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THE MINISTRY OF SONG

by George Cofresi

INTRODUCTION

It can be confidently stated that music and singing hold a large place in the lives of the general Christian population. Where Christians gather you can expect to get a healthy dose of hymn-singing and what are commonly called “praise songs”. The question naturally arises, “what does the Bible have to say about music and singing amongst God’s people?” It is a question rarely asked and, it would appear, more rarely answered. A careful perusal of the appropriate Scripture text, in light of current practices, has produced startling results for this writer. This paper is the result of a careful inquiry into the nature, purpose, and ministry of singing, especially when God’s people are gathered in assembly. I have no “axe to grind” in putting forward this paper. However, the current use of song/music as “filler” or “emotional lift” in preparation for the long anticipated "sermon" seems a degrading use of so important a ministry.

OVERVIEW

The first time we find God’s people gathered for singing and music is in Exodus 15. They had just been sheltered under the blood of the sacrificial lamb so that they were safe from the judgment that fell upon the first-born of Egypt. Then they were delivered from the power of Pharaoh as they passed through the Red Sea dry-shod. They need only “stand still, and see the salvation of Yahweh” (Ex. 14:13), as the pursuing Egyptian army was drowned by the overflowing waters. No wonder they sang “to Yahweh.... My strength and song is Yah, and He is become my salvation: This is my God, and I will glorify Him” (Ex 15:1, 2). It was an understandable celebration of their salvation. The song told the story of the Victor and his victory. What a song! How appropriate! This is where we all start in our “ministry of song”. We celebrate our Lord Jesus Christ as Savior and the Salvation He has purchased for us through His finished work upon Calvary’s tree. The next time we find God’s people singing is at the end of their wilderness wanderings, when they had reached the border of Moab (Num 21:17). There we have Israel singing praises to Yahweh at the wells He provided to invigorate the nation.

It may surprise the reader to know that we do not get the nation of Israel involved in another “ministry of song” until we get to 1 Chronicles, under the kingship of David. You will remember that the nation of Israel acted in unbelief while traveling to Canaan, and was required to wander in the wilderness for 40 years. Their circumstance was nothing to sing about! The books of Samuel and Kings emphasize the nation’s responsibility in the land of promise. While there are several notable exceptions, a general perusal of these books reveals how badly they failed in this. Again, not much to sing about! However, when we come to the book of 1 Chronicles the people of God had already endured 70 years of Captivity by foreign powers. An entire generation had grown up on foreign soil so that most of them did not even speak their native Hebrew (Ezra 8: 8). However, now they find themselves restored to their land in felt weakness and without a King. Nevertheless, under the leadership of men like Zerubbabel, Ezra, and Nehemiah along with the prophetic ministries of Haggai and Zechariah [1], they arose out of the ash-heap and began to establish a testimony to Yahweh in accordance with the Scripture. However, it did not take long before opposition and discouragement set in (Ezra 3:10 -13; Neh. 4:1-11; 6:1-14). It is likely that these were the circumstances that led to the writing of 1 Chronicles [2]. A king/priest book designed to remind this remnant that Yahweh was still in control behind the scenes, that they had not been forsaken and to lay out a blueprint for cultivating their relationship with Yahweh by use of a selective history. Through this special history the people of God learned that a true “service of song” could only be enjoyed when Yahweh has His rightful place among them (1 Chron 6:31). This speaks volumes to the current state of Christendom. For the most part, the general “Christian population” is still enslaved to this world system, doing things man’s way (1 Chron 13) rather than God’s way (1 Chron 15), and to the extent that this is true, we can confidently say that our Lord does not get His rightful place among them! Nevertheless, there is, I am happy to say, a “faithful remnant”, like the Philadelphians, who “have a little power, and have kept my word, and have not denied my name” (Rev. 3: 8). They are learning that when the “ark is at rest” (i.e. God’s rights are owned through uncompromising obedience to His word) only then can the “service of song” be truly entered into, and worship be “in spirit and in truth”.

A MORAL NECESSITY (1 Chron. 6:31-47)

Our faithful remnant learned that the first principle for a “service of song” is that God must have His rightful place and way among them, as revealed in the Scriptures alone. A second principle they learned is that God looks for certain moral features in those who would carry out this “service of song”. This is discovered to us in the names of the three heads of the family of singers. In the Hebrew culture, names are not arbitrary, and their meanings are important. This is especially true in 1 Chronicles, where the first nine chapters of genealogies hold significant moral lessons for this returned remnant.

The first family of singers we encounter comes from the Kohathites, led by “Heman the singer” (v.33). His name means “faithful” and underscores for us the importance of obedience and consistency when once we know the will of God. It is not enough to obey once or twice and then fall away. Is the truth you once obeyed less true today? God looks for faithfulness among His people as much today as He did then. Moral allegiance to the truth is a fundamental feature of those who would be used in the “ministry of song”.

