand that they were actually hearing the speech of supernatural beings, either an angel (Dan. 10:4-9) or of the glorified Jesus (Acts 9:7 and 22:9):

Daniel 10:4-9

While Daniel and others were at the bank of a great river, only Daniel saw “a great vision”:

Dan 10:4 And in the four and twentieth day of the first month, as I was by the side of the great river, which is Hiddekel;

5 Then I lifted up mine eyes, and looked, and behold a certain man clothed in linen, whose loins were girded with fine gold of Uphaz:

6 His body also was like the beryl, and his face as the appearance of lightning, and his eyes as lamps of fire, and his arms and his feet like in colour to polished brass, and the voice of his words like the voice of a multitude.

7 And I Daniel alone saw the vision: for the men that were with me saw not the vision; but a great quaking fell upon them, so that they fled to hide themselves.

8 Therefore I was left alone, and saw this great vision, and there remained no strength in me: for my comeliness was turned in me into corruption, and I retained no strength.

9 Yet heard I the voice of his words: and when I heard the voice of his words, then was I in a deep sleep on my face, and my face toward the ground.

Daniel notes that the words that he heard were “like the voice of a multitude,” but he gives no indication that he understood what that voice was saying. Later, Daniel was given understanding (Dan. 10:10-21).

Acts 9:7 and 22:9

Two of the accounts of Paul’s conversion record that Jesus spoke from heaven to Saul after He had “arrested” him on the road to Damascus (Acts 9:3-7; 22:6-9). Those who were with Saul heard a voice but did not understand it:

Act 9:7 And the men which journeyed with him stood speechless, hearing a voice, but seeing no man.

Act 22:9 And they that were with me saw indeed the light, and were afraid; but they heard not[1] the voice of him that spake to me.

Like John 12:28-29, this passage shows that humans did not understand that the sound that they heard was actual specific communication by God.

Discussion 

Based on all the passages treated above, our theology of sound must include the reality that we likely often misinterpret actual speech by supernatural beings as merely thunder or some other indistinct loud sounds. Our inability to understand such supernatural speech (cf. 1 Cor. 13:1), therefore, should warn us not to think that we know with certainty that the extremely loud sounds of the music in a rock concert or of the music in many contemporary worship services are not communicating ungodly messages to supernatural beings who understand various communicative properties of sound that we do not.

Conclusion 

Christians who favor contemporary worship must allow Scripture to adjust their theology of sound so that it takes into account properly the divine revelation that shows our human inability to understand fully what certain loud sounds communicate in the supernatural realm and how they do so. Because of its demonic origins, rock music, which is played very loudly to obtain its full effect, must be rejected so that there is no possibility that we will unwittingly communicate ungodly messages to supernatural beings through music whose sounds have aspects that we do not understand.

 

[1] A careful examination of the Greek text shows that Acts 22:9 conveys not that the others did not hear the voice at all but that they did not understand what was being said.

 

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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Are Secular Testimonies about Fallen Spirits and Music Inherently Unreliable?

January 25, 2014

Undeniably, many secular musicians have testified in various ways to supernatural influences as the source of their ungodly music.[1] In online written messages to me, at least two CCM supporters have claimed that secular testimonies about music and spirituality are unreliable.

Are secular testimonies about fallen spirits and music inherently unreliable? Two passages provide revelation that points to this view being false.

2 Kings 6:8-12

At a time when Syria was warring against Israel, the king of Syria conferred with his servants to determine various places where he would locate his camp (2 Kings 6:8). Elisha warned the king of Israel about each location so that the king was able to save himself on multiple occasions from being harmed by the Syrians (2 Kings 6:9-10).

In response to the repeated foiling of his strategy, the king of Syria demanded that his servants tell him who was the traitor among them who was giving away their location each time to the king of Israel (2 Kings 6:11). One of his servants replied, “None, my lord, O king: but Elisha, the prophet that is in Israel, telleth the king of Israel the words that thou speakest in thy bedchamber (2 Kings 6:12).

The passage provides no indication that this Syrian servant somehow had secretly spied on Elisha on each occasion and then returned to give his eyewitness testimony to the king about what had happened. Nor does the passage tell us that he received that information somehow through some other informant.

This remarkable testimony, therefore, by presumably an unbelieving Syrian servant shows that an unbeliever was able to testify reliably about a profound spiritual reality of which he would not have been able to obtain any evidence to support his testimony. Although we have no way to know how or why this servant was able to provide this testimony, we must accept that this record of his ability to do so teaches us that secular testimony about spiritual realities are not inherently unreliable.

