Truth Magazine

By O. C. Birdwell

The music authorized by the New Testament is clearly identified by such passages as Ephesians 5:19, and Colossians 3:16. In these verses, the writer speaks of “singing and making melody with your heart to the Lord.” The kind of songs to be used in our worship is also plainly revealed. Paul said, “speaking one to another in psalms and hymns and spiritual songs.”

Innovations in authorized music constitute apostasy in music. Such innovations take many different forms. There can be additions, such as adding an instrument, which is a kind of music other than that authorized, to the singing. There can also be a subtraction from that authorized. For example, singing may be engaged in, but not “with the spirit,” as commanded (I Cor. 14:15). Then, there could be substitution. Songs other than psalms, hymns, and spiritual songs could be used. Or, another kind of music could be substituted for singing. All of these kinds of innovations have been made at one time or another. Our task is to discuss some of these innovations which have brought about apostasy in music which is used in worship unto the God of Heaven.

“Responsive Singing”

McClintock and Strong, in their exhaustive Cyclopaedia of Biblical Literature, lists the first innovation in church music as “responsive singing.” This kind of singing is dated from the 4th century. There is some doubt, however, as to whether responsive singing was truly an innovation. It was singing and it was done without an instrument. This type singing was practiced by .the Jews in the temple. Because of this, some believe it was often used by early Christians. They refer to the epistle of Pliny where he speaks of Christians who sang “alternately in responses.” It is difficult to determine exactly what was involved in “responsive singing.” It seems, however, to have been much more than our “part” singing where we may have a bass, alto, or tenor lead. Their “responsive singing” is described as a type common in the temples of the Gentiles and in the theater, and therefore, was generally rejected by early Christians. Such singing is not believed to have been commonly used for the first 300 years. While there may be doubt , as to whether “responsive singing” involved apostasy, there is little doubt but that it played a large part in the bringing in of special singers and choirs which did constitute apostasy.

Choirs, Theatrical Music, etc.

Singers as a distinct class, along with choirs, and theatrical music, were introduced as early as the 4th century. This apostasy gradually developed, as is the case with most apostasies. One innovation was added to another until it is said that the Council of Laodicea found it necessary to forbid congregational singing. Singing became a form of religious entertainment. The music became so complicated that it could only be sung by the skilled and the well-trained. This called for the choirs and special singers. As one might expect, this kind of music and singing did not go unchallenged. Many objected. The complaint was made that “heathen melodies” were introduced into their “church psalmody.” “Isidore of Pelusium (near 400 A.D.) also complained of the theatrical singing, especially that of the women, which, instead of inducing penitence for sin, tended much more to awaken sinful desires.” Jerome (342-419?) said, “Not like the comedians should they raise their sweet and liquid notes to entertain the assembly with theatrical songs and melodies in the church, but the fire of godly piety and the knowledge of the Scriptures should inspire our songs.” (Quotations and historical references are from McClintock and Strong’s Cyclopaedia of Biblical Literature and the Schaff-Herzog Encyclopedia of Religious Knowledge.)

Similar Practices Today

From these brief notes of events which transpired in the 4th century, and shortly thereafter, we can see that some present-day practices have been around a long time. Regularly advertised on radio stations and in newspapers are religious singings with special singers, quartets and choirs. The religious entertainers are equipped with popular instruments of music and are often dressed as one might expect from a professional entertainer in a concert or nightclub date. To accompany their “show” are ample jokes and fun to keep the folks laughing. As described, this action, in times past, may have been expected only in assemblies of just some of our religious neighbors. Yet, it is presently happening more and more and even among some churches of Christ. Several years ago, I attended a Sunday afternoon singing where there was quartet singing, many jokes told, much laughter, and one of the leading men constantly wanting to “smell the pitch.” My wife and I walked out on the show. Events like this, in conjunction with speeches from a few preachers I know, would make for an evening of entertainment for those who have the stomach for such. To others it is no less than apostasy in worship.