The second family of singers comes from the Gershomites, led by “his brother Asaph” (v. 39). His name means “one who gathers”, which reminds us that we are not alone in this pilgrimage. We are indeed “our brother’s keeper”. We put before our brethren the Lord Jesus Christ and His interests, in this way we seek to create in them “the explosive power of a new affection”! As God’s people are drawn into a closer walk with our Lord, they will be naturally drawn into a closer walk with each other. You will notice that I quoted the words “his brother”. This was to underscore the connection between Heman and Asaph. In this way, we are reminded that these features are intimately connected one to the other. We cannot expect to effectively “gather” if we are not individually “faithful”. Nor can we claim to be “faithful” if we do not have the gathering of God’s people at heart. Independency is not to be advocated in any way. Most of the N. T. epistles are written to Assemblies of believers, and those that are individually named have the collective testimony at heart.

The third family of singers comes from the Merarites, led by a “brother” named “Ethan”. His name means “enduring or strong” and suggests 'the Spirit taught mind', one who is “strong in the Lord and in the might of His strength” (Eph. 6:10). This would necessarily mean that he is one in whom “the word of God abides” and who knows moral victory over the world and its temptations (1 John 2:14-17). Such an individual is in the “heat of battle” with the Enemy of Souls, but remains undaunted by his subtle wiles. He endures over the long haul because his strength is in the Lord in whom he delights to abide (Jn 15: 4-11; Ps 91; 1 Jn. 4: 4; 1 Pet. 5: 8-11). Clearly, this person knows what it means to be “faithful” (Heman) and understands the collective nature of Biblical Christianity (Asaph).

One more thing to note about Ethan; it was not uncommon to have more than one name, especially in Israel of that day. This appears to be the case with Ethan, who is called Jeduthun in 1 Chron 25:1. This second name means “a choir of praise” and perhaps indicates the result when Christians with these moral features come together! In the final analysis, this is what Biblical Christianity looks like and may be summarized as that operation of the Spirit of God in vessels of clay that produces that which is for the pleasure of God’s heart and advances the interests of Christ upon the earth.

GOD’S WAY vs MAN’S WAY (1 Chron. 13 & 15)

It is not my intention to do a thorough study of these chapters but rather to make a few observations that will enhance our study of “The Ministry of Song”. In chapter 13 we find David expressing a desire to “bring again the ark of our God to us” (vv. 1-5), an honorable and right thing to do. Unfortunately, he goes about it the wrong way (vv. 6-8; Num. 4:15, 16; 7: 1-9). Perhaps you are thinking, why worry about the how, so long as it gets the job done and we achieve our good goal? No doubt there were some who thought that way, but God was very specific that the Kohathites were to carry the ark on their shoulders, not on a cart, no matter how easy, convenient or “practical” it might seem! Back in our chapter, you will notice that Man’s way ended in utter disaster (vv. 9 - 14). In chapter 14 David gets a lesson in “dependence”; enquiring after God on two seemingly identical situations. In chapter 15, David is ready to again “bring up the ark” as in chapter 13 but with this one all-important difference. He consulted God first, not man, on the details of how this was to be accomplished. This is summarized by David himself in addressing the Levites in v. 13, where we read: “For because ye did it not at the first, Yahweh our God made a breach upon us, for that we sought Him not after the due order”. It turns out that the “how” is as important to God as the “what”. We are not left to our own devices, doctrinally or practically.

This brings us to the “ministry of song” in chapters 13 and 15. Compare 13:8 with 15:28 and notice how they appear to be saying the same thing. However, in chapter 13, where “Man’s Way” is recorded, God rejects their music and song but in chapter 15 God’s word is brought to bear on their practice; and thus He delights in and accepts their “ministry of song”. The conclusion: the details are important!

There can be two Assemblies of Christians in a town that sing the same songs, sound the same, are filled with energy and devotion, yet one can be assured of God’s acceptance while the other is rejected because they did not “live by every word that proceeds from the mouth of God”. We hear a great deal of singing in Christendom but that does not necessarily mean that they are carrying out a “ministry of song”.

Allow me to suggest one more thought. In ch. 13 the title “the ark of God” is used where distance and reverence have been violated. However, in ch. 15 we find the title “the ark of the covenant of Yahweh” because they had finally kept the covenant relationship and acted in accordance with God’s word (15:15). How thrilled they were to see King David singing and dancing, while wearing the “linen ephod” of a priest (15: 27,28). He is a beautiful type of the Lord Jesus as our King/Priest leading the praises of His people (Zech. 6:13; Ps, 22: 22). Did you know that our blessed Lord desires to dwell in the midst of His people and to lead our praises today (Matt 18:20; Heb 2:12)? We will enjoy the reality of His “singing ministry” if we pay attention to “the details” He has provided in His word. But don’t expect the world to understand such a spiritual exercise. It is very likely that they will treat you the way Michal, the wife of David, treated him - “she despised him in her heart” (15:29)! She may have given him an outward smile but she never really understood.

THE SETTING (1 Chron. 6:32 ; 15)

We begin with the circumstances in which this ministry arose. The Ark of the Covenant was in the “promised land” but it had not yet found a permanent resting place. Solomon had not yet built his famous Temple to Yahweh (6:32). Consequently, The Ark of the Covenant was housed in a tent as it was in the wilderness. In fact, this simple tent did not even have the glory of the Wilderness Tabernacle. In chapters 15 and 16 we see it moved to the city of David, Jerusalem. This is a picture of the Christian’s current position in Christ. The “land” is defined for us by Paul as “every spiritual blessing in the heavenlies in Christ” (Eph 1:3). Like Israel, we may enjoy this “land” by faith, but we, like the Ark, still dwell in tents - picture of this world, which is a wilderness to the serious Christian.