Acts 16:16-18

While Paul, Timothy, and Luke were going to a place of prayer, they encountered a certain female slave who was possessed by an evil spirit (Acts 16:16a). Through the influence of the evil spirit of divination that was upon her, this girl was greatly profiting her masters through her fortune telling (Acts 16:16b).

This girl followed Paul and the others around for many days and repeatedly gave forth a remarkable testimony: “These men are the servants of the most high God, which show unto us the way of salvation” (Acts 16:17). After being grieved by her doing so for many days, Paul commanded the spirit in the name of Jesus Christ to come out of the girl, and the spirit immediately left her (Acts 16:18).

This passage informs us that a presumably unbelieving girl who was possessed by an evil spirit yet repeatedly bore a reliable testimony to profound spiritual realities! Not only did she correctly proclaim crucial spiritual information about who Paul, Timothy, and Luke were, but also she gave forth a fully reliable testimony to the spiritual content of their message.

Even though she was a demon-possessed woman, she bore repeated testimonies to spiritual truths about which no demon would ever want any human to give true testimony! Her testimony was pointing people to true servants of the true God who were telling them the truth of how they could be saved—something about which the devil and his demons use all their infernal powers to try to prevent as many people as possible from ever hearing the truth about and believing!

Discussion

Second Kings 6:8-12 teaches us that a secular servant of an evil king somehow testified to profound spiritual truth in spite of his having no stated source of his having such knowledge. Acts 16:16-18 shows that even a demon-possessed lost person yet provided provide reliable testimony to truths about vital spiritual realities and did so even though her testifying to those truths was in direct opposition to the aims and purposes of all fallen spirits!

Taken together, these two passages refute the notion that testimonies from secular people about spiritual realities are inherently unreliable. Applying what we learn from these passages to the objections raised about the reliability of secular testimonies to the role of fallen spirits in influencing people to produce ungodly music, we can be confident that such testimonies are not inherently unreliable.

Conclusion

Christians must not hold the false view that secular testimonies about fallen spirits and music are inherently unreliable. Because we have many testimonies from secular musicians that fallen spirits have influenced them to produce their music, we should reject all such music and all other music that uses the same styles about which they have borne testimony concerning the evil supernatural source of those styles.

[1] The following quotes are from a website that I found by doing a Google search on evil spirits and rock music:

Angus Young: (AC/DC guitarist)  “…it’s like I’m on automatic pilot. By the time we’re halfway through the first number someone else is steering me. I’m just along for the ride. I become possessed when I get on stage” (Hit Parader, July 1985, p. 60).

John McGlaughlin: “One night we were playing and suddenly the spirit entered into me and I was playing but it was no longer me playing.” (Circus Magazine, April, 1972, p. 38)

Little Richard: “My true belief about Rock ‘n’ Roll — is this: I believe this kind of music is demonic . . . A lot of the BEATS in music today are taken from voodoo, from the voodoo DRUMS.” (Charles White, The Life and Times of Little Richard, p. 197)

Van Halen’s David Lee Roth “I’m gonna abandon my spirit to them which is exactly what I attempt to do. You work yourself up into that state and you fall into supplication of the demon gods…” [Van Halen’s David Lee Roth. Interview w. Rock. April 1984. Pg 30]

—http://www.inplainsite.org/html/voices_of_rock.html; accessed 1/17/14; 4:09 pm)

I also found the following sources from that same search: Note the testimonies provided in this web article (https://truediscipleship.com/ten-scriptural-reasons-why-the-rock-beat-is-evil-in-any-form/; accessed 9/21/19; 9:40 pm) and these testimonies from rock musicians themselves in this article (http://www.jesus-is-savior.com/Evils%20in%20America/CCM/hip_hop.htm; accessed 1/17/14; 3:55 pm); see also the similar testimonies in a similar article (http://wayoflife.org/index_files/rock_musicians_as_mediums.html; accessed 1/17/14; 4:14 pm.)

Please note that I have not independently verified the quotes provided in any of these sources. I have no reason, however, to doubt their veracity, especially since several sources provide some of the same quotes.