Reformation Efforts

Reformation efforts of the 16th century and the 19th century Restoration Movement did much to restore singing as taught in the New Testament. Many hymns of a scriptural nature, designed for congregational singing, were penned during this period of time. Many leaders of the Reformation and practically all the early Restoration leaders rejected the use of the instrument in their worship. There are quotations from such influential Reformation religious leaders as Luther, Calvin and Knox that show their attitude toward instruments in music in worship. (For some of these quotations see another article in this series on music called, What have Religious Leaders Said About The Instrument?)

About fifty years ago the secretary of the Tennessee Christian Missionary Society wrote that the literature of the 19th century “Reformers” affirms that they believed in the use of a missionary society in the work of the church and instrumental music in the worship of the church. Brother John T. Lewis, in a series of articles in the Gospel Advocate (printed later in a book called The Voice of the Pioneers on Instrumental Music and Societies) denied the statement and, using the printed words of the pioneers, ably presented the truth about the matter. Lewis said, “I `challenge’ the editor of the Tennessee Christian to show, `from the literature of that period,’- where a single voice was heard, among the Reformers, `in favor of instrumental music in churches’ prior to 1859.” This “challenge” shows the confidence brother Lewis had in the evidence of the opposition by early 19th century reformers to the use of the instrument and the accompanying special songs, special singers, and choirs.

Apostasy in Spite of Objections

As before given quotations show, there was early objection to innovations in music. Such objections did not, however, stop the progress into apostasy. “By the seventh century the priests had monopolized the singing and they sang only in Latin.” The musical instrument, which was gradually being more and more accepted, added to the choir and special music problem. With an instrument, or in some cases, a plurality of instruments, the tendency was to move farther away from congregational singing and unto special singers and special songs.

Just as innovations and apostasy developed in the early centuries and corrupted the music of the early churches, we find a similar development in the latter 19th century. Following the Reformation period, the instrument gained greater favor in denominationalism. With this greater favor and dating from 1859, the instrument was used in increasing numbers of churches that had previously made an effort to go back to the New Testament pattern in all worship and work. Again, with this movement to the instrument, the choir and special songs problem occurred to a greater degree. Even the Christian Standard admitted that “there was a tendency on the part of choirs or organists to drift into a style of music that is not only destructive of congregational singing but `deadening to all devotional feeling’ ” (Eckstein, History of the Churches of Christ in Texas, p. 244). This condition seems to have pretty well engulfed many denominational churches during the 20th

century and, since the middle of the century, has made inroads in churches of Christ. Choirs, special singers and songs, and, in some instances, the use of instruments of music, have been reported.

The Instrument Innovation

The innovation of instruments of music into the worship unto God also constituted an apostasy in music.,We have already discussed the use of the instrument as it related to choirs, special singers, and songs. Let us now consider the introduction of the instrument as an apostasy in music.

There is no inspired record, or secular historical account that shows the early churches using instruments of music in their worship. On the contrary, the New Testament shows that they sang psalms, hymns, and spiritual songs. Historians generally agree with Mosheim when he wrote, “The Christian worship consisted in hymns, prayers, the reading of the Scriptures, a discourse addressed to the people, and concluded with the celebration of the Lord’s Supper” ( Ecclesiastical History).

Concerning early attitudes toward the instrument in worship, Edward Dickinson in Music in the History of the Western Church, made the following observation:

Many of the fathers, speaking of religious songs, made no mention of instruments; others, like Clement of Alexandria and St. Chrysostom, refer to them only to denounce them. Clement says: “Only one instrument do we use, viz. the cord of peace wherewith we honor God, no longer the old psaltery, trumpet, drum, and flute.” Chrysostom exclaims: “David formerly sang in psalms, also we sing today with him; he had a lyre with lifeless strings, the church has a lyre with living strings. Our tongues are the strings of the lyre, with a different tone, indeed, but with a more accordant piety.” St. Ambrose expresses his scorn for those who would play the lyre and psaltery instead of singing hymns and psalms; and St. Augustine adjures believers not to turn their hearts to theatrical instruments. The religious guides of the early Christian felt that there would be an incongruity, and even profanity, in the use of the sensuous nerve-exciting effects of instrumental sound in their mystical, spiritual worship. Their high religious and moral enthusiasm needed no aid from external strings; the pure vocal utterance was the more proper expression of their faith (pp. 54, 55).