Thus, the spiritual Christian is at rest in the “heavenlies” (in Christ) and yet walks the sands of this wilderness in testimony to a glorified Christ. As he abides in Christ he bears fruit to the glory of God (Jn. 15:1-11) and this can be seen in practical witness to the world. He is so heavenly minded that he is of some earthly good in the hands of the Master (Col. 3:1-4, 12-15). Meanwhile he waits for the "greater than Solomon" and His promised Temple. Only then will the true “Ark”, our Lord Jesus Christ, receive His rightful place in a setting of magnificence in the world to come. But until that day comes, “Christ as Head" secures a place outwardly for Himself as the Ark. Now, beloved brethren, that is precisely the position today. Christ as Head is securing a place for Himself as the Ark and it is unpretentious. It has not the glory of the outward display which will be in the Kingdom, and it refuses all the glory of a corrupt and almost apostate profession, but there is a place for the Ark. How we should think of that - a place for Christ as the Ark! I do not think we realize the greatness of the privilege that God has called us to.” They that do will know “the joy of the Lord” as their strength and their “ministry of song” will have something to say; it will have substance instead of the vain repetition of childhood so common in Christian circles today.

I want to remind the reader that just as it was required that one be born into the tribe of Levi in order to qualify as a “singer”, (ch. 6; Neh. 7: 64) so too must you be “born-again” if you are to take part in this ministry. Only in this way can you qualify to exalt Christ and bring pleasure to the heart of the Father.

A CHARACTER STUDY (1 Chron. 6, 15, 16, 23, 25 selected verses)

1. A true “singer” is conscious that he stands by Divine Grace. Compare the “natural order” in 6:1 with God’s elective order in verse 2. The careful reader of the genealogies in chapters 1-9 will notice a consistent pattern of judgment on the “natural order” to be replaced by God’s gracious order (compare 6: 3ff with vv. 50- 53). We have nothing in and of ourselves to boast in. All that we have and are as believers comes from God’s gracious hand, so that our boast can only be in Him and Him alone (1 Cor. 1: 26-31).

2. There is a close connection between “singers” and “doorkeepers”. Notice in ch. 15:16-18 that those who were appointed “singers” were first “doorkeepers” (v. 18). In addition, in ch. 23: 5 we find that there were 4,000 doorkeepers and 4,000 singers, again suggesting a close connection between the two. These doorkeepers, also called “Porters” (KJV) or “gatekeepers” (NASB), had the solemn responsibility to insure that only that which was consistent with the revealed will of God had access to the Tabernacle precincts. In this sense they guarded the righteous and holy claims of God. In the Christian fellowship we may be tempted to assign this title exclusively to the Elders of the Assembly, and indeed they do bear the responsibility to “take care of the Assembly” (1 Tim. 3: 5). However, a closer look at the New Testament reveals that every Christian has a certain level of responsibility to take action against that which is contrary to God’s holy word, while promoting that which is good (Matt. 18: 18; Rom. 16:17, 18; 1 Cor. 5; Gal. 6:1; 2 Thess. 3: 6, 14- 16; Col. 4:17; to name a few).

This does not mean that God’s wants us to be spiritually “paranoid”, constantly on the lookout for opportunities to stamp out doctrinal or moral evil! The believer who is positively occupied with Christ will be most fit for doorkeeper ministry when it is needed. Remember it is written in Gal. 6: 1 “ye who are spiritual restore such a one”. The carnal believer will turn this ministry of love into one of despotic abuse and find themselves in company with Diotrephes (3 Jn. 9, 10). Thus, we can say that a good “singer” is one who, as a good “doorkeeper”, is careful to promote only that which can be supported by God’s holy word and does not tolerate the introduction of Man’s opinion into Divine things; this includes the verbal expressions of truth in the songs we sing. This will result in a ministry of song that is scripturally intelligent, edifying the Assembly by use of words that shed light upon revealed truth. Finally, the name Obed-Edom in Chronicles presents us with a case study in how one arrives at a mature ministry of song. In chapter 13: 13, 14, upon the failure of man in handling the Ark, it is entrusted to the family of Obed-Edom. For 3 months he demonstrated his reverence for and obedience to Yahweh. His personal walk with the Lord in the most intimate circle of the family was beyond reproach. We know this to be true because we read in 13: 14 that “Yahweh blessed the house of Obed-Edom, and all that he had.” In other words, his personal walk with the Lord was governed by a careful attention to revealed truth and spiritual maturity in governing his house. It is this that qualified him to be a responsible “doorkeeper” in the house of God (15: 18, 24). As one who was subject to the will of God and committed to the advancement of His interests he would naturally qualify to take up a “ministry of song” that truly exalted God and brought delight to His heart (15: 15-18; 16:4-6).

