Basse-Fondamentale

Account (not an iTunes one) on Music

2012-01-20T22:34:00.005+01:00

"I feel alarmed as I witness everywhere the frivolity of young men and young women who profess to believe the truth. God does not seem to be in their thoughts. Their minds are filled with nonsense. Their conversation is only empty, vain talk. They have a keen ear for music, and Satan knows what organs to excite to animate, engross, and charm the mind so that Christ is not desired. The spiritual longings of the soul for divine knowledge, for a growth in grace, are wanting.

"I was shown that the youth must take a higher stand and make the word of God the man of their counsel and their guide. Solemn responsibilities rest upon the young, which they lightly regard. The introduction of music into their homes, instead of inciting to holiness and spirituality, has been the means of diverting their minds from the truth. Frivolous songs and the popular sheet music of the day seem congenial to their taste. The instruments of music have taken time which should have been devoted to prayer. Music, when not abused, is a great blessing; but when put to a wrong use, it is a terrible curse. It excites, but does not impart that strength and courage which the Christian can find only at the throne of grace while humbly making known his wants and, with strong cries and tears, pleading for heavenly strength to be fortified against the powerful temptations of the evil one. Satan is leading the young captive. Oh, what can I say to lead them to break his power of infatuation! He is a skilful charmer luring them on to perdition." (The Adventist Home, Chapter 67)

Sometimes the music we listen to, like any other things we might do, is not an isolated problem in itself, but a symptom of a sick relationship with Christ. As diagnostics are drawn from the analysis of the particular symptoms of a disease, so is the state our relationship with Christ, which can actually range from healthy to dead. A patient is diagnosed dead when his vital body functions are no longer in activity; likewise we might find ourselves dead spiritually when our souls no longer breath high Christian values and moral standards or Jesus' character can't be seen in any aspects of our lives.

I believe that things we engage in in our everyday lives tell a lot about who we are, what we want and principally: who we serve. In the passage above Ellen White talks about the responsibility of the youth and the useful employment of their time. Worldly music has been occupying way too much space and time in our minds today, time that should have been used to make God's work advance on earth, helping people, studying the Bible and praying for ourselves and those around us.

Ellen White's language might seem a bit difficult to understand when she refers to music. Of course things were different in her time, but a clear parallel to what she describes in the passage above could be the CDs we buy, the albums and artists we download or purchase in iTunes Store, which we hear in our iPods and mp3 players; the latest releases by bands and singers all over the world.

Now, while this article is about the music we hear in our everyday lives and how it could be a symptom of a weak relationship with God, it's also about any other aspect in the Christian experience: the way we dress, eat, talk, behave… Like in the body, any vital organ, here representing the many aspects composing one's life, when sick or damaged will affect the whole body. This is why we should take care of all these aspects, music being one of them.

I'm sure we can always find a healthy alternative of a kind of music that uplifts our minds and brings us closer to God, since most of the time the problem is the style this music is connected to (no need to mention that a lot of contemporary "Christian" music is way worse than many a worldly one). Not everyone likes baroque music, though, needless to say, but I'm sure there's a kind out there that might enhance your personal Christian experience. Besides, as we are truly transformed into Jesus' character, we are likely to change our taste and opinion in favor of something that would please Him before ourselves. And by knowing that Jesus delights in our entertainment, we'll surely enjoy it too. ❦

On Liturgical Roles

2012-01-20T22:29:00.003+01:00

Ever since I began writing on this blog, and especially when I started being involved in the church's leadership in the Music Department, I've taken time to consider the role of music in the process of worship.

There's a well-known liturgical logical sequence that is supposed to elevate the believer's heart up to receiving the spoken word. History shows that, if we analyze the time-line of liturgical practices in religious ceremonies. Nonetheless, Ellen White talks about the importance of music in itself and its fundamental role in imparting God's message to the heart. People tend to overlook this nowadays, though, when it comes to liturgy. While a considerable amount of time is given to other items in the program, and often rightly so, almost none is given to music in some cases. I've been in places where the song service, or the time for reflection with a musical background, or even special items, have been suppressed or basically cut off because of lack of time or space in the program.

I personally believe that if all other moments are given a special attention and reasonable amount of time, so should music. Especially when there is enough evidence both in the Bible and in the Spirit of Prophecy in support of the role of music in worship.

As I studied 2 Chronicles 5 this evening I took some time to dwell upon verse 13, since it depicts the use of music in such an important religious event for the people of Israel - the dedication of the Lord's temple, built by Solomon.

"Indeed it came to pass, when the trumpeters and singers were as one, to make one sound to be heard in praising and thanking the LORD, and when they lifted up their voices with the trumpets and cymbals and instruments of music, and praised the LORD, saying: 'For He is good, for His mercy endures forever', that the house, the house of the LORD, was filled with a cloud" 2 Chronicles 5:13

In no other moment but at the time the musicians started playing and singing, and were joined by other instrumentalists, was God's glory manifested in that occasion. When in song they addressed His goodness and love, and only "then", did His presence fill the temple.

I'd say we can likewise benefit from God's manifestation of glory in our lives as we join together in true praise to His name and thanksgiving for His blessings. Also, a better management of time in the liturgical program would be better for all relevant items to receive due attention and emphasis. ❦

A Wise Choice

2012-01-13T21:43:00.005+01:00

"Solomon spared no expenses in the construction of the Temple, conscripted as much manual labor as needed, and then found artisans from Egypt who could do the special work for the Temple. This latter act foreshadowed his penchant for depending on other nations for that which he should have trusted God.

Nonetheless, the righteous desire of Solomon to build a house for God should be the same desire that drives us to build a place for God in our lives. The care Solomon demonstrates in the building of the Temple can be linked to that which we should exhibit in the development of a Christian character. We should use no shoddy materials in this process, so that we may render to God the best that we have to give." (Cornerstone Connections - Teacher's Guide - 1st Quarter, 2012, p. 27)

As I study the lesson to help moderating a youth class in Sabbath School tomorrow morning, I realize the relevance of the present passage when it comes to doing our best for God. One of the targets in this lesson is actually to make the students feel the necessity to give the best for Him in their lives no matter what they do.

Solomon might have erred in depending on other nations and pagan peoples to do the holy work for God, whereas he could have asked and trusted Him for guidance in that matter; but he still did the best he could in terms of financial resources, time employment and talents. Moreover, Solomon understood God's holiness and perfection. His reverence can be seen in his care for order in the process of building the Temple: "And the temple, when it was being built, was built with stone finished at the quarry, so that no hammer or chisel or any iron tool was heard in the temple while it was being built." (I Kings 6:7, NKJV)

It is sad to see that we haven't exactly followed this example in the management of music in our church today, both locally and world-wide. I believe the service to God should be a holistic manifestation and organization should be felt in every area of worship. By acknowledging God's perfection we can better understand His character and love for us. By being organized and structured to praise God in the best way, we are richly benefited in understanding more about His pure and perfect nature. ❦

Song of Forgiveness

2011-12-19T19:29:00.003+01:00

"Deliver me from the guilt of bloodshed,
O God,
the God of my salvation,
and my tongue shall sing aloud of Your
righteousness.

"O LORD open my lips,
and my mouth shall show forth your
praise."

Psalm 51:14-15

The First Dissonance

2011-12-03T11:40:00.006+01:00

Another interesting source of information on music in Ellen White's writings is her use of musical terms, together with other musical analogies, to describe spiritual issues. One of the recurring subjects is God's character and law, perfection and love - where she employs the term "harmony" quite often. Other ones such as "notes", "consonance", "dissonance", etc., are frequently used as well.

Due to its natural and somewhat "self-organizing" perfection, music is a powerful metaphorical element when it comes to spiritual matters. Its inner attributes reflect God's perfection and purity, and in its correct use we can see His righteousness portrayed.

In this sequence of passages (below), as selected from the first chapter in Ellen White's "Patriarchs and Prophets", her use of musical terms clarifies the nature and origin if sin in heaven, and how much discord it brought to the perfect "harmony" pertaining to a place where God's presence dwells.

Soon this perfection and harmony will be restored to humanity, as well as the whole world, as Jesus comes and saves us from the harshness and dissonance Satan brought to the musical beauty of God's commandments, by misusing his heavenly position.

The law of love being the foundation of the government of God, the happiness of all intelligent beings depends upon their perfect accord with its great principles of righteousness. God desires from all his creatures the service of love—service that springs from an appreciation of his character. He takes no pleasure in a forced obedience; and to all he grants freedom of will, that they may render him voluntary service. – {PP 34.3}
So long as all created beings acknowledged the allegiance of love, there was perfect harmony throughout the universe of God. It was the joy of the heavenly host to fulfill the purpose of their Creator. They delighted in reflecting his glory and showing forth his praise. And while love to God was supreme, love for one another was confiding and unselfish. There was no note of discord to mar the celestial harmonies. But a change came over this happy state. There was one who perverted the freedom that God had granted to his creatures. Sin originated with him who, next to Christ, had been most honored of God and was highest in power and glory among the inhabitants of heaven. Lucifer, “son of the morning,” was first of the covering cherubs, holy and undefiled. He stood in the presence of the great Creator, and the ceaseless beams of glory enshrouding the eternal God rested upon him. “Thus saith the Lord God; Thou sealest up the sum, full of wisdom, and perfect in beauty. Thou hast been in Eden the garden of God; every precious stone was thy covering.... Thou art the anointed cherub that covereth; and I have set thee so: thou wast upon the holy mountain of God; thou hast walked up and down in the midst of the stones of fire. Thou wast perfect in thy ways from the day that thou wast created, till iniquity was found in thee.” Ezekiel 28:12-15. – {PP 35.1}
(...)
Now the perfect harmony of heaven was broken. Lucifer’s disposition to serve himself instead of his Creator aroused a feeling of apprehension when observed by those who considered that the glory of God should be supreme. In heavenly council the angels pleaded with Lucifer. The Son of God presented before him the greatness, the goodness, and the justice of the Creator, and the sacred, unchanging nature of his law. God himself had established the order of heaven; and in departing from it, Lucifer would dishonor his Maker and bring ruin upon himself. But the warning, given in infinite love and mercy, only aroused a spirit of resistance. Lucifer allowed his jealousy of Christ to prevail, and became the more determined. – {PP 35.3}
(...)
The angels joyfully acknowledged the supremacy of Christ, and prostrating themselves before him, poured out their love and adoration. Lucifer bowed with them, but in his heart there was a strange, fierce conflict. Truth, justice, and loyalty were struggling against envy and jealousy. The influence of the holy angels seemed for a time to carry him with them. As songs of praise ascended in melodious strains, swelled by thousands of glad voices, the spirit of evil seemed vanquished; unutterable love thrilled his entire being; his soul went out, in harmony with the sinless worshippers, in love to the Father and the Son. But again he was filled with pride in his own glory. His desire for supremacy returned, and envy of Christ was once more indulged. The high honors conferred upon Lucifer were not appreciated as God’s special gift, and therefore, called forth no gratitude to his Creator. He gloried in his brightness and exaltation and aspired to be equal with God. He was beloved and reverenced by the heavenly host, angels delighted to execute his commands, and he was clothed with wisdom and glory above them all. Yet the Son of God was exalted above him, as one in power and authority with the Father. He shared the Father’s counsels, while Lucifer did not thus enter into the purposes of God. “Why,” questioned this mighty angel, “should Christ have the supremacy? Why is he honored above Lucifer?” – {PP 36.3}
(...)
Taking advantage of the loving, loyal trust reposed in him by the holy beings under his command, he had so artfully instilled into their minds his own distrust and discontent that his agency was not discerned. Lucifer had presented the purposes of God in a false light—misconstruing and distorting them to excite dissent and dissatisfaction. He cunningly drew his hearers on to give utterance to their feelings; then these expressions were repeated by him when it would serve his purpose, as evidence that the angels were not fully in harmony with the government of God. While claiming for himself perfect loyalty to God, he urged that changes in the order and laws of heaven were necessary for the stability of the divine government. Thus while working to excite opposition to the law of God and to instill his own discontent into the minds of the angels under him, he was ostensibly seeking to remove dissatisfaction and to reconcile disaffected angels to the order of heaven. While secretly fomenting discord and rebellion, he with consummate craft caused it to appear as his sole purpose to promote loyalty and to preserve harmony and peace. – {PP 38.2}
The spirit of dissatisfaction thus kindled was doing its baleful work. While there was no open outbreak, division of feeling imperceptibly grew up among the angels. There were some who looked with favor upon Lucifer’s insinuations against the government of God. Although they had heretofore been in perfect harmony with the order which God had established, they were now discontented and unhappy because they could not penetrate his unsearchable counsels; they were dissatisfied with his purpose in exalting Christ. These stood ready to second Lucifer’s demand for equal authority with the Son of God. But angels who were loyal and true maintained the wisdom and justice of the divine decree and endeavored to reconcile this disaffected being to the will of God. Christ was the Son of God; he had been one with him before the angels were called into existence. He had ever stood at the right hand of the Father; his supremacy, so full of blessing to all who came under its benignant control, had not heretofore been questioned. The harmony of heaven had never been interrupted; wherefore should there now be discord? The loyal angels could see only terrible consequences from this dissension, and with earnest entreaty they counseled the disaffected ones to renounce their purpose and prove themselves loyal to God by fidelity to his government. – {PP 38.3}

We all know how this story seems to end: Lucifer cast out of heaven with all the angels he managed to deceive, and who willfully chose to take part in his rebellious attitude toward God's sovereignty; followed by his successful attempt to deceive our first parents in Eden, and the fall of human kind. But this is not the real end, for this story is yet to be completed when Jesus comes to permanently save us from the consequences of sin, restoring everlasting harmony to our, then, eternal life experience. ❦

Appendix to "A Case of Antagonism"

2011-11-18T22:06:00.004+01:00

"However, when He, the Spirit of truth, has come, He will guide you into all truth; for He will not speak on His own authority, but whatever He hears He will speak; and He will tell you things to come." John 16:13

This is another Bible verse that supports the idea of a God who provides His children with a thorough understanding of things, so that we are not "sent home" without a clarification. Jesus is saying here that after He went back into Heaven He would send us the Holy Spirit, the Comforter, to enlighten our minds concerning spiritual things.