The following quotation from McClintock and Strong shows that general acceptance of the instrument in worship was late in coming.

The general introduction of instrumental music can certainly not be assigned to a date earlier than the 5th and 6th centuries; yea, even Gregory the Great, who towards the end of the 6th century added greatly to the existing Church music, absolutely prohibited the use of instruments. Several centuries later the introduction of the organ in sacred service gave the place to instruments as accompaniments for Christian song, and from that time to this they have been freely used with few exceptions. The first organ is believed to have been used in Church service in the 13th century. Organs were however, in use before this in the theater. They were never regarded with favor in the Eastern Church, and were vehemently opposed in some of the Western churches (Cyclopaedia of Biblical Literature, Vol. Vl, p. 759).

19th Century Apostasy

Apostasy in music among 19th century churches that had endeavored to restore New Testament authority in worship and work began, in the main, following the Civil War. In 1868, Ben Franklin guessed that there were ten thousand congregations and not over fifty had used an instrument in worship (Earl West, Search for the Ancient Order, Vol. 2, pp. 80, 81). In 1860, L.L. Pinkerton stated, “So far as known to me, or I presume to you, I am the only `preacher’ in Kentucky of our brotherhood who has publicly advocated the propriety of employing instrumental music in some churches, and that the church of God in Midway is the only church that has yet made a decided effort to introduce it” (From American Christian Review, as quoted by Cecil Willis in W. W. Otey: Contender for the Faith).

From these statements we can see that after the early 19th century restoration efforts, the decade of the sixties pinpoints the beginning of the main apostasy in music and by the end of the century there was a clear-cut division over the use of mechanical instruments in worship and missionary societies in the work of the church. Human organizations to do the work of the church and innovations in worship have always gone hand in hand. They both are introduced because of a lack of respect for the authority of the scriptures.

Questions

1. How do we identify the music to be used in worship, in order that we might know what is apostasy in music?
2. List three forms of innovations in music and give examples of each.
3. Would you regard “responsive singing” to be apostasy in music?
4. What were some of the early objections to choirs and special singers and songs in worship?
5. Give examples from your experience, or from what you have read or heard, of innovations similar to the early special songs and music for entertainment.
6. Give quotations you can find from Reformation and Restoration leaders that reflect their attitudes toward instrumental music in worship.
7. Why do scriptural objections often not stop apostasy?
8. When early writers spoke about instruments in worship, what was their attitudes toward it?
9. Discuss the beginning date and progress into apostasy in music made by the 19th century churches.
10. Why are apostasies in worship and apostasies in organization and work often related?

Truth Magazine XXIV: 19, pp. 311-313
May 8, 1980

By Keith Sharp

According to historian Earl I. West, the church at Midway, Kentucky owns

the distinction – if it is a distinction – of being the first of the congregations on record to adopt the use of the instrument (The Search for the Ancient Order, I, 312).

This refers, of course, to the use of instrumental music in worship by congregations connected to the Restoration Movement in America.

What caused the instrument’s introduction? Aside from lack of respect for divine authority, L.L. Pinkerton, the preacher at Midway, identified the cause thus:

The introduction of the instrument owed its inception to the deplorable singing the congregation did. This singing had degenerated into screeching and brawling that would, as Pinkerton said, “scare even the rats from worship” (Ibid, p. 311).

This comical ,but instructive example should lead us to examine our own music in worship. Is it what it should be?