3. The singers wore the same “linen robe” that David the King wore (15:27). This is very close to what we have noticed above. However, the emphasis here is on moral conformity to the truth seen in our “righteous acts” (Rev. 19: 8). A successful “singer” is one who is “a doer of the word and not hearers only” (James 1:23). A pleasant sounding voice does not equate to an effective “ministry of song”, but being a “doer of the word” does.

4. The “service of song” (6:31) is a learned ministry (15: 22, 27). The chief musician was a Levite by the name of Chenaniah. The Scriptures tell us that he “gave instruction in music, for he was skillful” (v. 22). We also read in 25: 7 that the Levites “were instructed in the songs of Yahweh, all of them skillful”. What this tells us is that a “ministry of song” is something that is learned and developed. It requires work, effort, time and teachable-ness. If they were “learners” (students) it must be remembered that this was no mere mental exercise, but a “working out of the truth” (Phil. 2:12; Col. 1: 9- 11; Jas. 1:22 - 25) as intimated by the term “skillful” - and not a select few at that, but “all of them” (25: 7).This should not be understood to mean that we are to have a “Minister of Music”, a Choir and a variety of musical instruments. Such would be nothing more than a Christianized form of Judaism! When we come together as a Christian Assembly, whether in worship or ministry, we do not come to hear our favorite songs sung. Nor do we necessarily sing to get an emotional lift (though we may be edified by such). In this, as in everything else, we must be led by the Holy Spirit. Singing in the Assemblies of God’s people is to be a spiritual exercise, under the leadership of the Holy Spirit with a view to bringing the saints into unison with God’s thoughts in worship and ministry.

In connection with musical instruments and worship, Everett Ferguson wrote: “The important thing in Christian worship is not our uplift, what pleases our senses, or what we find aesthetically satisfying. Instrumental music may put one in a certain mood, may stir his heart, may stimulate high sentiments (as well as lower or lesser sentiments), but one’s feelings are not his worship. Instrumental music performed by someone else cannot be something I offer to God. The thesis presented here is that although worship may have aspects which are emotional, aesthetic, and appeal to the senses in a wholesome way, it is not to be determined by these aspects but by what is rational, spiritual, and verbal”. [3] The man who developed the modern orchestra in connection with his great music dramas, Richard Wagner, said, “The human voice is the immediate organ for delivering the sacred text...If church music is ever to be restored to its original purity, vocal music must oust the instrumental and occupy the place this has usurped.” [4]

Finally, it should be noted that “Instrumental music cannot be confirmed as authorized in the text of the New Testament. It did not exist in Christian worship for centuries after the New Testament. Vocal music is more consistent with the nature of Christian worship. Instrumental music in comparison to vocal music (as incense in comparison to prayer) is, as the church fathers said, a falling back to a lower level (Old Testament level) of religious expression. It introduces into the human relationship to God an act lacking specific apostolic authorization.” [5]

Notice that the passages above emphasize both the responsibility of those in the place of spiritual guides to instruct the younger, and the readiness of the younger to be instructed. The elder brethren can fulfill their responsibility not only through the ministry of the word but also by example in the use of songs. The younger, on the other hand, must be attentive not only to what they hear but to what they see in the ministries of their spiritual leaders.

5. There is godly balance in a true “ministry of song” (15: 19-22, 28; 16: 4). Notice that the verses in chapter 15 do not make the music all about the “cymbals”, nor is there an emphasis on the “lutes” to the ignoring of the “harps”. In addition, you will notice that the lutes are played “on Alamoth” (15: 20) - a treble or higher pitched instrument, while the harps are played “on Sheminith” (15: 21) - probably the bass octave (see Ps 6 & 12, titles). All of this underscores the beauty of balance! Of course, what we have here in physical form is to take shape among the saints today in a spiritual way. This means that all the saints must take their part in this ministry. The true “Minister of Music” is the Holy Spirit and the Choir is every believer present. When the Holy Spirit is conducting the meeting no one saint will stand out from the rest as dominating the proceedings. The singing will be in accordance with the nature of the meeting (i.e. Worship, Evangelism, Prayer and Teaching). And the emphasis on “favorite tunes” will have no place in the meetings of the saints. This does not mean that a favorite tune cannot be sung, but it is to be introduced as supporting and enhancing the line of worship or teaching that the Spirit of God is bringing forward.

The variegated nature of the “ministry of song” is found in 16: 4, where we find a three-fold division: (1) “to celebrate” or “to invoke” or “to bring to remembrance”. This would be especially appropriate at the Remembrance Meeting (or the Lord’s Supper). If we follow the translation “to invoke”, we might think of the Prayer Meeting. (2) “To thank”. This is applicable at all times although these are probably heard most at the end of the Ministry and Prayer Meetings. (3) “And praise or hymn”, which lift us up above our earthly circumstances.

6. Biblical singing is “prophetic” in character (25: 1, 2). What I mean by this is that a song should be an unfolding of a given truth in the Scriptures and not an obscuring of it. We do not sing to give expression to our warm fuzzy feelings but to the truth we hold. The reader may find it helpful to know that the word “music” at 15:22 is a translation of a Hebrew word that can be translated “oracle”. The ancients considered the melody of the Psalms part of the “oracle of God”. Archaeologists have unearthed evidence in support of this claim. Thus, we discover that the music was as much a part of the “prophecy” as the words. Unlike music in our day, notes had assigned meaning or value and were not simply a tool for carrying the melody. In light of this fact, we do well to emphasize the words not the music, since we do not have assigned value to the notes we sing. When the music overrides or obscures the prophecy in song then it ceases to function in a Scriptural manner.