"And I will pray the Father, and He will give you another Helper, that He may abide with you forever— the Spirit of truth, whom the world cannot receive, because it neither sees Him nor knows Him; but you know Him, for He dwells with you and will be in you." John 14:16-17

The term "all truth" in John 16:13a (above) suggests that we are to be given light on every particular issue that relates to our spiritual growth and experience. As we might have some difficulty understanding Biblical issues, God promises to give us the Holy Spirit to help us figure out what the truth is. The Spirit who inspired the Scriptures to be written is offered us in the process of its interpretation, so that we don't lack wisdom in any respect. ❦

Lewis and Luther - A Harmonious Parallel

2011-10-22T00:59:00.008+02:00

"In the dark something was happening at last. A voice had begun to sing. It was very far away and Digory found it hard to decide from what direction it was coming. Sometimes it seemed to come from all directions at once. Sometimes he almost thought it was coming out of the earth beneath them. Its lower notes were deep enough to be the voice of the earth herself. There were no words. There was hardly even a tune. But it was, beyond comparison, the most beautiful noise he had ever heard. It was so beautiful he could hardly bare it. The horse seemed to like it too; he gave the sort of whinny a horse would give if, after years of being a cab-horse, it found itself back in the field where it had played as a foal, and saw someone whom it remembered and loved coming across the field to bring it a lump of sugar.
(...)
"Then two wonders happened at the same moment. One was that the voice was suddenly joined by the other voices; more voices than you could possibly count. They were in harmony with it, but far higher up the scale: cold, tingling, silvery voices. The second wonder was that the blackness overhead, all at once, was blazing with stars. They didn't come out gently one by one, as they do on a summer evening. One moment there had been nothing but darkness; next moment a thousand, thousand points of light leapt out - single stars, constellations, and planets, brighter and bigger than any in our world. There were no clouds. The new stars and the new voices began exactly at the same time. If you had seen and heard it, as Digory did, you would have felt quite certain that it was the stars themselves that were singing, and that it was the First Voice, the deep one, which had made them appear and made them sing." (C. S. Lewis - "The Chronicles of Narnia" - "The Magician's Nephew" - The Fight at The Lamp-post)

This intriguing and richly portrayed passage describes the creation and founding of the fictional world of Narnia. Throughout the seven books of the series Lewis parallels elements of the Bible, Christian doctrine and the history of the world. This particular initial portion alludes to the Creation of our own world by God.

Interestingly he depicts Narnia as being sung into existence. Whereas in the Bible our world is spoken into it. There is no literal accuracy in his depiction of Biblical events, and many inconsistencies come up through the books, but that is fine when we look at the story as an allegorical reference to religious beliefs. Here he gave way to his own creative scenery where this hypothetical world is being beautifully sung into reality. The idea of other voices joining at a higher pitch, and as consequence of a lower tone, suggests the concept of a harmonic series, where mathematical proportions and exactness show through.

These arithmetical elements were obviously present in the moment of Creation. As the Lord brought forth molecules, plants and other complex structures, mathematical exactness was possibly all around. That must have been no different with sound and music, as the physical aspects of wave propagation were most probably established in the atmosphere's dynamic.

But the spiritual implications of sound as music are far more interesting than the purely physical ones. Martin Luther was apparently an advocate of the fact that the basic ruling attributes of music were established in the process of Creation. He "continued to embrace the concept of music's affective and formative power, based ultimately on a Christian interpretation of the Greek ethos teachings. The order of the natural sound as defined through the mathematical proportions of the intervals was present from the moment of Creation and is thereby an attribute of the Creator. (...) The act of hearing music, of listening to ordered sound, is to resonate with Creation, of which the individual is part. When the human ear perceives the various musical harmonies, it involuntarily recognizes the reality of the Creator's work. The human desire to participate in musical activity is not, therefore, so much a need for self-expression, as the humanists would have it, as it is a longing for and a reflection of a relationship with the Creator. (...) Luther's views on music reflect Augustine's synthesis of Greek music theory with Christian dogma: music not only mirrors the order of the created universe through its own numerical order but can positively affect individuals by audibly 'putting them in touch' with the greater order of Creation. The order or 'music' through which God created the universe thus becomes a means of spiritual growth. Music becomes a theological statement which allows it to be used in the struggle against melancholy, depression, and powers of darkness." (Dietrich Bartel - "Musica Poetica" - Luther on Music: A Theological Basis for German Baroque Music - pp. 5-6)

Both Luther and Lewis wrote a considerable amount of valuable material on Christianity. But what we can understand here is that the phenomenon of music could be (and probably is) more than a coincidental consequence, as the humanists would put it. Our world was surely not sung into existence, but the fundamental elements of music were certainly present throughout Creation, and this is one more strong evidence when it comes to understanding why it has such an impact on us as spiritual (and created) beings. ❦

Back to Jesus

2011-10-07T20:53:00.007+02:00

The Seventh-Day Adventist Church has been locally adhering to practices that perhaps years ago would seem scandalous. Leaders have been adopting new strategies, that sometimes sacrifice doctrine, with the excuse of attracting people to church, especially youth. I've seen this policy permeating youth church programs recently here in Europe, especially in very western countries, such as the UK and Netherlands.

Our youth is thirsty for God's teachings, which include a deep and meaningful study of Scripture and the Spirit of Prophecy. We've been feeding them with baby food instead, while they are hungry and in need for real, consistent doctrine. As we all know it's been no different with music and worship. Last quarter's lesson stressed the subject in a thoroughly way, and I'm sure we could learn a lot from it.

I'm not in a position to judge the organization, and it's not my intent to do so. I just believe that whenever such things happen we should look back at the Bible and Jesus' own example. Christ attracted people to Himself by His example and original character and ways. He didn't compromise principles or doctrines so as to reach those around Him. In fact, this is what the Gospel is all about - being saved and changed by Jesus, transformed according to His character and will.

This week's lesson study deals with Paul's authority related to the Gospel. The final question on Wednesday addresses the issue of compromising doctrine for the sake of experience. Local churches have been adopting liberal practices and teachings in order to accommodate to culture and customs, whereas they should be sticking to God's revealed will for His people in the last days. Let's meditate on this question, as found in the lesson, and prayerfully seek guidance from above, as we reach people and worship our Creator and Redeemer, waiting for His approaching return.

"There is, today, a tendency even in our church (in some places) to emphasize experience over doctrine. What matters most (we are told) is our experience, our relationship with God. However important experience is, what does Paul’s writing here teach us about the importance of correct doctrine?" (Sabbath School Bible Study Guide - 4th Quarter - Wednesday , October 5th)

Appendix to "A New Song"

2011-08-01T13:43:00.005+02:00

"The suffering Jesus, His love so deep as to lead Him to give His life for man, was again
held up before me; also the lives of those who professed to be His followers, who had this
world's goods, but considered it so great a thing to help the cause of salvation. The
angel said, 'Can such enter heaven?' Another angel answered,'No, never, never, never.
Those who are not interested in the cause of God on earth can never sing the song of
redeeming love above.' I saw that the quick work that God was doing on the earth would
soon be cut short in righteousness and that the messengers must speed swiftly on their way
to search out the scattered flock. An angel said, 'Are all messengers?' Another answered,
'No, no; God’s messengers have a message.'

(Ellen G. White - Early Writings, Ch. 9 - To the "Little Flock")

Self-service

2011-07-02T19:26:00.005+02:00

^"1 Now Adam knew Eve his wife, and she conceived and bore Cain, and said, “I have acquired a man from the LORD.” ² Then she bore again, this time his brother Abel. Now Abel was a keeper of sheep, but Cain was a tiller of the ground. ³ And in the process of time it came to pass that Cain brought an offering of the fruit of the ground to the LORD. ⁴ Abel also brought of the firstborn of his flock and of their fat. And the LORD respected Abel and his offering, ⁵ but He did not respect Cain and his offering. And Cain was very angry, and his countenance fell.
⁶ So the LORD said to Cain, “Why are you angry? And why has your countenance fallen? ⁷ If you do well, will you not be accepted? And if you do not do well, sin lies at the door. And its desire is for you, but you should rule over it.”
⁸ Now Cain talked with Abel his brother; and it came to pass, when they were in the field, that Cain rose up against Abel his brother and killed him.
⁹ Then the LORD said to Cain, “Where is Abel your brother?”
He said, “I do not know. Am I my brother’s keeper?”
¹⁰ And He said, “What have you done? The voice of your brother’s blood cries out to Me from the ground. ¹¹ So now you are cursed from the earth, which has opened its mouth to receive your brother’s blood from your hand. ¹² When you till the ground, it shall no longer yield its strength to you. A fugitive and a vagabond you shall be on the earth.”
¹³ And Cain said to the LORD, “My punishment is greater than I can bear! ¹⁴ Surely You have driven me out this day from the face of the ground; I shall be hidden from Your face; I shall be a fugitive and a vagabond on the earth, and it will happen that anyone who finds me will kill me.”
¹⁵ And the LORD said to him, “Therefore, whoever kills Cain, vengeance shall be taken on him sevenfold.” And the LORD set a mark on Cain, lest anyone finding him should kill him." (Genesis 4)

This morning, at the lesson study in church an interesting idea came to my mind. This week's lesson deals with worship in the book of Genesis, which includes the account of Cain and his brother Abel. Needless to mention its parallel to our musical conflict in the church nowadays. People have been fighting over how to worship, forgetting to let go of their own opinion for a moment.

The story of Cain can be translated into one word: personal taste. We have discussed this at length in a previous post, but now I'd like to draw your attention to Cain's attitude in particular; one we should strive not to imitate. Specially to his attitude toward God. We tend to look at Cain's story only as the first murder account in the Bible. But it is also about his selfishness in worship, and about the way it should have been done.

He wanted to it his own way. And so do we most of the time. Why not letting God assume control in spite of what we like or dislike?

Sex, Drugs, and Binaural Beats

2011-07-02T04:36:00.009+02:00

Many of us might have heard of the so-called "digital drugs" or i-Dosing that have been distributed all over the web for the last few years. They are based on binaural beats patterns and have been sought by young people around the world for mere curiosity's sake or even as a substitution for actual drugs whenever it's difficult to get those.

Websites distributing these claim to have parallel "digital drugs" for each actual one. That means you can find a soundtrack that supposedly causes you to feel like you've smoked marijuana or sniffed cocaine. Also many of them claim to enhance sexual experiences and simulate sexual pleasure. Some of them label the soundtracks, which can range from weak to "VERY VERY STRONG".

Scientific studies have found out that the said "digital drugs" have no provable effects. They say the sensations one feels can be psychological, and that there's no evidence that they can cause addiction. In fact binaural beats have been a controversial issue in itself when it comes to stimulating the human brain. Many a scientist have failed to prove their actual influence on our minds.

I particularly think that, from a religious perspective, if it does stimulate the senses it can cause addiction. Most of these mp3 tracks are connected with utterly satanic images or names, which makes me believe the effects could be more of a religious issue than a physical one. People listening to this are willingly allowing the devil to manipulate their minds and senses, which explains the ecstatic manifestation we can see in YouTube videos.

In some cases it might not be the binaural device itself causing or generating brain related activities, but rather the minimalistic character of the sound track, which can induce trance or trance-like responses.

Satan has a deeper understanding of musical phenomena than most of us might suppose. No wonder he knows accurately how and to which extent musical acoustics does influence our brain. Let's not set our foot in this dangerous threshold. No matter how harmless science has been telling us it is.

The Touch of the Master's Hand (by Myra Brooks Welch)

2011-06-05T23:11:00.001+02:00

'Twas battered and scarred and the auctioneer
Thought it scarcely worth his while
To waste much time on the old violin,
But he held it up with a smile.

"What am I bid, good folk?" he cried.
"Who'll start the bidding for me?
A dollar, a dollar ... now two ... only two ...
Two dollars, and who'll make it three?

"Three dollars once, three dollars twice,
Going for three" ... but no!
From the room far back a gray-haired man
Came forward and picked up the bow.

Then wiping the dust from the old violin
And tightening up the strings,
He played a melody pure and sweet,
As sweet as an angel sings.

The music ceased, and the auctioneer,
With a voice that was quiet and low,
Said, "What am I bid for the old violin?"
As he held it up with the bow.

"A thousand dollars ... and who'll make it two?
Two...two thousand, and who'll make it three?
Three thousand once and three thousand twice ...
Three thousand and gone!" said he.

The people cheered, but some exclaimed
"We do not quite understand ...
What changed it's worth?" and the answer came:
" 'Twas the touch of the master's hand."