The objective of this lesson will be to answer the question: What is the pattern for music in the New Testament church? We shall uncover the answer to the inquiry under three headings: the pattern discovered, the pattern studied and the pattern applied.

The Pattern Discovered

In nine New Testament verses the blueprint for music in the church is revealed. The first two of these verses relate an event that occurred shortly before the Lord’s church was established and the New Testament became effective, but they also unveil the worship in music of the Lord and His apostles connected with the institution of the New Testament ordinance of the Lord’s Supper. Therefore, I shall include them with the other seven. Each passage follows, as it appears in the King James Version of the Bible, with the words that reveal the kind of music authorized stressed.

And when they had sung a hymn, they went out into the mount of Olives (Matt. 26:30).

“Sung a hymn” describes the music.

And when they had sung a hymn, they went out into the mount of Olives (Mk. 14:26).

Again, it specifies “they had sung a hymn.”

And at midnight Paul and Silas prayed, and sang praises unto God; and the prisoners heard them (Acts 16:25).

They “sang praises.”

And that the Gentiles might glorify God for his mercy; as it is written, For this cause I will confess to thee among the Gentiles, and sing unto thy name (Rom. 15:9).

Do what? “Sing unto thy name.”

What is it then? I will pray with the spirit, and I will pray with the understanding also: I will sing with the spirit, and I will sing with the understanding also (I Cor. 14:15).

Paul’s example is to “sing with the spirit” and to “sing with the understanding.”

And be not drunk with wine, wherein is excess; but be filled with the Spirit; speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord (Eph. 5:18, 19).

The key words are “speaking to yourselves in psalms,” “hymns,” “spiritual songs,” “singing,” and “making melody in your heart.”

Let the word of Christ dwell in you richly in all wisdom: teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord (Col. 3:16).

The apostle employs the terms “teaching and admonishing one another in psalms,” “hymns,” “spiritual songs,” and “singing with grace in your hearts to the Lord.”

Saying, I will declare thy name unto my brethren, in the midst of the church will I sing praise unto thee (Heb. 2:12).

“I sing praise.”

Is any among you afflicted? let him pray. Is any merry? let him sing psalms (Jas. 5:13).

“Sing psalms.”

The Pattern Studied

Three Greek terms are all translated by the English verb “sing.” They are humneo, psalr and ado.

The verb humneo is found in Matthew 26:30 (“sung an hymn”), Mark 14:26 (“sung an hymn”), Acts 16:25 (“sang praises”) and Hebrews 2:12 (“will I sing praise unto”). It is the verb form of the noun humnos, which denotes “a song of praise addressed to God” (W.E. Vine, An Expository Dictionary of New Testament Words, II, 241, see also J.H. Thayer, A Greek-English Lexicon of the New Testament, p. 637).

Psallo is employed in Romans 15:9 (“sing”), 1 Corinthians 14:15 (“I will sing . . . I will sing”), Ephesians 5:19 (“making melody”) and James 5:13 (“let him sing praise”). This word means in the N. T. to sing a hymn, to celebrate the praises of God in song (Thayer, p. 675, so Vine, III, 58). Another lesson refutes the contention this term authorizes instrumental music in worship.

We find ado in Ephesians 5:19 (“singing”) and Colossians 3:16 (“singing”). It “is used always of praise to God” (Vine, IV, 35), “to sing, chant . . . to the praise of any one” (Thayer, p. 13).

The English word “psalms” is a transliteration of the Greek psalmois. The apostle employed this term in Ephesians 5:19 and Colossians 3:16. Thayer defines it thus: a striking, twanging . . . spec. a striking the chords of a musical instrument . . .; hence a pious song (p. 675).