 

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

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¡Cuidado con los peligros de la música!*

January 23, 2014

Aunque muchos creyentes piensan que no es posible que se pongan en peligro a sí mismos y a los demás a través de la música si tiene palabras cristianas, una cuidadosa atención a la revelación bíblica y otras pruebas relativas a los espíritus caídos y sus influencias en la música humana demuestra lo contrario. El siguiente tratamiento de esa revelación y la evidencia nos advierte contra los peligros que hay para otros y para nosotros mismos a través de la música.

Espíritus caídos y sus actividades

Dios es el único Ser eterno (Salmo 90:2; Juan 1:1-2), y Él creó todo lo que existe (Gen. 1:1, Juan 1:3), incluyendo todos los seres espirituales sobrenaturales (Gen. 2:1; Éxodo 20:11; Neh. 9:6; Salmo 148:1-5; Col. 1:16). Los seres espirituales sobrenaturales mencionados en la Biblia incluyen los serafines (Isaías 6:2), los querubines (Génesis 3:24), los cuatro seres vivientes (Rev. 4:8), los santos ángeles (Mateo 25:31), y los malos espíritus (Hechos 19:12).

Como Dios no es el autor del mal (Génesis 1:31; cf. Santiago 1:13), sabemos que los malos espíritus que se mencionan en las Escrituras fueron creados como seres espirituales santos (Ezequiel 28:14-15a; ver Judas 6). En algún momento después de su creación, se rebelaron contra Dios y se convirtieron en espíritus caídos (Ezequiel 28:15b; cf. Judas 6; 2 Pedro 2:4).

Los espíritus caídos tienen la intención de negar a Dios la gloria que Él solo merece de sus criaturas (Is. 14:12-14; cf. Col. 2:18; Ap. 9:20). Tratan de hacer daño a tantas de sus criaturas como sea posible para lograr su destrucción (cf. Mat. 8:32; Juan 8:44, Hechos 19:12), especialmente los seres humanos (Lucas 13:16; Hechos 10:38; 1 Ped. 5:8).

Debido a que el Padre desea que la gente le adore en espíritu y en verdad (Juan 4:23-24), podemos estar seguros de que los espíritus caídos quieren evitar que la gente le de esa adoración. Sin lugar a dudas, lo hacen de forma continua en todo el mundo, ya sea a través de la prevención por completo (2 Corintios 4:3-4; Col. 2:18; Ap. 9:20) o a través de la corrupción de la adoración en tantas formas como sea posible (cf. 2 Cor 11:3; 1 Tim 4:1-3).

Los espíritus caídos han influido a los seres humanos a hacer cosas malas sin que ellos se den cuenta de esta influencia (1 Crónicas 21:1; 1 Reyes 22:22; 2 Cor. 11:14). Han tenido esta influencia encubierta sobre los incrédulos (1 Reyes 22:22; Juan 13:27) igual que sobre los creyentes (1 Crónicas 21:1; Hechos 5:3).

Los espíritus caídos y la música en las Escrituras

Los ángeles cantaron cuando Dios creó la tierra y todo en ella (Job 38:6-7). Los ángeles tocan las trompetas (Éxodo 19:16; Ap. 8:2) y los seres espirituales celestiales adoran a Dios, juegan arpas, y cantan alabanzas a Dios y al Cordero (Apocalipsis 4:8-11; 5:8-14). Sabemos, pues, que los seres espirituales sobrenaturales, incluyendo los espíritus caídos, son seres musicales (ver este post para más explicaciones sobre este punto).

Los espíritus caídos han observado y escuchado toda la adoración del cielo que ha incluido la música (Job 38:6-7; Salmo 148:2; cf. Is. 6:3). Ellos saben por experiencia cómo suena la música celestial que le agrada a Dios.

Los espíritus caídos han observado las actividades de los seres humanos desde el principio de la humanidad (Génesis 3; 2 Cor. 11:3; cf. Job 1:7). Ellos saben exactamente lo que el hombre ha hecho de la música que ha complacido a Dios (por ejemplo, 2 Crón. 5:11-14).

Los espíritus caídos saben acerca de la música instrumental piadosa producida por un hombre lleno del Espíritu que expulsó a un espíritu malo de otro hombre (1 Sam. 16:14-23). Entonces, hay por lo menos un espíritu caído que ha experimentado personalmente el poder espiritual de la música piadosa (1 Sam. 16:23).