And many a man with soul out of tune
And battered and scarred by sin
Is auctioned cheap by the thoughtless crowd
Just like the old violin.

But the Master comes, and the foolish crowd
Never can quite understand
The worth of a soul, and the change that is wrought
By the touch of the master's hand.

O Master! I am the tuneless one
Lay, lay Thy hand on me,
Transform me now, put a song in my heart
Of melody, Lord, to Thee!

~ Myra Brooks Welch ~

A Case of Antagonism

2011-05-14T13:24:00.001+02:00

Duality and conflict have been long known by Seventh-Day Adventist musicians. On one side there is the conservative group, on the other the liberal one. And the tension hasn't gotten smoother with time, which is likely to be so, once Jesus' return approaches things tend to get more dramatic in all aspects. The truth will be clearly presented to us and we will have to make a choice. But it's not my intention now to dwell on what I believe is right or wrong concerning music itself. I'd rather like to briefly discuss the fact that there IS a difference of opinion. Even the church, as an organization, has never taken a clear position on the subject, as we all know well… And that does make room to some flexibility of thought in a given "official" SDA environment.

The guidelines the church has been issuing for decades are not specific, which makes it difficult for local units and specially for the member himself to make a decision about what is right or wrong. We as a church, at first glance, don't have someone to look up to on the subject. Thus, it is likely that differences in opinion might come up. But the question is: what if the extremes in opinion are so antagonistic and divergent? What about Paul's exhortation regarding unity of mind? (Romans 12:16) Taking a position related to sacred music and it's role is more than a matter of taste, and once taken it may cause diversion within the brotherhood. I have experienced it myself, and it's been more and more noticeable at an international level. The church has been struggling with this worldwide. And that's what I'd like to point your attention to at the moment.

Let's imagine two hypothetical brothers: A and B, who attend the same church and have more or less the same cultural background. What I've specifically seen is the following: brother A claims to be in communion with God, and so does brother B. Nevertheless brother A's opinion about music in the church is "x", and brother B's, in turn, is "y". Supposing that "x" and "y" are ideally and philosophically antagonistic and represent extremes, thought-wise, what's the problem? Aren't both brothers reading the same Bible? Aren't they praying to the same God? Aren't they supposed to be taught what to do by the one and same Holy Spirit? And yet their opinion is essentially and completely different. Once the Holy Spirit doesn't contradict Himself, what might have been the problem in the process? Is personal taste involved?

James chapter 1 verse 5 says: "If any of you lacks wisdom, let him ask of God, who gives to all liberally and without reproach, and it will be given to him" (NKJV). This text says that if we ask from God, he will open our minds to the importance of any subject whatsoever. He will have us understand, so that a wise choice may be made. Brothers A and B would have been favored with the same liberality, by the one and same graceful God. I believe that this current essential divergence won't be possible during the great work of reformation and revival that are proper to the last days, prior to Jesus' second coming. The features of the anti-christ, as opposed to the Lamb's, will be clearly manifested. And music is not an exception. Satan, who was the conductor of the heavenly choir himself, does have a particular place for music as an instrument to deceive humanity in this time. May we pray that God enlightens our minds so that we can discern (personal taste excepted) what way to tread on.

Psalm 134

2011-05-07T20:10:00.003+02:00

PSALM 134

Praising the LORD in His House at Night

A Song of Ascents.

"Behold, bless the LORD,
All you servants of the LORD,
Who by night stand in the house of the
house of the LORD!
Lift up your voice in the
sanctuary,
And bless the LORD.

The LORD who made heaven
and earth
Bless you from Zion!" (NKJV)

Appendix to "A New Song"

2011-04-16T17:12:00.001+02:00

"And when he had taken the book, the four beasts and four and twenty elders fell down before the Lamb, having every one of them harps, and golden vials full of odours, which are the prayers of saints. And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and nation; And hast made us unto our God kings and priests: and we shall reign on the earth. And I beheld, and I heard the voice of many angels round about the throne and the beasts and the elders: and the number of them was ten thousand times ten thousand, and thousands of thousands; Saying with a loud voice, Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them, heard I saying, Blessing, and honour, and glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever. And the four beasts said, Amen. And the four and twenty elders fell down and worshipped him that liveth for ever and ever." (Revelation 5:8-14, KJV)

In parallel to what we've discussed in a previous post ("A New Song"), I would like to draw your attention to this other reference to a "new song" in the book of Revelation. Note how central it is to the concept of salvation, and how closely related it is to God's own character and perfection. Its ultimate end is to worship Him who made Heaven and Earth; Him who both created and redeemed men out of His infinite love.

Marsian Song

2011-03-28T12:12:00.008+02:00

"At this words ten of the hrossa grouped themselves about the piers. Lifting their heads, and with no signal given as far as Ransom could see, they began to sing.

"To every man, in his acquaintance with a new art, there comes a point in which that which before was meaningless first lifts, as it were, one corner of the curtain that hides its mystery, and reveals, in a burst of delight which later and fuller understanding can hardly ever equal, one glimpse of the indefinite possibilities within. For Ransom, this moment had now come in his understanding of Malacandrian song. Now first he saw that its rhythms were based on a different blood from ours, on a heart that beat more quickly, and a fiercer internal heat. Through his knowledge of the creatures and his love for them he began, ever so little, to hear it with their ears. A sense of great masses moving at visionary speeds, of giants dancing, of eternal sorrows eternally consoled, of he knew not what and yet what he had always known, awoke in him with the very first bars of the deep-mouthed dirge, and bowed down his spirit as if the gate of heaven had opened before him.

"Let it go hence," they sang. "Let it go hence, dissolve and be no body. Drop it, release it, drop it gently as a stone is loosed from the fingers drooping over a still pool. Let it go down, sink, fall away. Once below the surface there are no divisions, no layers in the water yielding all the way down; all one and all unwounded is that element. Send it voyaging where it will not come again. Let it go down; the hnau rises from it. This is the second life, the other beginning. Open, oh coloured world, without weight, without shore. You are second and better; this was first and feeble. Once the worlds were not within and brought forth life, but only the pale plants, the dark plants. We see their children when they grow to-day, out of the sun's light in the sad places. After, the heaven made grow another kind on worlds: the high climbers, the bright-haired forests, cheeks of flowers. First were the darker, then the brighter. First was the worlds' blood, then the suns' blood." *

This passage was taken from the first book in Clives S. Lewis' Space Trilogy, namely Out of the Silent Planet, a novel describing Dr. Ransom's adventures on Mars. The whole series is permeated by apologies to Christian themes, with literal references to theological issues. Lewis' brilliant account of Ransom's acquaintance with music manifestation on Malacandra (Mars) suggests that for the first time the main character could understand some more of the meaning of such art. By knowing the creatures so well, living among them, and sharing their costumes, he finally could hear it with their ears. All during the book the author proposes an oxygen-filled atmosphere on the surface of Mars, where, obviously, as can be noted in the account above, sound can propagate and be perceptible. That means sound waves would have been under the same physical laws as the ones on Earth, and, hence, subject to the same mathematical proportions and ratios. Assuming the harmonic proportions to be intrinsic and inherent to sound waves, so extensively discussed on this blog, and to be perceived by the human ear as natural and pleasant (which in itself determines the aesthetically concept of beauty), what hindered or made it difficult for Ransom to understand its artistic attributes at once? Of course it wasn't about the lyrics, the words themselves, once he had long before mastered their language. This question arose in my mind because I could infer that Ransom would have been acquainted with music and sound on Earth (under these attributes referred to), and now in contact with this "new art" he was able to have his own concepts re-thought. Or could it have been that the music there was more simple and rough and now he could see its beauty and structure?

This leads to the following proposition: can sound be so perfectly organized, and yet still closely related to its own perfect attributes, so as to produce even more pleasure to human ears? My personal opinion is that it can, indeed. We cannot imagine to which extent music in Heaven, for instance, can be done. I believe we will be astonished at what perfectly capable brains can do with mere, so to say, sounds.

In the third paragraph the song itself can be read, suggesting the passing from one world to another, from one life to another, through death, which is biblically incorrect. It resembles a recitative structure, regarding the song's long text and the quantity of poetical information, sung by a group of creatures. Lewis' point of view on life after death can be clearly seen throughout his fiction work, where the wrong concept of an immediate life after death is portrayed. I added this paragraph to this post because of its literary beauty and authenticity, in spite of its erroneous concepts.

----------------
* LEWIS, C. S. Out of the Silent Planet. Scribner, New York: 2003. (p. 130)

EO-Jongerendag 2011 Promo

2011-03-17T01:52:00.000+01:00

My fear is that the "right" may end up so mingled with the wrong that even God's people won't be able to recognize it when Satan strikes with his final attack.

May the Lord send the Holy Spirit to enlighten our minds concerning what is best to do.

On "Birds and Four-Footed Animals"

2011-03-17T01:37:00.005+01:00

"For the wrath of God is revealed from Heaven against all ungodliness and unrighteousness of men, who suppress the truth in unrighteousness, because what may be known of God is manifest in them, for God has shown it to them. For since the creation of the world His invisible attributes are clearly seen, being understood by the things that are made, even His eternal power and Godhead, so that they are without excuse, because, although they knew God, they did not glorify Him as God, nor were thankful, but became futile in their thoughts, and their foolish hearts were darkened. Professing to be wise, they became fools, and changed the glory of the incorruptible God into an image made like corruptible man - birds and four-footed animals and creeping things. Therefore God also gave them up to uncleanness, in the lusts of their hearts, to dishonor their bodies among themselves, who exchanged the truth of God for the lie, and worshiped and served the creature rather than the Creator, who is blessed forever. Amen." Romans 1:18-25

The passage in Romans of yesterday's lesson* caught my attention in a general sense, that may for sure relate to the topic discussed on this space. The point in this lesson is to clarify how men have misinterpreted and misrepresented God, up to the point of directing all efforts and worship towards themselves. The passage emphasizes the material representation of deities such as animal figures and idols. In spite of that the Bible states clearly that His attributes can be seen in things that are made, and not in re-created or recycled embodiments.

I wonder if it is not the same with music; the one who was created with a holy purpose. How well has it portrayed its own Creator? How faithfully has it represented the One who created sound itself? Has it been aesthetically, etymologically, and ideologically directed towards an equivalently honorable purpose, so as to praise the One responsible for the order of the entire Universe? Is it free from self and selfishness and yet full of Christ and His example?

* Adult Sabbath School Bible Study Guide. First Quarter, Jan-Mar/2010. March 15th, Tuesday - God's Gifts Through Nature. See sidebar for the link.

Appendix to "G. P. Palestrina's style and the Roman Catholic Counter-Reformation: a Paradox"

2011-03-14T00:17:00.000+01:00

G. P. Palestrina's style and the Roman Catholic Counter-Reformation: a Paradox

2011-03-11T22:55:00.011+01:00

Time and again I've found myself facing the same issue. Last year I was approached by a church member who asked me whether it was alright to play and listen to music by W. A. Mozart. As a musician he struggled with that himself. He thought it was wrong, based on the fact that the Viennese composer used to belong to the Masonry, and whose work was deeply influenced by the latter. As a free mason he introduced some symbolic features alluding to the secret organization, both openly and in a hidden way. Useful to remember here that this issue normally arises when someone is questioning his own values, and consequently the music he's been listening too. As Christians we're all invited to experience a thoroughly new life, in all aspects, and every attribute of our existence is thus brought into connection with Jesus and His example. This is why "what we listen to" matters so much.

The fallacy that Classical music is the "nice one", the "best one" or "correct one" has long since been circulating in Christian environments. I think, though, that it is a good sign when church members give the subject a special thought and come to analyze this music more meticulously. The composer's intentions and ambitions, his aims and purposes, religious views and beliefs should be regarded when analyzing aspects of any music whatsoever, no matter if it is Classical* or not. This music once was contemporary, modern and part of society back then. These factors did influence the artists' works, both intentionally and accidentally. For the time being I would like to dwell upon the question of intentional ideological influence, and more specifically, as an example, upon the music of Giovanni Pierluigi da Palestrina, and why it would stand for a paradox.

Palestrina's work is known as on of the examples for the music of counter-reformation, which arose as a reaction to the boiling religious reformation. The latter movement sought to break up with Rome, and struggled to be released of the long-term bondage it had been undergoing for centuries; while the former strove to silence the people in order not to lose its power and influence. As the reformers preached salvation through Christ's grace and emphasized the importance of access to Scriptures and personal commitment, the Roman church found its own failure and brake down to be approaching swiftly. Anyone could see light finally breaking through the thick moral, cultural and spiritual darkness Europe had been drowned into. This courageous movement eventually evolved into modern protestantism, decisively changing the history of Christianity.

Central to the movement of counter-reformation, though, was The Council of Trent, held between December 13, 1545, and December 4, 1563. Among the issues dealt with was music. Rules and patterns were appointed by the council itself, and composers at the time had to adapt their manner of writing to the norms and regime. The ideal of the composers was to work out their art in such a way that as many as possible could understand it and rejoice in it.** It was not different with Palestrina, "The Prince of Music".

No wonder Palestrina came as the greatest representative of an epoch which cherished these views. Posterity has rightly called him "the great imitator of nature". And indeed a gifted naturalness is expressed in all his works, a sure feeling for the occasional, the easily comprehensible, in short, for classical expression. ***

His Papa Marcellus Mass is considered to be one of the iconic standards for what musical perfection should be. Textual clarity , symbolism and harmonic purity can be found all over the music, specially during this time, when scientific factors were starting to be more closely regarded, and nature seen as the great model to be imitated in musical sound (this can be seen in the work of Zarlino, for instance).

