MUSIC and WORSHIP Music I II References Technical

MUSIC and WORSHIP

Music I. II. References Technical Development A. Musicology B. Beauty C. Physiology of Music III. Biblical Development Directive/Descriptive/Principle B. Textual Exposition A. IV. Sacred Music—Hymnology Standards B. History A. V. FAQs VI. Summary/Conclusion

Biblical Examination of Music I. Those Who Sing II. Foundational Text A. Qualifications of Those Who Sing B. Purposes of Music C. Qualities of Music 1. General 2. Instrumentation III. Sing a “New” Song IV. Summary/Conclusion

Biblical Contexts of Instrumentation General Celebratory - Deliverance - Dedication Ritual Signal - Military - Announcement Heaven

Instruments Trumpet (>100) Harp (50) Lyre [NASB] (30) Stringed Instruments (25) Cymbals (16) Flute (10) Timbrel (9) Tambourine (9) Lute (6) ([NASB] - 1)

Biblical Examination of Music I. Those Who Sing II. Foundational Text A. Qualifications of Those Who Sing B. Purposes of Music C. Qualities of Music 1. General 2. Instrumentation III. Sing a “New” Song IV. Summary/Conclusion

“new song” Psalms 33: 3, 40: 3, 96: 1, 98: 1, 144: 9, 149: 1 Isaiah 42: 10 Revelation 5: 9, 14: 3

“new” Xdx (chadash) Bible. Study. Tools. com (Hebrew lexicon is Brown, Driver, Briggs, Gesenius Lexicon) “new, new thing, fresh” Deut 20: 5, Isa 65: 17, Ecc 1: 9 -10, Job 29: 20

“new” Vine's Expository Dictionary of NT Words kaino, j (KAINOS) “denotes new, of that which is unaccustomed or unused, not new in time, recent, but new as to form or quality, of different nature from what is contrasted as old. ” ne, oj (NEOS) “signifies new in respect of time, that which is recent; …”

Why Johnny Can’t Sing Hymns T. David Gordon “Contemporaneity is a value, or a value system, that prefers what is new to what is old. Contemporaneity views the past as passé, and tends to regard it either with benign disinterest or with outright contempt…” p. 103 “The effect of contemporaneity is this: anything not contemporary seems odd, quaint, antiquated, outdated, or foreign. Its effect is to regard the past with a kind of benign contempt—benign because we know they meant well, but contempt because we don’t seriously think that we could bring the values, traditions, or practices of the past into our moment. That is, we don’t debate the past, we don’t argue with it, and we don’t even say that it was erroneous; we simply dismiss it. “Proponents of contemporary worship music, for instance, don’t assert that the older hymn-writers wrote bad hymns (though some atrocious old hymns were indeed written), hymns that were theologically, literarily, or musically defective or perverse…they just dismiss [these] hymns as good hymns ‘for their time, ’ and therefore necessarily unsuited to ours. ” p. 119