Los espíritus caídos tienen pleno conocimiento también de la música que el hombre ha hecho que no le ha complacido a Dios (por ejemplo, Is. 5:11-12; Dan. 3:5-7; 10; 15). Ellos, sin duda, juegan un papel importante en las actividades musicales de multitudes de personas que fueron destruidas en el Diluvio porque “todo designio de los pensamientos del corazón de ellos era de continuo solamente el mal” (Génesis 4:21 cf. Génesis 6:5; ver este post para una explicación completa de este punto clave).

Después del diluvio, en una ocasión particularmente sórdida, los espíritus caídos influyeron a la gente que había comido carne ofrecida a un ídolo en el culto sincretista de Jehová a cantar. El Espíritu Santo destaca su manera de cantar con una referencia explícita a su canto (Éxodo 32: 17-18). Debido a que el canto fue producido por la gente baja la influencia de los demonios (cf. 1 Cor. 10:20), comiendo, bebiendo y jugando idolátricamente (1 Corintios 10:7; incluyendo el baile impío [Éxodo 32:19]) de una manera tan mala y descontrolada que aun sus enemigos se avergonzaban de ellos (Éxodo 32:25), podemos estar seguros de que su canto a Jehová era malo también.

Los espíritus caídos y la música peligrosa

Teniendo en cuenta todo lo que sabemos acerca de los objetivos y actividades de los espíritus caídos y sobre todo su conocimiento de la música que agrada a Dios y la música que no le complace, los creyentes no deben ser en lo más mínimo despectivos en cuanto al papel de los espíritus caídos en la producción de los estilos musicales que son populares e impíos (Ef. 2:2-3, 1 Juan 5:19). Más bien, tenemos todas las razones para creer que los espíritus caídos han influido y seguirán influyendo a tantas personas como sea posible a escuchar y producir música que no agrada a Dios, sobre todo en su adoración a él.

De hecho, muchos músicos populares han declarado en diversas formas que la fuente de su música ha sido las influencias sobrenaturales fuera de sí mismos.[1] Los creyentes no deben rechazar tales testimonios—deben mantenerse lo más alejado posible de cualquier tipo de música, aunque tenga palabras cristianas, cuando hay la más mínima posibilidad de que los espíritus caídos hayan jugado un papel en el origen de esa música peligrosa.

Conclusión

Los cristianos deben rechazar (Sal. 1:1; Ef. 5:11) toda la música, incluyendo música con palabras cristianas, que emplea estilos musicales populares e impíos que los humanos malvados han producido con fines perversos explícitamente planteados, como la música rock, porque hay consideraciones bíblicas y fundamentales y testimonios personales que apuntan a los espíritus caídos como el origen sobrenatural de esos estilos impíos. ¡Cuidado con los peligros de la música!

 

 

[1] Las siguientes citas son de una página que he encontrado haciendo una búsqueda en Google sobre los malos espíritus y la música rock:

David Bowie: “Rock has always been THE DEVIL’S MUSIC. . .” (Rolling Stone, Feb. 12, 1976);

John Lennon: “I’ve sold my soul to the DEVIL.” (Ray Coleman, Lennon, p.256);

Little Richard: “I’m the Rock ‘n Roll singer that you heard about through the years. . . I was directed and commanded by another power. The power of DARKNESS. . . The power of the DEVIL, SATAN.” (Charles White, The Life and Times of Little Richard, pp. 205-206);

During a 1993 Oprah Winfrey interview, Michael Jackson, explained the reason for some of his filthy sexual gestures during his concerts: “It happens subliminally. IT’S THE MUSIC THAT COMPELS ME TO DO IT. You don’t think about it, it just happens. I’M SLAVE TO THE RHYTHM.” (The Evening Star, Feb. 11, 1993, p. A10)

—http:/ / www.jesus-is-savior.com/Evils % 20en % 20America/CCM/hip_hop.htm ; visitada 17/01/14; 15:55

También encontré las siguientes fuentes en la misma búsqueda: Tenga en cuenta los testimonios prestados en el punto II de este artículo web (http://truediscipleship.org/Gtopics/general108.htm; visitada 01/17/14; 15:59) y los numerosos testimonios de los propios músicos de rock de este artículo ( http://www.inplainsite.org/html/voices_of_rock.html ; visitada 17/01/14; 16:09), ver también los testimonios similares en un artículo similar (http://wayoflife.org/index_files/rock_musicians_as_mediums.html ; visitada 17/01/14; 16:14).

Por favor, tenga en cuenta que no he verificado de forma independiente las citas provistas en estas fuentes. Sin embargo no tengo ninguna razón para dudar de su veracidad, sobre todo porque varias fuentes proporcionan algunas de las mismas cotizaciones.