The paradox comes in when, assuming that the outward clothing of music should be natural and perfect harmony, the context and ideology behind it go against the principle one fights for. Nevertheless I have been prone to believe that works done out of faith and true zeal are not to be considered void if "uncompromised" ignorance and lack of deeper knowledge are involved. I don't know what the case of this specific composer was, for this is way too personal a matter. And so are our decisions. But pondering about these issues is our responsibility as rational individuals.

-----------------

*The term here refers to the current concept of concert-related and academic music, not only relating to the Classic artistic periods. Important to note that "Classical" music is known by common sense to be what we can call Canonic music. This music doesn't necessarily relate to a specific musicological feature or any other academic aspect, but is simply recognized by common sense as being "Classical". A major example is Vivaldi's "Four Seasons". For more details I recommend reading Bruce Hayne's "The End of Early Music" (see side bar on this blog).

** JEPPESEN, 1992, p. 23 (See Bibliography below.)

*** ibidem

----------------
BIBLIOGRAPHY

JEPPESEN, Knud. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. Dover Publications Inc., New York: 1992.

BBC Sacred Music Series (Documentary) - Palestrina and The Popes (Episode 2) - 2010

Thorough Understanding

2010-12-05T19:02:00.008+01:00

"We should exert all the powers of the mind in the study of the Scriptures and should task the understanding to comprehend, as far as mortals can, the deep things of God; yet we must not forget that the docility and submission of a child is the true spirit of the learner. Scriptural difficulties can never be mastered by the same methods that are employed in grappling with philosophical problems. We should not engage in the study of the Bible with that self-reliance with which so many enter the domains of science, but with a prayerful dependence upon God and a sincere desire to learn His will. We must come with a humble and teachable spirit to obtain knowledge from the great I AM. Otherwise, evil angels will so blind our minds and harden our hearts that we shall not be impressed by the truth.

"Many a portion of Scripture which learned men pronounce a mystery, or pass over as unimportant, is full of comfort and instruction to him who has been taught in the school of Christ. One reason why many theologians have no clearer understanding of God's word is, they close their eyes to truths which they do not wish to practice. As understanding of Bible truth depends not so much on the power of intellect brought to the search as on the singleness of purpose, the earnest longing after righteousness.

"The Bible should never be studied without prayer. The Holy Spirit alone can cause us to feel the importance of those things easy to be understood, or prevent us from wresting truths difficult of comprehension. It is the office of heavenly angels to prepare the heart so to comprehend God's word that we shall be charmed with its beauty, admonished by its warnings, or animated and strengthened by its promises. We should make the psalmist's petition our own: 'Open Thou mine eyes, that I may behold wondrous things out of Thy law.' Psalm 119:18. Temptations often appear irresistible because, through neglect of prayer and the study of the Bible, the tempted one cannot readily remember God"s promises and meet Satan with the Scripture weapons. But angels are round about those who are willing to be taught in divine things; and in the time of great necessity they will bring to their remembrance the very truths which are needed. Thus 'when the enemy shall come in like a flood, the Spirit of the Lord shall lift up a standard against him.' Isaiah 59:19." (The Great Controversy, Ellen G. White, pp. 599-600)

---------------------------

"Cumpre-nos exercer todas as faculdades do espírito no estudo das Escrituras, e aplicar o intelecto em compreender as profundas coisas de Deus, tanto quanto possam fazer os mortais; não devemos, contudo, nos esquecer de que a docilidade e submissão da criança é o verdadeiro espírito do aprendiz. As dificuldades encontradas nas Escrituras jamais podem ser dominadas pelos mesmos métodos que se empregam em se tratando de problemas filosóficos. Não nos devemos empenhar no estudo da Bíblia com aquela confiança em nós mesmos com que tantos penetram nos domínios da ciência, mas sim com devota dependência de Deus, e sincero desejo de saber a Sua vontade. Cheguemo-nos com espírito humilde e dócil para obter conhecimento do grande Eu Sou. De outro modo, anjos maus cegar-nos-ão o espírito, endurecendo-nos o coração para que não sejamos impressionados pela verdade.

"Muitas porções das Escrituras que homens doutos declaram ser mistério, ou que não consideram como tendo importância, estão repletas de conforto e instrução para aquele que aprender na escola de Cristo. Um dos motivos por que muitos teólogos não têm compreensão mais clara da Palavra de Deus é o cerrarem os olhos às verdades que não desejam praticar. O compreender a verdade bíblica não depende tanto do vigor do intelecto posto à pesquisa como da singeleza de propósito, do fervoroso anelo pela justiça.

"Nunca se deve estudar a Bíblia sem oração. Somente o Espírito Santo nos pode fazer compreender a importância das coisas fáceis de se perceberem, ou impedir-nos de torcer verdades difíceis de serem entendidas. É o mister dos anjos celestiais preparar o coração para de tal maneira compreender a Palavra de Deus que fiquemos encantados com sua beleza, admoestados por suas advertências, ou animados e fortalecidos por suas promessas. Façamos nossa a petição do salmista: 'Desvenda os meus olhos para que veja as maravilhas da Tua lei.' Sal. 119:18. As tentações muitas vezes parecem irresistíveis porque, pela negligência da oração e estudo da Bíblia, o que é tentado não pode facilmente lembrar-se das promessas de Deus e enfrentar Satanás com as armas das Escrituras. Anjos, porém, acham-se em redor dos que estão desejosos de serem ensinados nas coisas divinas; e no tempo de grande necessidade lhes trarão à lembrança as mesmas verdades de que necessitam. Assim, 'vindo o inimigo como uma corrente de águas, o Espírito do Senhor arvorará contra ele a sua bandeira'. Isa. 59:19." (O Grande Conflito, Ellen G. White, págs. 599-600)

Meeting People Where They Are

2010-12-03T17:32:00.004+01:00

When it comes to reaching people where they are we get confused about how to approach them. It's an element that indeed has caused contention among church members today. Some think that the best way of reaching youth, for instance, is by being like they are, using their practices so as to make them feel identified with the ones exposing the gospel: the church, so to say.

Now, on the other hand, there are those who think the best way of approaching those far away is by presenting the gospel as clear, pure and simple as it is. Which one of the parties is correct? Before we get to answering this, let's turn to the second question in this week's lesson*, in Friday's study:

"Discuss Jesus’ model of socializing with sinners as opposed to the duty of the man of God not to socialize and thus condone sin. How do we meet people where they are? Give practical examples in your Sabbath School class to show how you have come close to people and shown acceptance without encouraging sinful practices."

Actually this question answers itself. We should look at Jesus and His powerful example. By associating with prostitutes, tax collectors, and other society and church-banned people, he never used their practices as a means to achieve His purpose in reaching them. He brought the simplicity and purity of the Gospel as it is before them. And the conviction of sin came by the work of the Holy Spirit.

We have discussed this in a previous post, where we dealt with the work of the Holy Spirit in such a situation (and its application to the issue of sacred music). We shouldn't attempt at doing His work by ourselves. Our duty is to present the Gospel and pray for the soul that receives it.

* The link of the Sabbath School Bible Study Guide can be found in the side bar on this blog.

From the Father and Back to The Father

2010-11-05T20:16:00.009+01:00

This Choral Prelude has a huge impact on my mind, personally. I've listened to it since I was a child. I remember waking up on Saturday mornings with this beautifully woven elaboration upon the Lutheran Chorale Num komm, der Heiden Heiland (1524). The text was written by Martin Luther himself as an adaptation of Ambrosius de Milan's (ca. 340-397).

At present we will discuss briefly about the Choral Prelude BWV 659 (BGA Band 25), written by J. S. Bach as an organ elaboration of the tune mentioned above. It is one of the well-known "Achtzehn Chorale", organized in Leipzig, but composed when the composer lived in Weimar. The recording I posted here is performed by the Dutch organist Ton Koopman.

The German text is the following, in 8 verses, as used by Bach in several works:

1	Nun komm, der Heiden Heiland, Der Jungfrauen Kind erkannt! Dass sich wundre alle Welt, Gott solch' Geburt ihm bestellt.	Now come, Saviour of the gentiles, recognized as the child of the Virgin, so that all the world is amazed God ordained such a birth for him.
2	Nicht von Mann's Blut noch von Fleisch, Allein von dem Heil'gen Geist Ist Gott's Wort worden ein Mensch Und blüht ein' Frucht Weibesfleisch.	Not from man’s flesh and blood but only from the Holy Spirit has God’s Word became man and flourishes as the fruit of a woman’s body.
3	Der Jungfrau Leib schwanger ward, Doch blieb Keuschheit rein bewahrt, Leucht't hervor manch' Tugend schön, Gott da war in seinem Thron.	The virgin’s body was pregnant, but her chastity remained pure, in this way her many virtues shine clearly, God was there on his throne.
4	Er ging aus der Kammer sein, Dem kön'glichen Saal so rein, Gott von Art und Mensch ein Held, Sein'n Weg er zu laufen eilt.	He went forth from his chamber, from the royal palace so pure, by nature God and man, a hero, he hastens to run his way.
5	Sein Lauf kam vom Vater her Und kehrt' wieder zum Vater, Fuhr hinunter zu der Höll' Und wieder zu Gottes Stuhl.	His course came from the Father and leads back to the Father, he went down to Hell and back to God’s throne.
6	Der du bist dem Vater gleich, Führ' hinaus den Sieg im Fleisch, Dass dein' ew'ge Gott'sgewalt In uns das krank' Fleisch erhalt'.	You who are equal to the Father, be victorious in the flesh so that your eternal divine power may support our weak flesh.
7	Dein' Krippe glaenzt hell und klar, Die Nacht gibt ein neu Licht dar, Dunkel mus nicht kommen drein, Der Glaub' bleibt immer im Schein.	Your crib shines bright and clear, in the night there is a new light, darkness must not overpower it, faith remains always radiant.
8	Lob sei Gott dem Vater g'tan, Lob sei Gott sein'm ein'gen Sohn, Lob sei Gott dem Heil'gen Geist Immer und in Ewigkeit.	Praise be given to God the Father, praise be to God his only Son; praise be to god the Holy Ghost for ever and always.

The tune itself has a short range. Going, in the mode of Re, from the first, up to the fifth step, and down to the seventh ("Ut"?), totalizing in a sixth in scope, which can be seen as the natural hexachord (Ut-Re-Mi-Fa-Sol-La). It has 4 resting points, at the end of each line of a verse, namely Re, Fa, Re and Re. Although so small in range, it encompasses such a beautiful text with a deep meaning to Christianity.

Similarly the Prelude is set in G minor, in a tonal context, despite its Dorian key signature, having only one flat. There are four cadences marking the end of each line of the verse: G minor, B-flat major, G minor (actually a broken cadence in E-flat, with the suspended seventh, but ending in the tonic note, modulating to the subdominant C minor and coming back to the tonic G minor) and finally G major, with a coda extension and a pedal point on the low G in the bass part. It's structure is, thus, perfectly built.

The Choral is set in four parts, and organized in four sections. Each line of a verse is treated in a different section. The texture counts with the bass line moving almost only in eighths, with occasional suspensions and rests. The two middle voices remain tied together in a flowing contrapuntal pattern, having as motives the intervals and directions of the tune itself. These three form the bed on which the improvised and ornamented melody appears four times, also having the tune's directions as its basis.

But above all, there is the meaning of the text. The wonderful message of a Savior, who by divine power became man, and brought salvation and hope to all humanity, whose faith depends and looks back only to the cross. This most precious heavenly miracle, as verse 5 states, from the Father, and back to the Father, should be kept in mind when we listen to this beautiful masterpiece.

Appendix to "The Watchman in the Tower"

2010-09-24T16:49:00.003+02:00

In the article "The Watchman in the Tower" (May/2010) I discussed the character of Ton Koopman's (and the ABO's) interpretation of the middle Chorale of Bach's Cantata BWV 140.
After listening to the performance of the same Cantata by the same conductor and orchestra last week (Amsterdam, Muziek Gebouw), I reassured myself about what the text of the whole work actually says.

Here is an organ transcription of this central movement, by Bach himself, the first of the six Schübler Chorale (or Sechs Chorale von verschiedner Art - BWV 645-650). Koopman's tactus and conception remain the same in intention as in his recording with the orchestra. Which is the same of the live performance I listened to here in Holland. The sweet happiness of God's people awaiting for their Savior can be felt in this delightful work. Enjoy the music, and it's meaning: wake up!

Balão Vermelho (Red Baloon)

2010-08-27T22:01:00.000+02:00

On Evangelistic Methods

2010-07-14T02:15:00.005+02:00

Departments of evangelism in our church today have been keen on methods to attract youth to the flock of believers. Specially in some regions where the gospel is less popular, or people are culturally isolated from it. Evangelism is great, no doubt. But these methods, however, have been opposed by some members, among which pastors, leaders and elders can be found. Their claim is that doctrine has been set apart when convenience arises. That is a true statement indeed; but one we should take a close look at.

Today's youth is very difficult to catch. Access attempts towards reaching out a whole mob that has been fed up with social garbage (which people insist calling "culture"), have unfortunately proven themselves fallible time and again. This results in more daring trials by some evangelism departments, so as to attract the young people, and make them more interested in elevated subjects, such as Bible study and doctrine.