7. In the books of Samuel and Kings, David is seen as the victorious Lord, but here in 1 Chronicles he is presented as Head. The Lordship of Christ should be a settled matter with us so that we are not living on the line of “doing our own thing” but on the principle of subjection to Him as Lord. This is primary and essential, but all this is to prepare us to give Him His place as Head. It is onlynin connection with Christ as Head that we can have the ministry of song. For example in 25:2 where we read: “who prophesied at the direction of the king”, we have the additional expression: “under the direction of the king” in 25: 6. As Head, David gave directions to the varied functions in the ministry of song. Here is a lovely type of the Lord Jesus Christ as Head of the Assembly. While there were “mature” men like Heman, Asaph and Jeduthun through whom David, no doubt, facilitated these directions, nevertheless all was conducted under his (David's) headship.

In the New Testament book of Colossians we find the truth of Christ’s Headship expounded in detail. There we are instructed to hold fast “the Head, from whom all the body ministered to and united together by the joints and bands, increase with the increase of God” (Col. 2:19). In the wilderness book of Hebrews, we find a striking picture of Christ leading the ministry of song when from His own lips we hear Him say “...in the midst of the assembly will I sing Thy praises” (Heb. 2:12). Happy are they who have yielded the leadership of this ministry to our glorified Head the Lord Jesus Christ; to such the Holy Spirit delights to prove His sufficiency for this work, to the glory of God.

To those who have known only the pre-packaged programming of Christendom, this may sound a bit strange. But faith delights to magnify our Head through confidence in His willingness to conduct the Meetings of the Assembly. While programming the elements of a Meeting may give one a sense of security, it takes away the need for dependence on the Lord and presumes to know the mind of the Spirit before hand. It will help to take this singing ministry more seriously if we remember that if I address the Lord in prayer or praise, that is on my own responsibility and no one need say ‘Amen’ unless they agree. However, if I give out a hymn I commit the entire Assembly to it. Thus, if it is not a suitable song, I wind up detaining the Assembly.

8. Heman was called “the king's seer in the words of God” (25: 5). God exalted him by giving him 14 sons and 3 daughters. Here is a subtle reminder that God is 'no man’s debtor'. Our Lord put it plainly when he said: “If anyone serve Me, him shall the Father honor” (Jn. 12:26). Heman had understanding and skill in the use of God’s word. This did not happen overnight. It, no doubt, required a life of sacred devotion and discipline. So too, if we are to know a true ministry of song, it will require time spent with the Lord and His word so that we might develop the spiritual perception of a Heman. This will result in fruitfulness in the proper use of songs from which the saints will be edified. Asaph is another example of one who was honored by God. In chapter 6 & 15, we see his selection and personal ministry as a singer. In chapter 16 he receives his first assignment from the hand of David to lead his brethren in singing a recently composed Psalm. Finally we discover that Asaph was honored with writing Psalms 73-83 which we have now as part of the sacred canon.

9. It’s important to note that all we have covered is in connection with “the house of God” (25: 6; 1 Tim 3:15). All that we gain in our personal walk with the Lord is not an end in itself but has the collective blessing of the House of God in view. All truth is God’s truth, and is not for our self-exaltation but that we may be channels of blessing to our fellow saints and bring distinct honor to our God and Father.

10. Finally, you will notice that in 25:8 “they cast lots” to determine their responsibilities as singers. In other words they were wholly and happily cast upon God for this work. They did not use human intellect or ingenuity to carry out this sacred service. You will also notice that everyone was on the same level: “small as well as the great, the teacher with the student”. No one, regardless of their years “in the Lord” or particular gift, could claim precedence over others. All was to be carried out in accordance with the Spirit’s leading in subjection to Christ as Head. Lastly, it’s worth noting that just as there were 24 courses of Priests so too were there 24 courses of Singers; a clear indication that this ministry of song is a priestly exercise and should be treated as such.

NEW TESTAMENT SINGING

'A period of rest', a ‘man of rest’ and a ‘house of rest’ were needed for the introduction of a regular worship and a permanent song of praise to God’s glory and honor. The ministry of the Levitical singers was based on this situation of peace and quietness in the land. God’s good hand was over His people, and He looked with favor on them. The Ark had found its resting place on Mount Zion. God dwelled in the midst of His people, and the king after His own heart reigned by the grace of God. For this reason the Levites could continually sing, “His mercy endures forever”. This chorus was first heard when David brought the Ark to its resting place in Jerusalem, and it was sung again when the Ark was brought into the temple (1 Chron. 16: 34,41; 2 Chron. 5:13).