*I’d like to thank my friend Jeremy Patterson for his help in translating the English version of this article into Spanish.

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

In CCM, Exposition, Spanish, Theology
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Beware Endangering Yourself and Others through Music!

January 17, 2014

Although many believers think that it is not possible for them to endanger themselves and others through music if it has Christian words, careful attention to biblical revelation and other evidence concerning fallen spirits and their influences on human music proves otherwise. The following treatment of that revelation and evidence warns us to beware endangering others and ourselves through music.

Fallen Spirits and Their Activities

God is the only eternal Being (Ps. 90:2; John 1:1-2), and He created everything else that exists (Gen. 1:1; John 1:3), including all supernatural spirit beings (Gen. 2:1; Exod. 20:11; Neh. 9:6; Ps. 148:1-5; Col. 1:16). Supernatural spirit beings mentioned in Scripture include seraphim (Is. 6:2), cherubim (Gen. 3:24), four living creatures (Rev. 4:8), holy angels (Matt. 25:31), and evil spirits (Acts 19:12).

Because God is not the Author of evil (Gen. 1:31; cf. James 1:13), we know that the evil spirits mentioned in Scripture were created as holy spiritual beings  (Ezek. 28:14-15a; cf. Jude 6). At some point after their creation, they rebelled against God and became fallen spirits (Ezek. 28:15b; cf. Jude 6; 2 Pet. 2:4).

Fallen spirits are intent on denying God the glory that He alone is due from His creatures (Is. 14:12-14; cf. Col. 2:18; Rev. 9:20). They seek to harm as many of His creatures as possible and to bring about their destruction (cf. Matt. 8:32; John 8:44; Acts 19:12), especially humans (Luke 13:16; Acts 10:38; 1 Pet. 5:8).

Because the Father desires people who will worship Him in spirit and truth (John 4:23-24), we can be certain that fallen spirits want to prevent people from giving Him that worship. Undoubtedly, they do so continuously throughout the world either through preventing it entirely (2 Cor. 4:3-4; Col. 2:18; Rev. 9:20) or through corrupting it in as many ways as possible and as much as possible (cf. 2 Cor. 11:3; 1 Tim. 4:1-3).

Fallen spirits have influenced humans to do evil things without their knowing anything about that influence (1 Chron. 21:1; 1 Kings 22:22; 2 Cor. 11:14). They have had this covert influence on both unbelievers (1 Kings 22:22; John 13:27) and believers (1 Chron. 21:1; Acts 5:3).

Fallen Spirits and Music in Scripture

The angels sang when God created the earth and everything on it (Job. 38:6-7). Angels sound trumpets (Exod. 19:16; Rev. 8:2) and heavenly spirit beings worship God, play harps, and sing praise to God and the Lamb (Rev. 4:8-11; 5:8-14). We know, therefore, that supernatural spirit beings, including fallen spirits, are musical beings (see this post for further explanation of this point.

Fallen spirits have observed and heard all the worship of heaven that has included music (Job 38:6-7; Ps. 148:2; cf. Is. 6:3). They know experientially what heavenly music that pleases God sounds like.

Fallen spirits have observed the activities of humans from the beginning of mankind (Gen. 3; 2 Cor. 11:3; cf. Job 1:7). They know exactly what music man has made that has pleased God (e.g. 2 Chron. 5:11-14).

Fallen spirits know about the godly instrumental music produced by a Spirit-empowered man that drove out an evil spirit from another man (1 Sam. 16:14-23). At least one fallen spirit, therefore, has personally experienced the spiritual power of such godly music (1 Sam. 16:23).

Fallen spirits have full knowledge also about the music that man has made that has not pleased God (e.g. Is. 5:11-12; Dan. 3:5-7, 10, 15). They undoubtedly played a major role in the musical activities of multitudes of people who were destroyed in the Flood because “every imagination of the thoughts of [their hearts] was only evil continually” (Gen. 4:21 cf. Gen. 6:5; see this post for a full explanation of this key point).

After the Flood, on a particularly sordid occasion, fallen spirits influenced people who had eaten meat offered to an idol in syncretistic worship of Yahweh to sing in a way that the Holy Spirit highlights by providing an explicit record of that singing (Exod. 32:17-18). Because that singing was produced by demon-influenced people (cf. 1 Cor. 10:20) who were idolatrously eating, drinking, and playing (1 Cor. 10:7; including ungodly dancing [Exod. 32:19]) in such an evil, uncontrolled way that even their enemies were ashamed of them (Exod. 32:25), we can be certain that their singing that was supposedly to Yahweh was evil as well.