Does this word imply the use of an instrument? According to the New Testament, psalms were spoken (Lk. 20:42, 43) and written (Lk. 24:44). Must one employ a piano or organ to speak or write? Of their use in the worship of the New Testament church, the Spirit commands, “speaking to yourselves in psalms” (Eph. 5:19). They are to be spoken, not played. Their purpose is “teaching and admonishing” (Col. 3:16). What teaching is done by the guitar’s twang? What admonishing is done by the cymbal’s crash? Undoubtedly, in the Old Testament pattern of worship psalms were sung to the accompaniment of instrumental music. But in the music of the New Testament church, psalms are to be rendered “with grace in your hearts” not “with a fiddle under your chin.”

The term “hymns” (Eph. 5:19; Col. 3:16) transliterates the Greek humnos and “denotes a song of praise addressed to God” (Vine, II, 241).

“Spiritual songs” (ode pneumatikos; Eph. 5:19; Col. 3:16) are songs of which the burden is the things revealed by the Spirit (Vine, IV, 65), i.e., songs which teach biblical concepts.

The Pattern Applied

As is established in another lesson, the truths taught in these passages which we have studied constitute a divinely ordained, binding pattern for music in the New Testament church. We can properly apply these facts to the worship of the church today in three categories.

Type of Music

As is established without variation in every passage relevant to the subject. God had specified the kind of music to be used when his church venerates His Holy Name, i.e., vocal music (singing). By the very nature of biblical authority, what God does not authorize in serve to Him is necessarily excluded from that ministry by the simple fact it is not authorized (2 Jn. 9). The only kind of music Christ has allowed for his church to employ is vocal. All other kinds are eliminated by the exclusive nature of scriptural authority.

The sole kind of music other than vocal (singing) is instrumental (playing). The exclusive nature of New Testament authority strictly prohibits the Lord’s church from employing instrumental music in worship. It is moral and right for Christians to play any musical instrument, from a comb and tissue paper to an organ, in the home for social purposes. It is unscriptural and wrong for the church of the Lord to employ any music other than singing in worship to God.

Type of Song

The New Testament specifies that the church should use “psalms,” “hymns,” and “spiritual songs” (Eph. 5:18, 19; Col. 3:16) to glorify and venerate the Father. Each of these kinds of songs is spiritual, not secular, in nature. It is moral and right for Christians to play and sing any decent song, from “You Ain’t Nothin’ But a Houn’ Dog” to “Rhapsody in Blue” in the home for social purposes. It is unscriptural and wrong for the church of Christ to use any type of song other than “psalms,” “hymns” and “spiritual songs” in veneration of the Godhead.

Purposes of Music

The New Testament teaches two purposes for music employed by the church of God. ‘What music is to accomplish the praise of God (Acts 16:23; Heb. 2:12) and the teaching of men (Col. 3:16). It is as vital that scriptural truth be taught in our songs as it is in our sermons and class lessons. It is moral and right for Christians to employ choruses, .quartets, groups and solos for entertainment and pleasure as functions of homes and schools. It is unscriptural and wrong for the New Testament church to use music for the carnal appeal of entertainment in the worship of God (Rom. 8:5).

Conclusion

The New Testament reveals a binding pattern for the music of the church of the Lord. That pattern has three particulars. The type of music to be employed is vocal, not instrumental; the kind of songs to be used are “psalms,” “hymns” and “spiritual songs,” not secular; and the purposes of music in the New Testament church are the praise of God and the teaching of men, not entertainment. Let us strive earnestly to make our worship in music pleasing to God in every way, so that he will be glorified and we will be edified. Let each ask himself, “Am I doing my part?”