My aim here is to talk about and discuss the methods and not the evangelism itself, which couldn't have been more encouraged in the Bible; the methods that have been employed by the church as an organized body.

It has already been exhaustively discussed previously in this blog the matter of personal experience. A term I use to designate that experience between God and the being, which cannot, and should not, be judged by anyone, for God may have used something He had at hand to reach that soul. The problem emerges when people start using the argument of personal experience as an excuse to bring worldly elements into the sacred and religious environment.

In light of the fact that some people do have personal experiences through "non-conventional" methods, so to say, should there be any sacrifices in doctrine and values so as to reach the goal?

I point you now to Jesus' own method. He did associate with all kinds of people. With prostitutes, tax collectors and all those socially banned stereotypes. He publicly joined them so as to share His message with them. And that's what we should do. Now, he didn't ever sacrifice any principle or value so as to achieve His purposes. His sacrifice for humanity would have had no value if He took part in their ways, behavior and actions, as a means to get what he came to work for. He was simply Himself.

Many of today's attempts have shared worldly elements, and music is not an exception. And I tell you that if we did our work diligently, and let God do His, we could go farther. Our duty is to present the gospel to those around us in the most pure and wholesome fashion, no need of ornaments that sacrifice this purity. And the work of convincing the youth, belongs to the Holy Spirit. He is the one who should convince people of their sins and wrong ways. Let's do our job and let God do His. p

Is Sacred Music Supposed to be Authentic? - Lecture

2010-05-29T20:49:00.004+02:00

Here is a small video with excerpts of a music lecture I've been doing in Holland. Thanks Veronika for having recorded it. I'm sorry about the bad sound quality and my accent! For those who want a copy of the PowerPoint presentation I use in my lectures, please feel free to e-mail me; I'll be more than happy to forward it to you.

God bless you all.

The Watchman in the Tower

2010-05-29T18:51:00.002+02:00

"The word of the LORD came to me: 'Son of man, speak to your countrymen and say to them: 'When I bring the sword against a land, and the people of the land choose one of their men and make him their watchman, and he sees the sword coming against the land and blows the trumpet to warn the people, then if anyone hears the trumpet but does not take warning and the sword comes and takes his life, his blood will be on his own head. Since he heard the sound of the trumpet but did not take warning, his blood will be on his own head. If he had taken warning, he would have saved himself. But if the watchman sees the sword coming and does not blow the trumpet to warn the people and the sword comes and takes the life of one of them, that man will be taken away because of his sin, but I will hold the watchman accountable for his blood.'

"Son of man, I have made you a watchman for the house of Israel; so hear the word I speak and give them warning from me. When I say to the wicked, 'O wicked man, you will surely die,' and you do not speak out to dissuade him from his ways, that wicked man will die for his sin, and I will hold you accountable for his blood. But if you do warn the wicked man to turn from his ways and he does not do so, he will die for his sin, but you will have saved yourself.

"Son of man, say to the house of Israel, 'This is what you are saying: "Our offenses and sins weigh us down, and we are wasting away because of them. How then can we live?" ' Say to them, 'As surely as I live, declares the Sovereign LORD, I take no pleasure in the death of the wicked, but rather that they turn from their ways and live. Turn! Turn from your evil ways! Why will you die, O house of Israel?'" Ezekiel 33:1-11

---

God made us watchmen in the world. We are supposed to sound the trumpet before he comes, so that the world can awake and prepare. The fourth movement of J. S. Bach's Cantata BWV 140, depicts the moment in which the watchman sounds the trumpet. This function used to be occupied in the past by someone who would stand in the tower, at the city gate, and would sound the trumpet as a warning, as soon as he could see something approaching.

Immediately after that there follows expectation and the soon coming of the Bridegroom. This movement is the heart of the Cantata, structured as follows:

1. Chorus

2. Recitativ

3. Aria

4. Chorale - "Zion hört die Wächter singen"

5. Recitativ

6. Aria

7. Chorale

It is composed of an exquisite and lively melody over a moving bass, with complex figuration. The chorale melody is sung above (or between) them by the tenors in unison. The harmonies are full and rich. This recording directed by Ton Koopman and performed by the Amsterdam Baroque Orchestra, fairly depicts the text's dressing musical rhetoric. This is a rather fast (in tempo, tactus) interpretation, that in my point of view portrays both the watchman's awake and ready state, and the exultant joy of the bride receiving the approaching Bridegroom. In the following Aria we can hear about the resulting wedding. The language is always ambiguous in the sense that it deals with both the soul's receiving of Christ, and also the church's receiving of her Bridegroom; Christ, in His second coming.

The text, set by Hans Sachs (1494-1576), and adapted by Philipp Nicolai (1556-1608), tells us how precious and joyful this moment is (english translation of the german text by Francis Crawford Burkitt, 1906):

Zion hört die Wächter singen,
Das Herz tut ihr vor Freuden springen,
Sie wachet und steht eilend auf.
Ihr Freund kommt vom Himmel prächtig,
Von Gnaden stark, von Wahrheit mächtig;
Ihr Licht wird hell, ihr Stern geht auf.
Nun komm, du werte Kron,
Herr Jesu, Gottes Sohn!
Hosianna!
Wir folgen all zum Freudensaal
Und halten mit das Abendmahl.

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Zion hears the watchmen shouting,
Her heart leaps with joy undoubting,
She stands and waits with eager eyes;
See her Friend from heaven descending,
Adorned with truth and grace unending!
Her light burns clear, her star doth rise.
Now come, thou precious Crown,
Lord Jesus, God's own Son!

Hosanna!
Let us prepare o follow there,

Where in thy supper we may share.

In fact the whole Cantata, entitled Wachet auf! Ruft uns die Stimme (Awake! A voice is calling) is about the state of waiting for Christ to come. He Himself illustrates it in the parable of the virgins in Matthew 25. But this special moment is about sounding the trumpet. Isaiah 26:6-12 says:

"For thus hath the LORD said unto me, Go, set a watchman, let him declare what he seeth. And he saw a chariot with a couple of horsemen, a chariot of asses, and a chariot of camels; and he hearkened diligently with much heed: And he cried, A lion: My lord, I stand continually upon the watchtower in the daytime, and I am set in my ward whole nights: And, behold, here cometh a chariot of men, with a couple of horsemen. And he answered and said, Babylon is fallen, is fallen; and all the graven images of her gods he hath broken unto the ground. O my threshing, and the corn of my floor: that which I have heard of the LORD of hosts, the God of Israel, have I declared unto you.

The burden of Dumah. He calleth to me out of Seir, Watchman, what of the night? Watchman, what of the night? The watchman said, The morning cometh, and also the night: if ye will enquire, enquire ye: return, come."

Have we sounded the trumpet, telling the world Jesus is coming? The tower where these guardians stood, was a privileged point for one to see the city's surroundings. And it could be compared to our present accessibility to what has been going on all around us. With the spreading of communication we can be aware of the situation the world is in nowadays. And that is: famine, poverty, sorrow, wars, disorder in Nature, etc. Such calamity and destruction have been described in Jesus' own words as signs to take place before His coming (Matthew 24). There has never been more appropriate moment for the watchmen (that means, us) to sound the trumpet, for the day is at hand. If we don't sound it as soon as we can see what is approaching, who will?

---

"And that, knowing the time, that now it is high time to awake out of sleep: for now is our salvation nearer than when we believed. The night is far spent, the day is at hand: let us therefore cast off the works of darkness, and let us put on the armour of light. Let us walk honestly, as in the day; not in rioting and drunkenness, not in chambering and wantonness, not in strife and envying. But put ye on the Lord Jesus Christ, and make not provision for the flesh, to fulfil the lusts thereof." (Romans 13:11-14)

A day, a worship...

2010-05-26T09:52:00.002+02:00

"In Revelation 14, men are called upon to worship the Creator; and the prophecy brings to view a class that, as the result of the threefold message, are keeping the commandments of God. One of these commandments points directly to God as the Creator. The fourth precept declares: 'The seventh day is the Sabbath of the Lord thy God: . . . for in six days the Lord made heaven and earth, the sea, and all that in them is, and rested the seventh day: wherefore the Lord blessed the Sabbath day, and hallowed it.' Exodus 20:10, 11. Concerning the Sabbath, the Lord says, further, that it is 'a sign, . . . that ye may know that I am the Lord your God.' Ezekiel 20:20. And the reason given is: 'For in six days the Lord made heaven and earth, and on the seventh day He rested, and was refreshed.' Exodus 31:17.

"The importance of the Sabbath as the memorial of creation is that it keeps ever present the true reason why worship is due to God'--because He is the Creator, and we are His creatures. 'The Sabbath therefore lies at the very foundation of divine worship, for it teaches this great truth in the most impressive manner, and no other institution does this. The true ground of divine worship, not of that on the seventh day merely, but of all worship, is found in the distinction between the Creator and His creatures. This great fact can never become obsolete, and must never be forgotten.'--J. N. Andrews, History of the Sabbath, chapter 27. It was to keep this truth ever before the minds of men, that God instituted the Sabbath in Eden; and so long as the fact that He is our Creator continues to be a reason why we should worship Him, so long the Sabbath will continue as its sign and memorial. Had the Sabbath been universally kept, man's thoughts and affections would have been led to the Creator as the object of reverence and worship, and there would never have been an idolater, an atheist, or an infidel. The keeping of the Sabbath is a sign of loyalty to the true God, 'Him that made heaven, and earth, and the sea, and the fountains of waters.' It follows that the message which commands men to worship God and keep His commandments will especially call upon them to keep the fourth commandment." (The Great Controversy, Ellen G. White, pp. 437, 438)

Music deals with worship. Worship with a day. The Sabbath. A memorial of creation and a seal of those who recognize His creative power and want to praise Him as Creator of al things.

"But Who May Abide The Day Of His Coming?" Malachi 3:2

2010-05-25T15:36:00.006+02:00

This post serves as an appendix to the article: "A New Song" (Revelation 14:1-5), found below. Herewith find an interpretation of Handel's Messiah's aria "But Who May Abide the Day of His Coming?", directed by Trevor Pinnock, whose text is found in Malachi 3:2.

Rhetorically, this aria portrays a calm and sad-like principal opening section, which works as pondering and rational reflection of the soul before God. In contrast, to represent God's wrath, the second major section has an agitated layout, with repeated sixteenth-notes in the upper strings and fast eighth-notes in the bass and singer's line, all connected with the word fire. These two affects are again briefly resembled by the end of the aria.

The text from the "Great Controversy" below talks about the state of those who where cleansed by the blood of the Lamb, just before His coming, and serves as an alert for all of us.

"But the people were not yet ready to meet their Lord. There was still a work of preparation to be accomplished for them. Light was to be given, directing their minds to the temple of God in heaven; and as they should by faith follow their High Priest in His ministration there, new duties would be revealed. Another message of warning and instruction was to be given to the church.

"Says the prophet: 'Who may abide the day of His coming? and who shall stand when He appeareth? for He is like a refiner's fire, and like fullers' soap: and He shall sit as a refiner and purifier of silver: and He shall purify the sons of Levi, and purge them as gold and silver, that they may offer unto the Lord an offering in righteousness.' Malachi 3:2, 3. Those who are living upon the earth when the intercession of Christ shall cease in the sanctuary above are to stand in the sight of a holy God without a mediator. Their robes must be spotless, their characters must be purified from sin by the blood of sprinkling. Through the grace of God and their own diligent effort they must be conquerors in the battle with evil. While the investigative judgment is going forward in heaven, while the sins of penitent believers are being removed from the sanctuary, there is to be a special work of purification, of putting away of sin, among God's people upon earth. This work is more clearly presented in the messages of Revelation 14.

When this work shall have been accomplished, the followers of Christ will be ready for His appearing. "Then shall the offering of Judah and Jerusalem be pleasant unto the Lord, as in the days of old, and as in former years.' Malachi 3:4. Then the church which our Lord at His coming is to receive to Himself will be a 'glorious church, not having spot, or wrinkle, or any such thing.' Ephesians 5:27. Then she will look 'forth as the morning, fair as the moon, clear as the sun, and terrible as an army with banners.' Song of Solomon 6:10." (The Great Controversy, Ellen G. White, pp. 424, 425)

WAU Officials Break Ground For New Music Complex

2010-05-22T13:35:00.000+02:00

BY CELESTE RYAN BLYDEN, editor, Columbia Union Visitor

Cheers erupted from the crowd gathered at Washington Adventist University (WAU) recently as church and school leaders; WAU Board members; community, state, and educational officials; and a student representative broke ground on what will be the new music building—the first new building on the school’s Takoma Park, Maryland, campus in 40 years. “This is one small step for the music building, one giant leap for the university,” said Columbia Union Conference president and WAU Board chair Dave Weigley (pictured with Weymouth Spence, Virginia-Gene Rittenhouse, and James Bingham).

The new building, which will serve nearly 40 music majors and 150 others involved in the school’s renowned music program, will house a large rehearsal hall, administrative offices, practice rooms, classrooms, and music libraries. “This is the culmination of 16 years of dreaming,” said James Bingham, music department chair.

But, as board member Dean Bouland explained, it’s much more: “It says we’re committed to remaining in Takoma Park, we’re expanding our programs and we’re moving forward.”

Lupita Garza, student association president, agreed. “This is a really important project for our entire campus because it’s kind of the initiation for new things to come. A lot of the students are really encouraged that there’s not just talk about a new building, but they’re actually getting to see it.”