Fallen Spirits and Dangerous Music

Given all that we know about the aims and activities of fallen spirits and about their full knowledge about music that pleases God and music that does not please Him, believers must not be at all dismissive about the role of fallen spirits in the production of ungodly popular musical styles (Eph. 2:2-3; 1 John 5:19). Rather, we have every reason to believe that fallen spirits have influenced and continue to influence as many people as possible to listen to and produce music that does not please God, especially in their worship of Him.

In fact, many popular musicians have testified in various ways that the source of their music has been supernatural influences from outside themselves.[1] Believers must not reject such testimonies—they must stay as far away as possible from any music, even if it has Christian words, when there is even the slightest possibility that fallen spirits have played a role in originating that dangerous music (see also Are Secular Testimonies about Fallen Spirits and Music Inherently Unreliable?).

Conclusion

Christians must reject (Ps. 1:1; Eph. 5:11) all music, including music with Christian words, that employs ungodly popular musical styles that evil humans have produced for explicitly stated evil purposes, such as rock music, because vital biblical considerations and sobering personal testimonies point to fallen spirits as the supernatural origin of those ungodly styles. Beware endangering yourself and others through music!

 

[1] The following quotes are from a website that I found by doing a Google search on evil spirits and rock music:

David Bowie: “Rock has always been THE DEVIL’S MUSIC. . .” (Rolling Stone, Feb. 12, 1976);

John Lennon: “I’ve sold my soul to the DEVIL.” (Ray Coleman, Lennon, p.256);

Little Richard: “I’m the Rock ‘n Roll singer that you heard about through the years. . . I was directed and commanded by another power. The power of DARKNESS. . . The power of the DEVIL, SATAN.” (Charles White, The Life and Times of Little Richard, pp. 205-206);

During a 1993 Oprah Winfrey interview, Michael Jackson, explained the reason for some of his filthy sexual gestures during his concerts: “It happens subliminally. IT’S THE MUSIC THAT COMPELS ME TO DO IT. You don’t think about it, it just happens. I’M SLAVE TO THE RHYTHM.” (The Evening Star, Feb. 11, 1993, p. A10)

—http://www.jesus-is-savior.com/Evils%20in%20America/CCM/hip_hop.htm; accessed 1/17/14; 3:55 pm

I also found the following sources from that same search: Note the testimonies provided in point II of this web article (http://truediscipleship.org/Gtopics/general108.htm; accessed 1/17/14; 3:59 pm) and the many testimonies from rock musicians themselves in this article (http://www.inplainsite.org/html/voices_of_rock.html; accessed 1/17/14; 4:09 pm); see also the similar testimonies in a similar article (http://wayoflife.org/index_files/rock_musicians_as_mediums.html; accessed 1/17/14; 4:14 pm.)

Please note that I have not independently verified the quotes provided in any of these sources. I have no reason, however, to doubt their veracity, especially since several sources provide some of the same quotes.

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

In CCM, Discipleship, Exhortation, Theology
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The Importance of 1 Samuel 16:14-23 for a Sound Theology of Music

January 9, 2014

First Samuel 16 reveals several truths that are lacking in the theology of music of many believers today. Because the Holy Spirit has inspired this passage of Scripture to profit us so that we will be thoroughly equipped to do every good work (2 Tim. 3:15-17), we must give close attention to this passage if we are to have a sound theology of music.

Godly music is not just about words that are sung

After informing us that the Spirit was on David from the day that Samuel anointed him (1 Sam. 16:13), First Samuel 16:14-23 immediately thereafter provides us with a lengthy report of how David’s skillfully playing the harp relieved Saul from terrible affliction:

1Sa 16:14 But the Spirit of the LORD departed from Saul, and an evil spirit from the LORD troubled him.

 15 And Saul’s servants said unto him, Behold now, an evil spirit from God troubleth thee.

 16 Let our lord now command thy servants, which are before thee, to seek out a man, who is a cunning player on an harp: and it shall come to pass, when the evil spirit from God is upon thee, that he shall play with his hand, and thou shalt be well.

