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Can music really be helpful
or harmful, irrespective of the words that go with it? As an art form,
music is unique. It is made up of a variety of ingredients such as
rhythm, harmony, texture, and melody. Depending upon the presence and
balance of these and other related components, music can be soothing
or invigorating, ennobling or vulgarizing, philosophical or orgiastic.
Music can be the source of the richest blessings or an adjunct of
rebellion and sinful behavior.
This is because, on a very basic level, music influences our feelings
and emotions.
Even in Bible times, physicians were aware of the power of musical
stimuli. Those who attempted to treat King Saul's despondency
recommended music to help restore his emotional balance.
To hear music is to respond to it. It enters our being on what is
called the sub-verbal level. So when we are in the presence of music
we are powerless to keep it from having an impact, and as we listen to
it we are having an emotional experience. Physiological changes take
place within our bodies, producing glandular secretions that can
modify our emotions and feelings. Psychologists call it "affective
response."
The body's response to music can influence behavior in two ways. The
emotional changes the music prompts may begin to develop certain
thought patterns in us; since thoughts inspire actions, music can
modify our behavior. But music may also bypass thought and affect our
behavior directly, as may be seen on a simple level by anyone who has
ever found his toe tapping to music he was not even consciously aware
of hearing.
Bodily Response
Music can produce within the body a number of physical phenomena that
are typical of the changes that occur during other kinds of emotional
episodes. There can be changes in respiration, blood distribution
within the body, and variations in the blood sugar levels. Under the
influence of music, pupillary reflexes change, brain-wave patterns are
modified and metabolism is affected. As these changes take place
within the body a person may be stimulated or sedated, depending upon
the nature of music he is responding to.1
Music psychologists report that similar musical experiences produce
nearly parallel moods or emotional changes in different people within
a given culture. Emotional reactions to music do not appear to be
closely related to intelligence, musical aptitude, musical education,
or age level above the sixth grade.2
Ancient Insight
Long before the Christian era thoughtful people recognized the
influence of music on society. A Confucian scholar wrote, "Music is
intended to arouse man to turn back from wickedness and evil. For
changing the mores and improving the customs there is nothing better
than music."3 The Greek philosopher Plato recommended that the ideal
state should promote music that had an influence for good, and that
music with an evil influence ought to be outlawed. The use of music in
mystic rites contributed to the Greek doctrine of Ethos, giving music
an unparalleled function in the molding of character.4
The Greeks believed certain musical modes or scales to be manly and
strong, and others to promote emotions of ecstasy and passion. Some
modes were thought to induce lasciviousness and still others sadness
and mournful thoughts. More recently, Martin Luther warned against the
wrong use of music and was well aware that Satan uses this divine gift
for his own devilish purposes.
The anthropologist Alan P. Merriman states that all cultures have
music as a vehicle for the expression of those ideas and emotions not
revealed in other ordinary types of disclosures. Their musical
communications are involved with both special and general feelings
such as exaltation, grief, longing or passion, joy in motion, sexual
excitement, and a variety of other emotions as well.5
Since music releases certain kinds of feelings or emotions, and since
these feelings affect behavior, is it not important to exercise
considerable care in the selection of the music to which we listen?
The most important criterion that the Christian can employ in making
such a choice is: How does this music affect me? What does it do to my
emotional balance? Do the music and the words suggest only ideas that
are wholesome and actions that are Christ-like? If we want to "guard
well the avenues of the soul,"6 we must be watchful on both counts.
Beautiful music does not nullify the effects of improper words, nor do
fine sentiments (even Christian ones) undo the power of the wrong kind
of music to affect us.
Music and Emotion
Psychologist Lewis Thorpe lists three general classes of emotions: the
mild, upbuilding emotions; the strong, emergency emotions; and the
emotions of sex, including lust.7
Martial music appeals to the strong, emergency kind of emotions, and
can be a stimulating experience in a military parade, for example.
When one hears a full and vibrant orchestral performance of an allegro
movement of one of Beethoven's symphonies, the joyful and upbuilding
emotions are affected. The performance of Handel's "Halleluia Chorus"
or of a sacred anthem gives the performers and the listeners an
emotional experience that is desirable and uplifting.
In the third category, there are certainly appropriate love songs that
stimulate the love emotions in a proper way without vulgar expressions
that are so much a part of modern popular music. But an appeal to the
sexual emotions, including lust, is surely very much in evidence in
performances of many kinds of rap and rock. The lyrics, which we dare
not even quote here because of their indecency, of such artists as
Madonna, Spice Girls, and Red Hot Chile Peppers, as well as many
others, can incite lustful emotions and suggest improper thoughts and
sinful actions.
Rap, rock, heavy metal, and their variants are the music that is used
almost exclusively in night clubs, taverns, houses of prostitution,
and strip joints. Why? Simply because these kinds of music are more in
harmony with the objectives of these places than compositions by
Mozart, Debussy, Stockhausen, or Varese. The kind of music used in
these establishments helps to attract customers by taking advantage of
their natural enjoyment of musical sounds, and the qualities of the
music itself tend to reduce the inhibitions of the customers as well
as of the entertainers.