Questions

1. Among congregations connected with the Restoration Movement in America, which first went on record as using instrumental music in worship? Why?
2. What is the objective of this lesson?
3. Make a list of the verses that make up the pattern for music of the New Testament church. Write the words from each passage that reveal the kind of music authorized.
4. What Greek terms are translated by the verb “sing” in these verses?
5. Define each of these Greek words.
6. Do any of them authorize the use of instrumental music in worship?
7. What is the definition of the Greek term translitereated “psalms?”
8. Does it teach the use of instrumental music in worship?
9. Define the Greek words from which we get the English terms “hymns” and “spiritual songs.”
10. What type of music is the New Testament church to employ in worship to God?
11. Is it right or wrong to use the instrument of music in worship? Why?
12. When, if ever, can Christians properly play instruments of music?
13. What types of songs should the church employ?
14. What types are prohibited for the church?
15. When, if ever, can Christians use secular songs?
16. What are the purposes for music in the church?
17. Can the church use music for entertainment purposes?
18. When, if ever, may Christians use music for entertainment and pleasure?
19. What is the divine pattern for music in the New Testament church?

Truth Magazine XXIV: 19, pp. 309-310
May 8, 1980

By Leslie Diestelkamp

When we express to the heavenly Father the adoration, praise and homage that is in our hearts, it should be beneficial to us and pleasing to God. To accomplish this two-fold purpose, such worship must be both spontaneous and scripturally directed. That is, our expressions must be made voluntarily and even enthusiastically; at the same time, such expressions must be made in response to Divine directions we have learned from the Word.

In jubilant, exuberant enthusiasm we may stamp our feet, clap our hands, scream in delirious delight, shout, cry and laugh, all of which may bring joy to our hearts and peace to our minds, and yet find no favor with God. Conversely, we may sing beautiful words of praise, pray eloquently, give generously and partake of the bread and fruit of the vine, doing all of these just because God directs such, but doing so without sincerity, humility and spiritual discernment, and still find no favor with God.

Definitions

Worship: What is it? It is the offering of homage and praise to someone or something. Pattern: What do we mean by pattern? It is not merely an example but, rather, the total teaching of the Bible on the subject being considered.

God desires and expects to be worshiped (Jn. 4:23), and He asks that we worship “in spirit and in truth” (Jn. 4:24). But He has not left us to grope or to wonder what will please Him. He has very explicitly revealed that way. God knows what He wants us to do to express our worship and He knows that we are incapable of discerning His desires except as He reveals them to us. Consequently, He has given the written Word and in it He has given an absolute pattern for our worship today. He said, “For as the heavens are higher than the earth, so are My ways higher than your ways and My thoughts than your thoughts” (Isa. 55:9). Paul wrote that men could not know the mind of God by human mentality and, for that very reason, God has revealed such to us: “. . . so the things of God knoweth no man, but the Spirit of God. Now we have received, not the spirit of the world, but the Spirit which is of God: that we might know the things that are freely given to us of God” (1 Cor. 2:9-12).

In every age, God has revealed His desires regarding worship. He has always hated presumptuousness. Thus, God has not only revealed to every generation what He wants, but by such revelation He has set a limitation. He has never been pleased with those who have taken the matter into their own hands and have followed human wisdom – either their own wisdom or that of other men.

Examples

Though we do not have the details of God’s instruction to Cain and Abel, we know such instruction had been given (Gen. 4:4-7). Cain’s error in worship was presumptuousness! We cannot be sure whether Cain offered the wrong item or if he merely offered an inferior item of the correct kind. We do know that God was very displeased with his lack of subjectiveness in the matter.

Saul lost his kingdom because he “forced himself” in making a sacrificial offering in violation of God’s commandment (1 Sam. 13:8-14). God rejected and condemned those who “worship the work of their own hands” (Isa. 2:8; Jer. 1:16; Psa. 115:1-8). Of course this refers to idolatry – to the worship of images the people made but it would surely include any worship that is essentially a man-made system. We must face the reality that there is surely very little difference in worshiping a false god or in worshiping the true God in unauthorized ways! All such worship is of human wisdom, not of God’s revelation.

Nadab and Abihu “offered strange fire before the Lord” and God destroyed them for disobedience (Lev. 10:1, 2). It was a very simple case of presumptuousness! From all such examples, we must surely learn that God has revealed His will and His way; we must not, dare not, disobey His Word and/or follow the way of men – either the way of our own wisdom or that of famous theologians.