For WAU president Weymouth Spence it was a sign of progress. “Two and a half years ago when I was interviewed by the board, they made clear some of the objectives they wanted to have accomplished,” he said. “With the teamwork of our faculty, staff, and students, we were able to get a shovel in the ground and start the process of building our new music facility, which is scheduled to open fall of 2011.”

The ceremony opened the university’s alumni weekend, which included a celebration of the school’s new university status and dedication of President Spence. “This was a special time to celebrate a renewed focus at WAU,” Weigley said. “The spirit is growing here, and it’s a good time for students across our union and division to go to school near the nation’s capital and have the experience of being taught by dedicated staff who are focused on leading young people to Jesus Christ and preparing them for lives of greater service.”

From: Adventist Review - Adventist News - http://www.adventistreview.org/article.php?id=3337

"Lucifer Returns"

2010-05-20T22:43:00.005+02:00

(This is only part 1 of the complete video)

"LUCIFER RETURNS" - CLICK HERE TO SEE THE COMPLETE VIDEO

Watching this video I came again to the conclusion that the enemy, Satan, uses music as a means to impart his ideology and prepare the world for a massive deceiving. Music is crucial part of communication. It permeates the internet, television and cinema and is a powerful way of inculcating things in human mind. Once music has an enormous influence on us and our thoughts, we may end up making our minds, and choosing the wrong way.

Satan is using music as an agent to teach a wide variety of symbolism and values, so as to achieve his goal. This is how he is going to prepare the globe for the coming of the antichrist, as a counterfeit of Jesus' own coming. If we refuse being aware of the dangerous way we may be already stepping in, our expectations can be astonishingly misleading and deceitful.

Music is just one more thing we should take care of. My prayer is that we open our spiritual eyes in a thorough way, to see the battle going on just behind the scenes. The battle is spiritual indeed, and not material. And we are inevitably part of it. We can, though, choose to fight the good battle beside Him who already accomplished the victory long ago. Our lives, thoughts and time, have been directed toward things our physical eyes can see, but, in the end, they will bring us no where. And will have no hope to offer. Let's stick to the eternal hope we have been given through Him who died for us and saved us.

May the Lord bless us all as we fight daily, so that in a near future we can say: "I have fought a good fight, I have finished my course, I have kept the faith: Henceforth there is laid up for me a crown of righteousness, which the Lord, the righteous judge, shall give me at that day: and not to me only, but unto all them also that love his appearing." II Timothy 4:7-8.

Awkward System: Interesting Point

2010-05-06T22:26:00.028+02:00

Classification as found in the Vollkommener Capellmeister *

The famous German composer, writer and theorist Johann Mattheson (1681-1764) created a system that classifies music within three styles (figure). As can be read below the system is considered confusing by some modern musicologists. Indeed many of the scientific attempts back in the XVIII century were nothing more than confusing. This is a result of the Enlightenment, in a sense that the growth of knowledge and spreading of a scientific approach to life elements ended up, often, in awkward statements and theories.

Matthesson enjoyed a diplomat-like position at the time, and it seems that he could say whatever he pleased. His critic spirit summed up with the nomenclature "mess" of the related historical period, resulted in his division of music within these three categories or styles, namely: church, chamber and theater. Scholars, though, attribute this classification to the Italian composer and writer Marco Scacchi.

But, however inaccurate these terms may be, and despite the real authorship, there is something interesting his theory deals with, and which concerns us as Christians and musicians. Once some of the assertions in the passage below might be a bit misleading at a first glimpse, I'll discuss them in a contextual manner. The main points in this article** have been detached in bold.

"Moreover his treatment lacks temporal definition, of a moment in the flux of stylistic change that would circumscribe the musical reality against which it is to be judged. Pseudo-theoretical, vaguely historical, it sums up, really, a personal philosophy. The moral is clear: No style should be ruled out of any of the three spheres, and, in particular, all styles can serve church and private devotions. This for Mattheson remains music's noblest mission. Mingling styles on one level, while distinguishing function and genre on another, is a consequence of this philosophy.

Mattheson's eclecticism and confusion of styles thus has a positive side. By borrowing from a multitude of traditions, his style system is rooted in history. Through his reading and his well-travelled ear Mattheson was steeped in the ideas and sounds of the past and present and could arrange them, as few others could, from some chronological perspective. It was apparent to him, as it is to us, that Baroque music was a rich tapestry of characteristic genres and styles, some projecting into the future, others retreating into the past." ***

I have highlighted two portions from this study, and I prefer to explore in sequence, in order of appearing.

1) In other words, Mattheson's philosophy has two consequent results:

a) Distinction between functions. That would be the goal the music is composed for. Not only the purpose but the environment itself, once it is unavoidably linked to the ideology behind it. Music suited for church is different, in purpose and finality, from that suited for the theater, according to him.

b) Mixing between styles. We can infer that he defends that all styles can be used for any purpose, church, chamber, and theater. But it's still subject to taste whether to use this and that details in each. Theater music, according to him, shouldn't be as elaborate and serious as church music, for the later serves a higher standard.

One can easily see that for Mattheson the music style is not more important than the elaboration and care. For him church music doesn't need to be a specific and distinct style, but needs to be elaborate and special. His point can be quite misunderstood if taken out of context, though. It doesn't apply at all to our times, and we are going to see why in the next point.

2) Mattheson talks about music of his time, no doubt. And we classify it in modern theory as late and early baroque music. He was a severe critic of contemporary music and had and overall understanding of genres and characteristics within this main aesthetic history period in music called Baroque. At the time it was an art in the pure sense of the term. Music was based upon natural harmonic ratios, proportions and mathematical exactness. This is why it sounds so perfect and pleasing. Theorists and composers would spend a life-time making, or attempting to make, "perfect" music and explaining it in terms of absolute craftsmanship and taste. A great majority of them were devote Christians and wrote about God and His created Nature in their work. We can roughly say that, at some extent, music suited either for the theater, church and the king's party hall were made with the same craftsmanship and care from around the beginning of the XVII century.

Quality was present in all of these environments. Of course some main details were very particular, but if compared to today's musical world, it was generally the same musical underlining principle, so to say. In summary, the music Mattheson was acquainted with was one of high-quality in all three environments. This is why mixing styles sounds natural and consequent. Indeed the styles were mixed already and one could find all their main particular elements permeating the three of them. What Mattheson is pointing out is that, in church music, one should be more careful and elaborative.

It brings us back to the question: is it applicable to our to-day times? Well, all the way through my musical studies I have been convinced that music for God, for such an elevated purpose, should be really thoughtful and different from the discordant examples the world has uninterruptedly offered us. I don't believe that the same music styles the world has been using to promote pornography, drugs and many other negative values (that we as Christians refuse to be involved with), should be used to achieve such a high-value goal. It has proved to be discordant and unnatural in its essence. And this is why my answer to that question is negative. Because we should be away from music that means harm against our principles. p

* New Mattheson Studies" - Edited by George J. Buelow and Hans Joachim Marx - Cambridge University Press: U.S., 1983. Page 414

** "The Genesis of Mattheson's Style Classification" - by Claude V. Palisca, New Haven, Connecticut - New Mattheson Studies" - Edited by George J. Buelow and Hans Joachim Marx - Cambridge University Press: U.S., 1983. From page 409.

*** New Mattheson Studies" - Edited by George J. Buelow and Hans Joachim Marx - Cambridge University Press: U.S., 1983. Page 422

"A New Song", Revelation 14:1-5 ("Um Cântico Novo", Apocalipse 14:1-5)

2010-04-29T20:35:00.015+02:00

"Then I looked, and behold, a Lamb standing on Mount Zion, and with Him one hundred and forty-four thousand, having His Father's name written in their foreheads. And I heard a voice from heaven, like the voice of many waters, and like the voice of loud thunder. And I heard the sound of harpists playing their harps. They sang as it were a new song before the throne, before the four living creatures, and the elders; and no one could learn that song except the hundred and forty-four thousand who were redeemed from the earth. These are the ones who were not defiled with women, for they are virgins. These are the ones who follow the Lamb wherever He goes. These were redeemed from among men, being firstfruits to God and to the Lamb. And in their mouth was found no deceit, for they are without fault before the throne of God." Revelation 14:1-5

This text deals with the ones who were saved from the earth after Jesus comes. And it talks about a "new song" (verse 3), which will be taught to those who were redeemed. Moreover, it explains that no one will be able to learn this song, except the ones rescued by Christ.

From verse 4 and on, there is a depiction of them and their character, a summary about what they had done. We can infer from these words that those who will be there will be prepared for that moment. Once saved by Jesus, and brought again to a standard of amity with God, they allowed Him to also transform their lives, in order to be prepared for His coming.

This "new song", is not regular, normal, common, current or popular; it is "new". Something else than what we have been ever in contact with all the way through history. It was sang by the harpists and taught to the redeemed. And only they could learn it. It seems to be a high privilege of those who allow Christ to be their Savior.

Notice their state, they were "without fault before the throne of God". They had Him change all the aspects of their lives, a thorough transformation, so as to receive this gift then. All areas of their daily experience, such as their health, their time, their behavior, what they do, what they watch and listen to, were under a special influence. Before they got there, they were thoroughly prepared, and then they could be able to learn the "new song".

If we expect to get there, why not allowing Jesus to make a complete change in our lives? Why not allowing Him to prepare us for that day? How does that affect what you have been doing? To what you have been listening to? Isn't it time for us to prepare our ears for that "new song"? p

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"E olhei, e eis o Cordeiro em pé sobre o Monte Sião, e com ele cento e quarenta e quatro mil, que traziam na fronte escrito o nome dele e o nome de seu Pai. E ouvi uma voz do céu, como a voz de muitas águas, e como a voz de um grande trovão e a voz que ouvi era como de harpistas, que tocavam as suas harpas. E cantavam um cântico novo diante do trono, e diante dos quatro seres viventes e dos anciãos; e ninguém podia aprender aquele cântico, senão os cento e quarenta e quatro mil, aqueles que foram comprados da terra. Estes são os que não se contaminaram com mulheres; porque são virgens. Estes são os que seguem o Cordeiro para onde quer que vá. Estes foram comprados dentre os homens para serem as primícias para Deus e para o Cordeiro.E na sua boca não se achou engano; porque são irrepreensíveis." Revelation 14:1-5

Esse texto fala sobre aqueles que serão salvos da terra depois da volta de Jesus. Também fala sobre um "cântico novo" (verso 3), que será ensinado àqueles que foram redimidos. Além disso, explica que ninguém será capaz de aprender esse cântigo, exceto aqueles resgatados por Cristo.

Do verso 4 em diante, há uma descrição deles e de seu caráter, um resumo daquilo que eles teriam feito. Aqueles que la estarão, podemos inferir, estarão preparados para aquele momento. Uma vez salvos por Jesus, e recuperado o estado de amizade para com Deus, eles também permitiram que Ele transformasse suas vidas, para que estivessem preparados para sua vinda.

Esse "cântico novo" não é comum, corriqueiro ou popular; ele é "novo". Algo além daquilo com que estivemos em contato. Será cantado pelos harpistas e ensinado aos salvos, e somente eles poderão aprendê-lo. Parece ser um privilégio daqueles que permitiram a Cristo ser seu Salvador.

Repare no seu estado, "são irrepreensíveis". Permitiram a Deus que mudasse todos os aspectos de sua vida, uma transformação completa, para que então pudessem receber esse privilégio. Todas as áreas de sua experiência cotidiana, como sua saúde, tempo, comportamento, o que fazem, o que assistem e ouvem, estavam sob uma influência especial. Antes de lá chegarem, estavam completamente preparados, e somente então puderam aprender o "cântico novo".

Se nós esperamos lá chegar, por que não permitir que Jesus faça uma mudança completa em nossas vidas? Por que não permitir que Ele nos prepare para aquele dia? Como isso afeta o que você vem fazendo? O que você vem escutando? Não é tempo de prepararmos nossos ouvidos para aquele "cântico novo"? p

On I Kings 19:11-18 (Further Comments)

2010-04-24T20:15:00.005+02:00

The people of Israel were acquainted with the manifestation of God through events of grandeur. Elijah might have thought that it was God in the moments he faced before the "still small voice" (I Kings 19:12). "With great dramatic power, the narrative mentions wind, earthquake, and fire, the familiar symbols of the theophanic presence (Exodus 19:16-19), as potential manifestations of the [LORD's] power." * Theophany means the appearance of God, His manifestation.

Instead the Bible is clear to specify that God was in the silence this time. In fact the term here for the "still small voice" is paralleled to Job 4:16b, which reads: "... There was silence; then I heard a voice saying:" (NKJV); and "has been variously translated but apparenly means nothing more than 'a gentle breeze'".*

* Word Biblical Commentary - 1 Kings, Volume 12 - Simon J. DeVries - Word Books: Texas, 1985. Page 236

Noise (Barulho)

2010-04-09T21:37:00.009+02:00

This video, by Rob Bell, clarifies the idea about silence and sheds light on the topic.

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Esse vídeo por Rob Bell clarifica a idéia sobre o silêncio e proporciona luz ao assunto.