Obviously, this has great significance for us too. Just as God’s mercies for Israel were sure in the person of the anointed king, we are sure of His grace in His beloved Son. Christ is our perfect Representative and Head, and God has exalted Him to be Lord of all. Through Him we are now the objects of God’s favor. Through our Lord Jesus Christ we have peace with God, and through Him we also have access by faith into this grace in which we stand (Rom. 5: 1 - 2). Through Him, we have been delivered from the power of darkness and been translated into the Kingdom of the Son of His love, the Man after His own heart (Col. 1: 13). This is a kingdom of light and love - a kingdom of "righteousness and peace and joy in the Holy Spirit" (Rom. 14: 17).

Then shouldn’t we, too, break into a song of praise, thanking Him for His endless mercy, His eternal goodness? For us, too, the time of rest and of singing has come. We know the Prince of Peace who has found a resting place in the midst of His people. So we can be thankful and happy. The song that God’s mercy endures forever is an endless song that resounds in our midst to the glory and honor of the Father and of the Son. This song of praise will resound in the Church throughout all ages, world without end. So we can conclude that now, too, the ‘choir’ is lined up in God’s temple to sing and make melody in their hearts to the Lord in psalms and hymns and spiritual songs (Eph. 2:17 - 22; 5:19). [6]

A THREE-FOLD CORD (Eph. 5: 19; Col 3: 16)

For the obedient believer, the glorified Man, the open Word and the residency of the Holy Spirit provides the foundation needed to inaugurate a truly spiritual ministry of song among God’s people today. A careful review of the Scriptures above reveals a three-fold division that take us from our earthly circumstances to heavenly realms where all is centered on the Father and the Son. There is found in those scenes of light and love an eternal celebration of God’s Anointed, the man of God’s counsels, our Lord Jesus Christ. Scripture divides up our subject simply as follows: (1) psalms (2) hymns (3) and spiritual songs. I am aware that many so-called “Scholars” insist that we cannot make such fine distinctions. But may I remind them that I didn’t make this division, God did! Our heavenly Father is neither confused nor obsessed with literary beauty as such. If He makes a distinction than we are obligated, as good Bereans (Acts 17: 11) to take note of it and inquire at the throne of grace for the answers to the question “why”.

Let us then consider Eph. 5:19. It comes on the heels of the imperative “be filled with the Spirit” (v. 18) and suggests that what follows is the result of such “filling”. Thus we learn that a truly “spiritual” song can only be enjoyed when one is “filled with the Spirit”. By this, of course, is meant the quality and character of the song and not the vocalizing of words. This is as true corporately as it is individually, but the latter must form the basis of the former. In verse 19 we read: “speaking to yourselves in psalms and hymns and spiritual songs, singing and chanting (Grk: psalming) with your heart to the Lord;". Some have translated the expression, “yourselves” (Grk: heautois) as “one another”, which is a possibility. But this better translates the Greek word “allelous” found in verse 21. In either case it does not appreciably affect our understanding of the ministry of song. Notice that the dative “to the Lord” is like the reflexive “to yourselves”, we ourselves and the Lord go together; all the music is between Him and us. And yet, as someone has said, “we never read that anyone sang without a voice”! Psalm 111:1 is a good example; for while the Psalmist sang with his “whole heart”, it was necessarily vocal for it was in the “council of the upright and in the assembly”. As an aside, we have evidence from various writers of the way in which the early Christians ‘spoke one to another’ in sacred song. Pliny, when Roman Governor of Bithynia in AD 112, was told how the Christians of his province were in the habit of meeting on a fixed day before dawn and “reciting a hymn antiphonally to Christ as God” (Epistle of Tragan). Toward the end of the same century, Tertullian writing in North Africa, describes the Christian love-feast at which “each is invited to sing to God in the presence of the others from what he knows of the Holy Scriptures or from his own heart” (Apologia, 39).

Let’s take a closer look now at this three-fold division found in our verse.

Psalms [7] : Put simply, a Psalm denotes a song born out of experience with God and may also be linked with affliction. Someone has said, “If David’s heart had ne’er been wrung, David’s psalms had ne’er been sung.” There is some controversy as to whether the 'Psalms' refers to the Old Testament Psalms, New Testament Psalms written by Christian believers or does it include both? The capable Bible Teacher J. S. Blackburn suggests the following: “The Old Testament Psalms cannot be vehicles of the true worship because in them worship is directed to Jehovah and not to the Father and the Son; because a finished redemption was not known; and because the imprecatory Psalms are quite out of keeping with the spirit of the New Testament.” [8] While this is true, as far as it goes, it does not mean that they have no value for the Christian company. Who among God’s people today have not felt the appropriateness of Psalm 22 at the Lord’s Supper, or the practical wisdom of Psalm 1, or perhaps the prophetic beauty of Psalm 110 in putting Christ the King/Priest upon His throne? Clearly we cannot use all of the language in the Psalms since that would not be in keeping with our heavenly calling. But, none the less, these form part of the sacred canon and are declared “profitable for teaching, for conviction, for correction, for instruction in righteousness” (2 Tim. 3:16). So that there is profit both doctrinally and practically for the believer today. Thus, one finds ample room for the expression of applicable truth from the language of the Psalms.