We actually know very little about acceptable worship in the age of the patriarchs. We do know that such worship included sacrifice (Gen. 4:314; 8:20, 21; 13:18; 22:5, 13). It is significant, however, that God obviously revealed what sacrifices should be made, as we can necessarily infer from the story of the sacrifices made by Cain and Abel and by Noah after the flood. Actually, I believe correctness of the worship by the patriarchs depended mostly upon the sincerity and subjectiveness of the individual.

But we know much more about the worship of the Jews. Theirs includes sacrifice and various certain items were specified – animals of certain kinds and quality as well as grain, oil, wine and birds, etc. (see Num. 18:8-19). Indeed, the Jewish worship was significantly ceremonial. Favor with God seemed to depend principally on the rigid observance of the riturals and rites.

Rejected Patterns

In the Old Testament dispensation, the Jews frequently neglected or rejected the God-given arrangement for their worship. For instance, some certain worship was to be done in Jerusalem (see Deut. 12:5, 11, 13; 1 Kings 9:1-3). But the ten tribes, under the leadership of Jeroboam, changed the place to Bethel and Dan (1 Kings 12:28-30).

Of course, in studying the reference given above, one will notice that idolatry is involved. That is, in addition to changing the authorized place for certain worship, they also set up images, etc. So we see the natural turn of events – one departure – one deviation from the pattern will inevitably lead to other departures! This was significantly true of the worship of the Jews, when one item of authorized action was violated, this usually led to other violations. One false step led to other wrong actions also. In this case, they made images, established “high places” of their own making and even changed the priesthood (see 1 Kings 12:13).

Jesus teaches us.that it has never been possible to compensate for disobedience by substituting enthusiasm in worship. He quoted from Isaiah who said, “This people honoreth me with their lips but their heart is far from me” (Isa. 29:13). So Jesus emphasizes, “In vain do they worship me, teaching for doctrines the commandments of men” (Mt. 15:9). This was not a new principle; it was an age-old principle that was always true and always will be true. A classic example is David, who, with the people, worshipped enthusiastically but disobeyed, so much so that David was forced to conclude that, “. . . our Lord made a breach upon us, for that we sought him not after the due order” (1 Chron. 13:7-10; 15:13).

The New Testament Pattern

Several features of the Jewish worship are completely eliminated in the doctrine of Christ. For instance: (1) There is no significance regarding any geographical location for any of our worship (Jn. 4:21); (2) The Sabbath day worship was repealed (Col. 2:14-17; Gal. 4:1-11, etc.); (3) The use of instrumental music in worship was eliminated in that it was not included in the New Testament pattern for praise (Eph. 5:19; Col. 3:16, etc.); (4) The significant ceremonial aspect of Jewish worship was replaced by that which is “in spirit and in truth” (Jn. 4:24); (5) The sacrifices that were permitted and even required under the Old Testament patterns were eliminated because of the supreme sacrifice of Christ, the Lamb of God, once for all (Heb. 10:10-14) and because of the superior sacrifice which we are to offer, that is, “the sacrifice of praise to God . . . the fruit of our lips . . .” (Heb. 13:15).

The New Testament pattern is very simple and uncomplicated. It involves the worshipper in direct communion with God. If we respect the positive Word of the Lord, we will find that we may express the worship that is in our hearts by singing (Eph. 5:19), by praying, teaching, giving and observing the Lord’s supper (Acts 2:42). Furthermore, we find the following demanding characteristics of this simple means of worship.

1. We may express our worship in singing, prayer and study of the Word at any time, anywhere, alone or together (see Acts 16:25; Eph. 5:19, etc.).

2. We must express our worship in the Lord’s supper and in giving on the first day of the week when brethren gather together for that purpose (Acts 20:7; 1 Cor. 16:1, 2).

3. Thus, we may, on the Lord’s day, when we will have come together for giving and for the Lord’s supper, also sing, pray and study, since these latter three may be done any time.