When we consider the power of music to affect us physically and
emotionally, and to deliver suggestions to us both through the music
and the lyrics, how particular we should be about what we choose to
listen to! The message of the music will register, not only in our
minds, but in our very bodies. Clearly, "I like it" is not enough
justification for the Christian to listen to any particular kind of
music. We must ask, "What is this music designed to do to me—what is
its intended effect?" and be prepared to answer honestly and without
special pleading.
Music has a tremendous power, not only for evil, but also for good.
For instance, the sincere message of a simple hymn, when sung at the
appropriate time, can have a tremendous appeal to those with whom the
Spirit of God is working. Many evangelists appropriately use a musical
selection as a high point of their appeal for decisions for Christ.
The musical medium can be used effectively by those who are trying to
lead others to Him. Ellen White confirms this: "Music was made to
serve a holy purpose, to lift the thoughts to that which is pure,
noble, and elevating, and to awaken in the soul devotion and gratitude
to God."8 This is the highest use of music, and the primary purpose
for which the musical gift was given to mankind.
Dangers
But even religious music is not without its dangers. Not long ago, at
the invitation of one of my non-Adventist music students, I visited
the local Pentecostal church and was able to witness a use of gospel
music that was totally out of harmony with normal standards of
worship. In the front of the church, which seated no more than 250
worshipers, were enough drums, synthesizers, amplifiers and
loudspeakers to fill a room many times that size with sound at a
decibel level that would even then be decidedly uncomfortable.
At the beginning of the worship service, the performance of standard
gospel hymns began at a relatively soft level, at a moderate tempo and
very little use of the drums. However, the musicians gradually
abandoned the pianissimo in favor of the forte, and then fortissimo
with all twelve speakers at maximum volume level. The percussion
instruments, at high volume and with complex rhythms, were leading out
in a drastic change in the conduct of those who had come to this
evening worship service.
As tempo and sound level increased, the congregation began to stir in
the pews and soon were standing and raising their hands. As the music
progressed from simple melodies and rhythms to higher volume levels
and rhythmic complexities, many in the congregation (of primarily
Anglo-Saxon heritage) began to dance in the aisles and chancel of the
little church.
The dancing was not with another person, but individual parishioners
would jump and whirl, often shaking violently as they fell to the
floor—with screams of ecstasy. As the service was at its height of
excitement, the musicians very gradually lowered the volume while
simplifying and softening the beat. Gradually, the physical
manifestations moderated, and within a few moments all were back in
their pews singing softly and occasionally raising one or both hands
while recuperating from the strenuous exercises they had just
experienced.
This congregation had been led through this entire thirty-minute
experience by the influence of music—music that led them in tiny
increments of excitement by means of skillfully played instruments.
During the zenith of the service, a young man seated behind me asked
me, "Are you saved?" He was apparently puzzled by my lack of
participation.
I asked a high-school age girl, "What does it feel like to be writhing
on the floor with people praying over you?" "It is the most ecstatic
and glorious experience you can imagine," she replied. However, if it
had not been for the musical excesses, these "high" experiences would
not have taken place. I did not sense the presence of the Holy Spirit
in the church that evening; I felt instead that the congregation had
been violated by the musicians.
No human being knows more about the influence of music on behavior
than does Satan. He was the leader of music in heaven, and he is very
much aware of its influence.9 We know for a certainty that he has
perverted every gift that God has given us—and this perversion
includes not only secular music but also music for the church. Surely
he has an interest in infiltrating our worship services with false
doctrine and with the wrong kind of music. No one is better equipped
than is he to know how to use music to detract from a true worship
experience.
We must take very seriously the need to be discriminating in our
choices of both secular and sacred music. Each kind of music can be
either a blessing or a curse depending upon personal choices.
In all her many writings, Mrs. White refrained from opposing either
kind of music as such. Instead, she sought to have music used wisely
and in proper balance. And she repeatedly taught that music can be
used to help gather souls to Christ; for singing especially, when used
along with Bible reading and prayer, can touch the hearts of
unbelievers.
1 Dorthy M. Schullian and Max Schoen, Music and Medicine (Abelard-Schuman),
p. 266.
2 Robert W. Lundin, An Objective Psychology Of Music (Ronald Press),
p. 260.
3 Wing-tsit Chan et al., compilers. The Great Asian Religions
(Macmillan), p. 130.
4 Gretchen L Finney, Musical Backgrounds for English Literature
1580-1650 (Rutgers University Press), p. 52.
5 Alan P. Merriam, The Anthropology of Music (Northwestern University
Press), p. 220.
6 Ellen G. White, The Acts of the Apostles, p.518.
7 Lewis P. Thorpe, Psychological Foundations of Personality
(McGraw-Hill),p.251.
8 Ellen G. White, Messages to Young People, p. 293.
9 Ellen G. White, Spirit of Prophecy, vol.,1, p. 28; Signs of the
Times, Jan. 16, 1879.
Laymen Ministry News, Spring, 1997, pp 14, 15, 26
Paul E. Hamel, Emeritus Professor of Music at Andrews University,
wrote from Berrien Springs, MI.
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