"........" [Silence] (Silêncio)

2010-04-09T19:53:00.003+02:00

"Then He said, 'Go out, and stand on the mountain before the LORD.' And behold, the LORD passed by, and a great and strong wind tore into the mountains and broke the rocks in pieces before the LORD, but the LORD was not in the wind; and after the wind an earthquake, but the LORD was not in the earthquake; and after the earthquake a fire, but the LORD was not in the fire; and after the fire a still small voice. So it was, when Elijah heard it, that he wrapped his face in his mantle and went out and stood in the entrance of the cave." I Kings 19:11-13 (NKJV)

I'm having the opportunity to perform Mendelssohn's () Elijah, an Oratorio narrating the life and work of this prophet of God. Today, the conductor briefly alluded to the moment described above. And now, arriving at home, I meditated a while on these three verses in chapter nineteen of first Kings, and I was amazed to find out such a beautiful account. My NKJV Bible has an alternate translation note attached to the last words of verse 12: "delicate whispering voice".

God makes Himself manifest to us in subtle ways too. How careful should we be, so as to hear the nuances of His presence and respond, wrapping our mantles around our faces and making ourselves ready to listen to His whispering. p

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"Ao que Deus lhe disse: Vem cá fora, e põe-te no monte perante o Senhor: E eis que o Senhor passou; e um grande e forte vento fendia os montes e despedaçava as penhas diante do Senhor, porém o Senhor não estava no vento; e depois do vento um terremoto, porém o Senhor não estava no terremoto; e depois do terremoto um fogo, porém o Senhor não estava no fogo; e ainda depois do fogo uma voz mansa e delicada. E ao ouvi-la, Elias cobriu o rosto com a capa e, saindo, pôs-se ã entrada da caverna." I Reis 19:11-13

Estou tendo a oportunidade de tocar Elias de Mendelsson (1809-1847), um oratório narrando a vida e obra desse profeta de Deus. Hoje o maestro aludiu brevemente ao momento descrito acima. E agora, ao chegar em casa, meditei por alguns momentos sobre esses três versos do capítulo dezenove Primeiro Reis, e fiquei maravilhado de encontrar um relato tão belo. Minha Bíblia na versão NKJV tem uma nota de tradução alternativa anexada às últimas palavras do verso 12: "delicada sussurrante voz".

Deus se manifesta a nós de formas delicadas também. Quão cuidadosos devemos ser para que possamos ouvir as nuâncias de sua presença e responder, cobrindo nossas faces com a capa e estarmos prontos para ouvir Seu sussurrar. p

A "Reasonable Service"

2010-04-01T10:04:00.010+02:00

“I beseech you therefore, brethren, by the mercies of God, that ye present your bodies a living sacrifice, holy, acceptable unto God, which is your reasonable service” Romans 12:1

"Yet, there is an important point that many folk forget. True praise for God involves the whole being. That is, we praise God not only on a spiritual, emotional, and mental level but with our physical bodies too. It is the application of healthful habits in life that give us clarity of mind, the balance to the whole.

Scientists have uncovered fascinating physical changes in the brain that follow habitual practices. For instance, drugs induce changes in the brain that become firmly entrenched and make for powerful addictions. Degeneration in our blood vessels likewise results in impaired brain functioning. A disease like Alzheimer’s is a result of destruction of brain cells. Clearly, we are dependent on our physical state to enjoy clear mental, emotional, and spiritual relationships. Many foods and drinks, included as a very occasional item in the diet, will have no measurable effect. But they become problems when incorporated as habitual practices. We give our God praise from the whole of our being by offering our whole life as a living sacrifice."

From: Adult Sabbath School Bible Study Guide, Second Quarter, 2010. See sidebar for how to access online.

Dangerous Presumption

2010-03-16T16:43:00.007+01:00

“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.”—Patriarchs and Prophets, p. 594.

For a long time my thoughts were not lifted to what is pure and holy. Instead I was filled with a deadly indifference. This is one of the reasons why I kept up my work. But it's still sad to see how sometimes this feeling permeates the whole congregation during worship and is brought home, and carried to lives. When a state of indifference and steadiness seems to be the right way. Dangerous presumption.

May God keep enlightening our minds and showing us what is pure and worth dwelling upon.

On order (again)

2010-03-06T16:34:00.004+01:00

“Brethren, never allow anyone’s ideas to unsettle your faith in regard to the order and harmony which should exist in the church. . . . The God of heaven is a God of order, and He requires all His followers to have rules and regulations, and to preserve order.”—Testimonies, vol. 5, p. 274.

Reinforcement

2010-02-11T19:57:00.011+01:00

Many of the cases related here are already known by many. But it's important watching it once again. The subject is really worth it. This is a good material, both the speaker and the production are good. It talks about what has been produced in the world in terms of music, specially about the music industry and what is utterly behind it. The relevance of being conscious and careful about it cannot be measured. The videos are split and separated in four parts.

Part 1a http://www.3angelstube.com/video/447/Mystery-of-music-part-one-seg-01

Part 1b http://www.3angelstube.com/video/448/Mystery-of-Music-Part-One-Seg-02

Part 2a http://www.3angelstube.com/video/458/Mystery-of-Music-Part-Two-Seg-01

Part 2b http://www.3angelstube.com/video/455/Mystery-of-Music-Part-Two-Seg-02

Part 3a http://www.3angelstube.com/video/456/Mystery-of-Music-Part-Three-Seg-01

Part 3b http://www.3angelstube.com/video/457/Mystery-of-Music-Part-Three-Seg-02

Part 4a http://www.3angelstube.com/video/459/Mystery-of-Music-Part-Four-Seg-01

Part 4b http://www.3angelstube.com/video/461/Mystery-of-Music-Part-Four-Seg-02

Part 4c http://www.3angelstube.com/video/462/Mystery-of-Music-Part-Four-Seg-03

"We shouldn't give encouragement music that... doesn't bring us close to God." (Part 4b)

God bless you all.

Singleness of Purpose

2010-01-29T13:41:00.003+01:00

"Whoever is with singleness of purpose seeking to do God's will, earnest heeding the light already given, will receive greater light; to that soul some star of heavenly radiance will be sent to guide him into all truth." (Ellen G White, The Great Controversy, p. 312)

"One reason why many theologians have no clearer understanding of God's word is, they close their eyes to truths which they do not wish to practice. As understanding of Bible truth depends not so much on the power of intellect brought to the search as on the singleness of purpose, the earnest longing after righteousness." (The Great Controversy, p. 599)

Life upside down! (Vida de Ponta Cabeça!)

2010-01-24T15:51:00.012+01:00

Two quotations:

"The Christian’s life is not a slight modification or improvement, but a complete transformation of nature. This means a death to self and sin and a resurrection to a new life as a new person in Christ Jesus." (Seventh-day Adventist Church Manual, 2005, 17th Edition, p. 185)

"As Seventh-day Adventists we have been called out from the world. We are reformers. True religion which enters into every phase of life must have a molding influence on all our activities. Our habits of life must stem from principle and not from the example of the world about us." (Seventh-day Adventist Church Manual, 2005, 17th Edition, p. 176)

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"A vida do cristão não é uma leve modificação ou melhoria, mas uma completa transformação da natureza. Representa uma morte do eu e do pecado, e uma ressurreição para uma vida nova, como uma nova pessoa em Cristo Jesus." (Manual da Igreja Adventista do Sétimo Dia, 2008, 17ª Edição, p. 221)

"Somos reformadores. A verdadeira religião que entra em cada aspecto da vida tem de ter uma influência modeladora em todas as nossas actividades. Os nossos hábitos de vida devem alicerçar-se em princípios e não no exemplo do mundo que nos rodeia." (Manual da Igreja Adventista do Sétimo Dia, 2008, 17ª Edição, p. 227)

Life Principle

2010-01-19T12:04:00.007+01:00

It would be difficult, if not impossible to discover a composer, dead or alive, who could have had a more elevated purpose regarding his work and music. Perhaps in no other musical phenomena we will find such a depiction of religious ideology. The relation between God and men, between the Bridegroom and His spouse, the Lord and His church, is depicted in such details and symbols so as to lead the listener to a more complete understanding. And yet without sounding less artistic, less beautiful and inspiring. The application of symbolic and mathematical analogies doesn't make the music dull, but rather renders it a more meaningful and thorough aspect.

In 1720 Bach expressed the purpose of at least some of his music by writing on the title-page of Das Orgelbüchlein: "dem hochsten Gott allein zu Ehren, dem Nächsten draus sich zu belehren." In plain english: "For the praise of God, and the education of fellow-humans. *

Interestingly enough, in Spitta's writings about Bach's life and work we can find a quotation as Bach having said:

"Der Generalbaß ist das vollkommenste Fundament der Musik, welcher mit beyden Händen gespielet wird dergestalt, das die linke Hand die vorgeschriebenen Noten spielet, die rechte aber Con und Dissonantien dazu greift, damit dieses eine wohlklingende Harmonie gebe zur Ehre Gottes und zulässiger Ergötzung des Gemüthes, und soll wie aller Musik, also auch des General Basses Finis und End Uhrsache anders nicht, als nur zu Gottes Ehre und Recreation des Gemüths seyn. Wo dies nicht in Acht genommen wird, da ists keine eigentliche Musik, sondern ein teufliches Geplerr und Geleyer." *

And it serves to reinforce the idea of a musical aesthetics perspective and a level of accuracy and perfection in the organization of sound. It points forward to Rameau, who two years latter would introduce the concept of the "fundamental-bass" (the english translation for the original french term basse-fondamentale, which is the very title of this blog) to music composition. Well, thorough bass and fundamental-bass are one and the same thing! The first is the artistic development of the second and our intellectual participation in a music that is naturally balanced. And the second, for instance, the basis, the natural generator of the second, without which the later cannot exist, for it is the first, so to say.

BIBLIOGRAPHY

* Bach Cantatas Website - http://www.bach-cantatas.com/index.htm

On Unity

2010-01-07T15:38:00.012+01:00

Despite all the heat in the discussion on the subject of music inside the sacred church ambit, especially that of the Seventh-Day Adventist church, what intrigues me the most is yet the lack of unity among the parties involved in the quarrel. Supposing that the zeal for the truth in both sides is a fact, we come then to a paradox in light of Scripture. Below there are some quotations of this holy source, that strongly point out that unity should be perceived and regarded in a high level by Christians, once the knowledge and wisdom bestowed upon us come from one and the same God, who is willing to enlighten our minds.

1. Hosea 4:6: "My people are destroyed for lack of knowledge.

Because you have rejected knowledge,

I also will reject you from being priest for Me;

Because you have forgotten the law of your God,

I also will forget your children."

2. James 5:1: "If any of you lacks wisdom, let him ask of God, who gives to all liberally and without reproach, and it will be given to him."

3. II Corinthians 9:8: "And God is able to make all grace abound toward you, that you, always having all sufficiency in all things, may have an abundance for every good work."

4. I Corinthians 1:10-13: "Now I plead with you, brethren, by the name of our Lord Jesus Christ, that you all speak the same thing, and that there be no divisions among you, but that you be perfectly joined together in the same mind and in the same judgment. For it has been declared to me concerning you, my brethren, by those of Chloe’s household, that there are contentions among you. Now I say this, that each of you says, 'I am of Paul,' or 'I am of Apollos,' or 'I am of Cephas,' or 'I am of Christ.' Is Christ divided? Was Paul crucified for you? Or were you baptized in the name of Paul?"

Of course the Bible texts above relate to the truth of the Gospel, of God's message. But the life of a Christian is different in all aspects, aesthetic or not, and it includes music, hence, once it's something created by God to be part of His creature's experience. Notice then the logical sequence in which these biblical passages have been organized here. (1) God wants His children to have understanding of things, for He created them with intellectual properties. (2) God grants wisdom and understanding to those who ask Him, for the right interpretation of His will. (3) Once again God grants us wisdom for every good work, in all areas. (4) Paul urges the church to remain united in opinion, "perfectly joined together in the same mind and in the same judgment" (verse 10).

There will be no unity at all among us in this particular issue unless we surrender our efforts, attempts and personal will in prayer to God. "Lord, may Your will be done; and may your Holy Spirit show us what we are to do" should be the prayer of everyone involved in this discussion. Also asking for wisdom and clear understanding is a recognition of God's superiority in knowledge and character, and enables the soul to act according to His leadership. The same God who created music and inspired the writing of Scriptures will reveal to us what should be done, by His Spirit. And may His name be praise through music.

❦

"The doctrine preached by Zwingli was not received from Luther. It was the doctrine of Christ. 'If Luther preaches Christ,' said the Swiss Reformer, 'he does what I am doing. Those whom he has brought to Christ are more numerous than those whom I have led. But this matters not. I will bear no other name than that of Christ, whose soldier I am, and who alone is my Chief. Never has one single word been written by me to Luther, nor by Luther to me. And why? . . . That it might be shown how much the Spirit of God is in unison with itself, since both of us, without any collusion, teach the doctrine of Christ with such uniformity.'" --D"Aubigne, b. 8, ch. 9. (Elen G. White, The Great Controversy, p. 174)

"...but by My Spirit..." Zec. 4:6

2009-11-18T21:15:00.004+01:00

"So he said to me, 'This is the word of the LORD to Zerubbabel: "Not by might nor by power, but by my Spirit," says the LORD Almighty.'" Zechariah 4:6 (NIV)

May we be conscious of this when discussing the subject of music. Chiefly regarding its aesthetickal implications.

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"Ele me respondeu, dizendo: Esta é a palavra do Senhor a Zorobabel, dizendo: Não por força nem por poder, mas pelo meu Espírito, diz o Senhor dos exércitos." Zacarias 4:6 (JFAA)

Sejamos conscientes disso quando em discussão do tema: música. Principalmente considerando suas implicações estéticas.