4. If we fail not to have the Lord’s supper and to give in the “togetherness” of the Lord’s Day worship, we may then, on that same day, or at any other time on any other day, worship by singing, praying and/or studying. In other words, the Lord’s supper and giving are specifically patterned for the first day of the week, but singing, praying and studying are patterned without regard to date, time or place.

Conclusion

All that we do must be done “as unto the Lord” (Col. 3:23). Indeed, it must be done “in the name of the Lord” (Col. 3:17), which simply means that we must conduct all of our worship by the authority of Christ (Jn. 14:6). He has fully revealed His will to us in the written Word (2 Tim. 3:16, 17; 2 Pet. 1:3, etc.). We must determine to be content with what is written – with the revealed pattern. The traditions of men, the customs of our fore-fathers or the desires of the people today are of no consequence in determining what we must do. In fact, we have no right to decide what we will do. We Pave only to discern what God has decided! Without wavering with regard to scriptural principles, we must worship God with correct attitudes and in authorized expressions. Today, let us have the honesty to examine every feature of our worship in the light of the revealed Word and then determine to worship in complete accord with the Bible pattern.

QUESTIONS

1. What is worship and what is meant by a pattern for such?
2. Is sincere worship always acceptable to God?
3. Who may decide what is done in worship?
4. What scriptures show God’s desires for worship today? What is God’s attitude toward worship of idols?
5. What were the main qualities necessary for worship in the Patriarchal age?
6. What seems to have been the main emphasis in the Jewish age?
7. What is the chief emphasis to determine quality of N.T. worship?
8. In what activities may we scripturally engage as we worship God today?
9. Can you find a N.T. pattern for your worship – for what you do and how you do it and for the circumstances involved?

Truth Magazine XXIV: 19, pp. 306-308
May 8, 1980

By Mike Willis

One of the jobs which fell my upon my shoulders in 1979 was the preparation of a catalog for Truth Magazine Bookstore (and; several other bookstores -which shared in’ our cooperative catalog efforts). When I reorganized the material by subject matter, I found that there was very little material available to brethren on the subject of instrumental music. Despite the fact that brethren have had a multitude of debates on the subject, there is only one debate presently in print on the usage of mechanical instruments of music in worship (The Shelly-Dunning Debate). Too, there are only a few books available on the subject:

The March 1980 issue of Restoration Review, which is edited by Leroy Garrett, told about the introduction of mechanical instruments of music in the Belmont Church in Nashville in 1979. In what I was told was an 8 to 3 vote among the elders, the Belmont Church decided that instruments of music would be used in the worship with the songs.

This event reminds us of the necessity of teaching constantly on the subject of mechanical instruments of music in worship. A new generation has grown up which did not go through the fight on instrumental music. By and large, the fight has been put so far behind us that very little preaching is being done on the subject. When I was a lad, one of standard sermons which a person could expect to hear in a gospel meeting was “Why Churches of Christ Do Not Use Mechanical Instruments of Music In Worship.” Just how long has it been since you read an article or tract on that subject? How long has it been since you read an article or tract on that subject?

Peter wrote, “Wherefore I will not be negligent to put you always in remembrance of these things, though ye know them, and be established in the present truth. Yea, I think it meet, as long as I am in this tabernacle, to stir you up by putting you in remembrance . . .” (2 Pet. 1:11-12). Similarly, I felt the need to remind brethren of why instrumental music is not to be used in our worship. We do not need to go through another division on this subject! The only safeguard which we have is a membership which is taught on the subject.

Those who fought the battle against the introduction of instrumental music in worship are gone. Do the elders in the church of which you are a member know why instrumental music in worship is sinful? Will the next generation of elders know? With the desire that this material will be helpful in instructing brethren on this subject, we present these special issues on this subject. We hope that you will. help us to give it a good circulation.

Truth Magazine XXIV: 19, p. 306
May 8, 1980