Having said this, there is just cause to believe that our subject included N. T. Psalms, i.e. Psalms written by believers in the early Assembly as expressions of their relationship with God. One need only turn to 1 Cor. 14:15, 26 to find the Greek word for Psalms, “psalo”, translated “sing” (v. 15) and “psalm” (v. 26). To limit this to Old Testament Psalms would be to narrow it’s meaning unnecessarily and may also be a denial of the rights and presidency of the Holy Spirit in the lives and fellowship of the infant Assembly. To this we add the testimony of Eusebius (c. AD 260 - 339), rightly called the Father of Church History, who quotes an anonymous writer (about AD 200) as saying, “such psalms and hymns, written by faithful brethren from the beginning, as hymn the word of God, the Christ, proclaiming Him God.” Some believe, and with good reason, that 1 Cor. 15: 3 - 8 is an example of such a Psalm.

Hymns: The highly respected W. E. Vine suggests that “hymns were composed by believers on Christian subjects”. But the same can be said of Christian psalms and is too general a definition to discern the things that defer. I would suggest that Hymns are songs that arise as a result of Divine revelation and produce holy aspirations. They are Christian canticles that direct praise to God. In Matt. 26: 30 our Lord and His disciples used a portion of the Psalms known as the Hallel in just this way. There at the close of the Passover (having introduced the Lord’s Supper) it was customary to end the proceedings singing the Hallel which ended with Ps. 118. This Psalm is striking for its aspirations and notes of praise, made even more striking when we note that the sacrifice of which this Psalm speaks was the one singing its words! According to Augustine, the hymn requires three conditions - it must be sung, it must be to God, and it must be praise. While this may be a bit too narrow, it nonetheless, sets our sails in the right direction.

Spiritual Songs: Once again I turn to W. E. Vine for the following definition: “The word rendered ‘songs’ is always used in the New Testament as that which was sung in praise of God or Christ”. Again I must object to such generalizations as unhelpful in making proper distinctions. Such could have been said of hymns just as well. The noted scholar F. F. Bruce gives us a little bit more when he writes: “may be unpremeditated words sung ‘in the Spirit’, voicing praise and holy aspirations”. But even this can be said of hymns. Therefore I would respectfully suggest the additional thought of pure and spontaneous adoration and worship of Divine Persons, Father and Son, for His great work and worth in the completion of God’s purposes. Of interest to note is that this word “song" is found only in the Revelation (5:9; 14:3; 15:3) where we find the realization of every Divine Purpose!

You may have noticed by now that each division (psalms, hymns and spiritual songs) has its own unique character, yet it embraces the features of what has gone before it. Thus, you may look at it as an inverted pyramid with psalms at the bottom and spiritual songs at the top. As we move up the pyramid we are enlarged in our ministry of song until we embrace the whole council of God and we find ourselves lost in the wonder, love, praise and worship of both Father and Son.

Back in Eph. 5:19 the rest of our passage reads: “singing and making melody in your heart to the Lord”. The expression “making melody” translates the Greek word “Psallontes” from which we get the word “psalm” but in this context means literally “to sing praises”. This is done, first and foremost, “in your heart”, reminding us that this is a deeply personal exercise. However, the excellent Darby translation, along with other authorities has suggested that the Greek preposition ‘en’ can be translated “with” rather than “in”. If this is the case then we have here a clear reminder that this ministry of song must have the heart as its instrument in carrying the melody or it is not a true ministry of song. In our very next verse (v. 20) the thanksgiving that flows from these conditions is both perpetual and plenary!

In Col. 3:16 we have a parallel passage where we find the same three-fold division. A careful comparison of these two verses highlights for us the relationship between the word of God and the Spirit’s filling. T. Bentley summarizes it this way: “The praise in our present verse is the result of a deep assimilation of the word of Christ, while in Eph. 5:18 - 20, it is the outgrowth of the filling of the Spirit. A word-filled Christian is a Spirit-filled Christian”. This is not to say that an intellectual knowledge of Scripture content is the same as being filled with the Spirit. So we might add to the above that a word-filled Christian is Spirit taught!

INSTRUMENTAL MUSIC

Finally, with the popularity of instrumental music some would naturally ask what place it might have in the Christian gatherings. I quote at length from one more capable than I in answering this question: “Some have attempted to make out that since the verb “to psalm” (1 Cor. 14:15; Eph. 5:19; James 5:13), is given in a certain popular concordance with the meaning “to sing praise with a musical instrument”, it is necessarily implied that instrumental accompaniment is appropriate to singing in Christian worship. It has been so universally common to use instrumental accompaniment with singing in Christian worship that familiarity with it prevents our seeing what a far cry such a practice is from Scripture truth. The verb “to psalm” means “to pluck or twang a string with the finger.” In its original use the string was a bowstring, but later a musical string. The only shred of Scripture evidence available to be called in support of using musical accompaniment in Christian worship, is the original meaning of this word, and the evidence is quite as strong for using bows and arrows as musical instruments. The word “lunatic” originally meant a person affected by the phases of the moon, but when we use the word in the twentieth century, we make no references to the moon; the word is still used, but has entirely lost the original connection. Similarly, the use of the word “to psalm” in the New Testament of itself proves nothing at all about the use of musical instruments. In the Old Testament, instrumental music was explicitly authorized for the temple worship, and considerable details given about the instruments used and the players: “an instrument of ten strings” (Psalm 92: 3): “upon the harp will I praise Thee” (Psalm 43: 4): “song in the house of the Lord, with cymbals, psalteries and harp, for the service of the house of God” (1 Chron. 25: 6); and numerous other references. When we contrast this with the total absence of such details in the New Testament, it can only be concluded that instruments were not used in the New Testament churches. Indeed, they would hinder by diverting attention from the inward spiritual activity essential to the true worship. The recognition of these facts is not confined to one communion. They have always been recognized by some, notably certain monastic orders in the Middle Ages and by the early Presbyterians in modern times.” [9] Everett Ferguson makes an insightful observation when he writes, “The synagogue emphasized teaching and did not have instrumental music. The temple emphasized ritual, and it did have instrumental music. Further, in Christian history, where edification has been central, instrumental music has been in the background, but where ritual has been in the forefront, then the instrument has been prominent.” [10] K. G. Fellerer rightly observes, “The ‘worship in spirit’ (Jn. 4: 23), with its implied rejection of a purely esthetic enjoyment of music, was the basis for the general repudiation of instrumental music, customary in pagan worship...”