 17 And Saul said unto his servants, Provide me now a man that can play well, and bring him to me.

 18 Then answered one of the servants, and said, Behold, I have seen a son of Jesse the Bethlehemite, that is cunning in playing, and a mighty valiant man, and a man of war, and prudent in matters, and a comely person, and the LORD is with him.

 19 Wherefore Saul sent messengers unto Jesse, and said, Send me David thy son . . .

 23 And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him. (bold added to the original)

The flow of thought from 1 Samuel 16:13 to this passage shows that the passage is not merely stressing that a skillful harp player profited Saul, but that a Spirit-empowered skillful harp player did so (cf. “the Lord was with him” [16:18]). We know, therefore, that the skillful music that David was playing was not merely humanly produced instrumental music—it was divinely empowered instrumental music and therefore godly music.

Moreover, this passage speaks only of David’s skillfully playing the harp and does not say anything about his singing to Saul. In fact, five explicit references to the playing of a musical instrument (1 Sam. 16:16 [2x]; 17; 18; 23) show incontestably that God is emphasizing instrumental music—apart from any words— in this passage.

The passage thus stresses to us that David’s ministry of that solely instrumental music that was Spirit-empowered powerfully benefited Saul for good (1 Sam. 16:23). A sound theology of music, therefore, must account fully for the teaching of this passage that shows that godly music without words had powerful effects for good.

Godly music is not just about humans

An evil spirit was plaguing Saul (1 Sam. 16:14). To relieve him of his affliction that was caused by that spirit, his servants advised him with confidence that his availing himself of certain skillfully played instrumental music would make him well (1 Sam. 16:15-16).

Just as they had said, Saul’s receiving such ministry did refresh him and make him well (1 Sam. 16:23). David’s instrumental music did so because it had a profound spiritual effect of delivering him from the supernatural cause of his affliction—“the evil spirit departed from him” (1 Sam. 16:23)!

This passage shows that godly instrumental music drove away an evil spirit that was afflicting Saul. David’s godly instrumental music, therefore, not only had a beneficial spiritual effect on Saul—it also had a powerful spiritual effect on an evil spirit!

We must learn, therefore, that godly music without any words does not just affect humans; it also has effects on evil supernatural spirit beings. Although we should expect unbelievers to deny any such aspect of music and hold that music is only about humans, believers cannot and must not deny that godly instrumental music is not just about humans.

Godly music is not just about emotions

This passage shows that godly instrumental music ministered by a believer who had the Spirit upon him (1 Sam. 16:13) did not just profit Saul by changing his emotional state. Although it did benefit him emotionally, the instrumental music also profited him spiritually by driving away an evil spirit that was afflicting him!

We, therefore, must not make the serious mistake of restricting our understanding of godly instrumental music to its emotional effects on humans. Although the emotional effects of music on humans are very important, godly instrumental music has spiritual effects that go far beyond the effects that it has on the emotions of the hearer.

Discussion

A theology of music that understands that godly music must have lyrics for it to benefit other believers spiritually is an unbiblical theology. Rather, believers must hold that godly instrumental music also profits believers not just emotionally but also spiritually, including helping to relieve them from any oppression by evil spirits that they may be experiencing.

In the debates about what music and musical styles are fitting for believers, believers must not just talk about how various pieces and styles of music affect human emotions. They must also keep in mind that instrumental music has spiritual effects on both humans and supernatural beings.

Furthermore, demanding that people explain in detail how such spiritual effects are specifically mediated by specifics about how the godly instrumental music is played is an unbiblical insistence. God has not given us detailed explanations about how godly instrumental music influences the spiritual realm, and many such things may very likely be entirely beyond human comprehension (cf. John 3:8).

Simply because we cannot explain how godly instrumental music affects supernatural beings does not justify our denying that it does. The revelation given in First Samuel 16:14-23 demands that we accept what God teaches about the spiritual effects of godly instrumental music whether we can explain them or not.

Conclusion

A sound theology of music must reflect fully the important divine revelation provided about music in 1 Samuel 16:14-23.  God teaches us through this passage that a sound theology of music understands that not only is godly music not just about words that are sung, it also is not just about humans and their emotions.

Related posts:

David’s Instrumental Music Was Not Amoral

Did an Unholy Spirit from God Torment Saul?

Correcting a Wrong Handling of the Accounts of David’s Music Ministry to Saul

Resources That Provide Answers to Key Issues concerning CCM

 

Copyright © 2011-2024 by Rajesh Gandhi. All rights reserved.

In CCM, Exposition, Music, Theology
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