Documents from early church history support the view that instruments were to be eschewed in the Christian gatherings in favor of A Cappella music. For example, near the year 400 an anonymous document entitled Questions and Answers for the Orthodox had this to say, “It is not simple singing that belongs to the childish state, but singing with lifeless instruments, with dancing, and with clappers. Hence the use of such instruments and the others that belong to the childish state is excluded from the singing in the churches, and simple singing is left. For it awakens the soul to a fervent desire for that which is described in the songs, it quiets the passions that arise from the flesh, it removes the evil thoughts that are implanted in us by invisible foes, it waters the soul to make it fruitful in the good things of God, it makes the soldiers of piety strong to endure hardships, it becomes for the pious a medicine to cure all the pains of life. Paul calls this the “sword of the spirit,” with which he arms the soldiers of piety against their unseen foes, for it is the word of God, and when it is pondered and sung and proclaimed it has the power to drive out demons” (PG 6:1354) [11]. About the same timeframe, Theodoret, On the Healing of Greek Afflictions 7: 16, had this to say on the subject: “So he also allowed the use of instrumental music, not that he was delighted by the harmony, but that he might little by little end the deception of idols.” Chrysostom, affectionately called John the “Golden-mouth”, labored as the Lord’s servant in both Antioch and Constantinople between the years 386 - 404. Commenting on Psalm 149: 2 he had this to say about instrumental music: “Many people take the mention of these instruments allegorically and say that the timbrel required the putting to death of our flesh, and that the psaltery requires us to look up to heaven (for this instrument resounds from above, not from below like the lyre). But I would say this, that in olden times they were thus led by these instruments because of the dullness of their understanding and their recent deliverance from idols. Just as God allowed animal sacrifices, so also he let them have these instruments, condescending to help their weakness”.

While a lot more can be quoted, this should be sufficient to give the reader a feel for the view held by the early church on the subject of instrumental music. Everett Ferguson’s conclusion is correct: “Instrumental music cannot be confirmed as authorized in the text of the New Testament. It did not exist in Christian worship for centuries after the New Testament. Vocal music is more consistent with the nature of Christian worship. Instrumental music in comparison to vocal music (as incense in comparison to prayer) is, as the church fathers said, a falling back to a lower level (Old Testament level) of religious expression. It introduces into the human relationship to God an act lacking specific apostolic authorization.” There will be no anxiety about such singing if the Holy Spirit is allowed the supreme place in the gathering of the saints. Only let the singing be done with the heart, spirit and understanding and the extremes of musical agitation and cacophonous dirge shall be avoided. The Ministry of Song is “a very serious matter and to take up active service in regard to it means carrying something in your spirit that is weighty. If we considered that there will never be anything in eternity greater in spiritual dignity than the service of song in the house of God today it would make us serious and sober and we should be governed in what we say or sing, not by our feelings alone, but by the light that is in our hearts of Christ in relation to God.”

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1. See the books of Ezra, Nehemiab, Haggai and Zechariah for this history.
2. While we are not explicitly told who the author of Chronicles is, internal evidence suggests that it was Ezra the Scribe (see Ezra 7: 6, 10; compare 2 Chronicles 36: 22, 23 with Ezra 1: 1 - 3).
3. A CAPPELLA MUSIC in the Public Worship of The Church, third edition.
4. Worship (Philadelphia: Muhlenberg Press, 1959), P. 183.
5. A CAPPELLA MUSIC, Third Edition, p. 84.
6. Thc Temple Singers, H. Bouter, Come and See, vol. 23 no.4
7. There is absolutely no evidence that this three-fold division corresponds to the three types of composition represented in the O. T. Psalter, designated respectively by the Hebrew names “Mizmor, Tehillah and Shir.
8. The True Worship by J.S. Blackburn
9. The True Worship, pgs 75, 76 by J. S. Blackburn
10. A Cappella Music in the Pubic worship of the Church, third edition, pg 81
11. The reference to the “sword of the spirit” underscores how close to Scripture their songs were. It appears that in the early church very often the Scriptures themselves were put to song.