On Drum Kit and Style

2009-10-24T15:12:00.020+02:00

The problem is not the instrument*, so far, but the style, the collection of values, philosophy and ideology inherent to it. Then, the dilemma is not related to the drum kit in itself, but the rock and jazz-like approaches. The drum kit was born in and through such a fashion and is awkward, destitute of harmony and context, without it. For example, the rock n' roll movement cannot be separated from the drum kit; as well as the latter cannot be set apart from the former one. They are dependent of each other. Their history and evolution are deeply connected down to the root.

If this specific instrument has been played in the church today, it's because rock and jazz-styled music have been welcomed. They create the proper context for instruments familiar and common to this vogue, the drum kit for example. I have never heard it played in church as part of other styles except these so-called "pop". And it's because it can't! The church's manual of beliefs tells us: "Any melody partaking partaking of the nature of jazz, rock or related hybrid forms, or any language expressing foolish or trivial sentiments, will be sunned." (Seventh-day Adventist Church Manual, 2005, p. 180, see reference below)

I think it's very difficult, if not impossible, for the weak and corrupted human brain, in its fallen state, to dissociate the drum kit from its environment and create a brand new style for it to fit in. Especially in the "pop-driven" culture of today. At least, efforts of this kind have not been the case in Seventh-Day Adventist church's employment of this instrument, or group of instruments, in the worship service. Nevertheless, people strive to their best to thrust it through liturgy. We should definitely pray about this.p

* The drum kit, or drum set, is treated here as an amalgamated group of diverse other instruments, which was established in its classical form around the 1960s with jazz music, and had post-1960 developments.

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O problema não é o instrumento, mas o estilo, o conjunto de valores, filosofia e ideologia inerentes a ele. Então, o dilema não está relacionado com a bateria apenas, mas com a abordagem do rock e jazz. A bateria nasceu em e através de tal caráter, e é estranha, destituída de harmonia e contexto, sem ele. Por exemplo, o movimento rock ’n roll não pode ser separado da bateria; bem como esta última não pode ser arredada do primeiro. São interdependentes. Sua história e evolução estão profundamente conectadas à mesma raiz.

Se este instrumento específico tem sido tocado na igreja hoje é porque música do estilo rock e jazz tem sido bem-vinda. Estes criam o contexto próprio para instrumentos familiares e comuns a esta voga, a bateria por exemplo. Eu nunca a ouvi tocada na igreja como parte de outros estilos que não os ditos “pop”. E isso por que ela não pode! O manual de crenças da igreja nos diz que música com tais elementos deve ser rejeitada (Seventh-day Adventist Church Manual, 2005, p. 180, ver referência abaixo).

Eu penso ser muito difícil, se não impossível, para o fraco e corrompido cérebro humano, no seu estão caído, dissociar a bateria do seu ambiente e criar um novo estilo em que ela possa se encaixar. Especialmente na cultura “pop-driven” de hoje em dia. Pelo menos, esforços desse tipo não tem sido o caso quanto ao emprego deste instrumento, ou grupo de instrumentos, no culto de adoração por parte da igreja Adventista do Sétimo Dia. Mesmo assim, pessoas se empenham para introduzi-la à força na liturgia. Nós definitivamente devemos orar sobre isso.

*A bateria (drum kit ou drum set) é tratada aqui como um grupo amalgamado de diversos outros instrumentos, que foi estbelecido em sua forma clássica por volta dos anos 60 com a música jazz, e teve desenvolvimentos pós década de 60.

BIBLIOGRAPHY/BIBLIOGRAFIA

A Seventh-day Adventist Philosophy of Music - Guidelines. Approved and voted by the General Conference of Seventh-day Adventists Annual Council on October 13, 2004.

Available in: http://www.adventist.org/beliefs/guidelines/music_guidelines.html

Grove Dictionary of Music and Musicians. Second Edition. Edited by Stanley Sadie, 2004. Volume including letter "D", for terms: drum, drum kit and drum set. Pp. 601-617.

Seventh-day Adventist Church Manual - Revised in 2005. 17th Editon. Review and Herald Publishing Association: Hagerstown, 2005.

Available in: http://www.adventist.org/beliefs/church_manual/index.html

Theological Musicology

2009-10-21T21:32:00.010+02:00

Johann Mattheson, out of his igneous genius and strong personality, when writing the foreword to his Der vollkommene Capellmeister, of 1739, dedicates its third portion to the discussion of the origin of music in a theological perspective.

Now, even if we consider all other knowledge usually attributed to Adam as pure myth, as it probably is; still one could not deny that since the all-perfect Creator made him in His image, He could have simultaneously, through Divine power, endowed him, without the usual lengthy instruction, with the greatest knowledge, but mainly with that knowledge which His Wisdom has chosen to serve for the praise and service of the Highest, after the example of angels, and such knowledge as could best serve man in the state of innocence to glorify GOD, like the angels who are worthy of imitation.

That meanwhile mortals must have lost a great deal of this innate perfection after The Fall, indeed, that they will have mostly forgotten the received skills and their examples, that also probably only a shadow of that splendid harmony which they learned and practiced in Paradise was retained, is just a clear to the understanding as the fact that cultivating, wild, desolate field would have to be very different from the pleasures of Eden, for GOD Himself was the Planter there. The clearer and finer the air, the more beautiful everything sounds.

Since in paradise (not to mention the coeli aquei, as the angel's own habitation) there was the purest and best air, hence the most incomparable sound mut have been heard there: so it's easy to understand that outside the Garden of Eden, and on the accursed earth, a prodigious amount of this sound was lost, simply because of the locale, and man must also have perceived, in his daily labors, so much less pleasure or impulse to sing or play. (Johann Mattheson, Der vollkommene Cappellmeister, Foreword, III The Origin of Song, p. 41)

Here he talks about the contact Adam might have had with the celestial, perfect and pure music as sung and played by the heavenly angels in praise to the Creator of sounds and music. He defends that music in Heaven had, and has, obviously, special qualities that were most probably lost after the fall of men and the degenerative process the world has been experiencing ever since. However discouraging and disappointing this may be, we must not lose sight of what we should do as Christians in this particular matter: “We should endeavour in our songs of praise to approach as nearly as possible to the harmony of the heavenly choirs.” (Ellen G. White, Evangelism, p. 507).p

BIBLIOGRAPHY

MATTHESON, Johann. Der Vollkommene Capellmeister (1739). English translation (1969): Ernest C. Harriss. Michigan: UMI Reserach Press, 1981. Pp. 48-43.

The Tonic (A Tônica)

2009-10-18T10:58:00.004+02:00

"When the faith we accept destroys selfishness and pretense, when it leads us to seek God's glory and not our own, we may know that it is of the right order. 'Father, glorify Thy name'(John 12:28), was the keynote of Christ's life, and if we follow Him, this will be the keynote of our life. He commands us to 'walk, even as He walked'; and 'hereby we do know that we know Him, if we keep His commandments' (1 John 2:6, 3)". (Ellen. G. White, The Desire of Ages, p. 409)

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"Quando a fé que aceitamos destrói o egoísmo e o fingimento, quando nos leva a buscar a glória de Deus e não a nossa, podemos saber que é da devida espécie. 'Pai, glorifica o Teu nome' João 12:28. era a nota tônica da vida de Cristo e, se O seguirmos, essa será a nota predominante em nossa vida. Ele nos manda 'andar como Ele andou'; e 'nisto sabemos que O conhecemos: se guardarmos os Seus mandamentos' (I João 2:6 e 3)". (Ellen G. White, O Desejado de Todas as Nações, p. 409)

Watch out!

2009-10-16T13:37:00.002+02:00

Orderly (Ordenadamente)

2009-10-02T21:53:00.012+02:00

"Angels work harmoniously. Perfect order characterizes all their movements. The more closely we imitate the harmony and order of the angelic host, the most successful will be the efforts of these heavenly agents in our behalf. If we see no necessity for harmonious action, and are disorderly, undisciplined, and disorganized in our course of action, angels, who are thoroughly organized and move in perfect order, cannot work for us successfully. The turn away in grief, for they are not authorized confusion, distraction and disorganization. All who desire the cooperation of the heavenly messengers must work in unison with them. Those who have the unction from high will in all their efforts encourage order, discipline and union of action, and then angels of God can cooperate with them." (Ellen G. White, Testimonies to Ministries, p. 28)

The lesson states in Friday's study*: "God is a God of order". When God made Himself manifest to the Israelites in the wilderness He did so in an orderly manner. Some think it is legalism to be accurate and disciplined when dealing with a particular issue, claiming that it doesn't save anyone. In fact it doesn't save, because our salvation can be accomplished through God's grace alone, by means of the atoning death of His only Son Jesus Christ. But in the quotation above we can clearly read that God expects order and harmony to be part of our lives so that his angels can properly influence us. In music it's not different. Shouldn't music of God believers be as orderly as His nature demands?

*Adult Sabbath School Bible Study Guide, Oct-Dec, 2009 - Friday, October 02. See the information in the column beside about how to get the lesson online.

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“Os anjos trabalham harmoniosamente. Perfeita ordem caracteriza todos os seus movimentos. Quanto mais aproximadamente imitarmos a harmonia e ordem dos anjos, tanto maior êxito terão os esforços desses agentes celestiais em nosso favor. Se não virmos necessidade de ação harmônica, e formos desordenados, indisciplinados e desorganizados em nossa maneira de agir, os anjos que são perfeitamente organizados e se movem em perfeita ordem, não poderão com êxito trabalhar por nós. Eles se afastarão pesarosos, pois não estão autorizados a abençoar a confusão, distração e desorganização. Todos os que desejarem a cooperação dos mensageiros celestiais devem trabalhar em harmonia com eles. Os que receberam a unção do Céu, em todos os seus esforços incentivarão a ordem, a disciplina e unidade de ação, e então os anjos de Deus poderão cooperar com eles” (Ellen G. White, Testemunho para Ministros, p. 28).

A lição fala no estudo de sexta-feira*: "O Senhor é um Deus de ordem". Quando o Senhor Se fez manifesto aos israelitas no deserto, Ele o fez de forma ordenada. Alguns denominamlegalismo o ser meticuloso e disciplinado em um assunto particular, atestando que isso não salva a niguém. De fato isso não salva, porque nossa salvação pode ser adquirida através da graça de Deus somente, e através da morte espiatória de Seu único Filho Jesus Cristo. Mas na citação acima podemos ler claramente que Deus espera que ordem e harmonia sejam parte de nossas vidas, de tal forma que Seus anjos possam nos influenciar adequadamente. Na música não é diferente. Não deveria a música dos crentes em Deus ser tão ordenada quanto Sua natureza?

*Lição de Adultos da Escola Sabatina, Out-Dez, 2009 - Sexta-feira, 02 de outubro. Veja a informação na coluna ao lado sobre como adquirir a lição online.

Lust of Power (Desejo de Poder)

2009-09-22T23:09:00.010+02:00

The lesson of Tuesday of this week* (September 22) approaches an important theme, which is central the well know discussion on sacred music that has ran full speed years over. Prominency and prejudice have been the attitude of many towards the opinion of others. Instead, we are not to attack each other having what is good for us as the premise. This lesson brings a bunch of questions that are worth of reasoning, especially the last one. I'm going to reproduce them here:

"Might there not be a bit of Diotrephes in all of us? Look at yourself. Are you greedy for power? Do you speak out against those you don't like? Most important, are you making the sad mistake of automatically assuming that what is best for you personally is best for the church as a whole?" (Adult Sabbath School Bible Study Guide, Jul-Sep, 2009)*

Such an egoism can be seen in some points of view in the church today. That what makes one feel good, or what is politically correct have been the norm. "He [Diotrephes] may have confused lust of power with zeal for the gospel." (idem)

What has been our aim? p

*See the information in the column beside about how to get the lesson online.

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A lição de terça-feira dessa semana* (22 de setembro) aborda um tema importante, que é crucial para a conhecida discussão sobre música sacra que tem corrido por anos a fio. Preeminência e preconceito têm sido a atitude de muitos com relação à opinião dos outros. Ao contrário, não sevemos atacar uns aos outros tendo como premissa o que é bom para nós. Esse lição (versão americana) trás várias perguntas que merecem reflexão, especialmente a última. Vou reproduzi-las aqui:

“Não haveria um pouco de Diótrefes em cada um de nós? Olhe para você mesmo. É você sedento de poder? Você confronta àqueles de quem você não gosta? Mais importante, está você caindo no triste erro de automaticamente assumir que o que é melhor para você pessoalmente é o melhor para a igreja como um todo?” (Lição dos Adultos, versão amaricana)*.

Tal egoísmo pode ser visto em alguns pontos de vista na igreja hoje. O que faz uma pessoa sentir-se bem , ou o que é politicamente correto tem sido a norma. Ele [Diótrefes] pode ter confundido cobiça de poder com zelo pelo evangelho.

Qual tem sido o nosso objetivo? p

*Veja a informação na coluna ao lado sobre como adquirir a lição online.

Adicionalmente...

2009-09-18T22:29:00.003+02:00

"Haverá gritos com tambores, música e dança. Os sentidos dos seres racionais ficarão tão confundidos que não se pode confiar neles quanto a decisões retas. E isto será chamado operação do Espírito Santo.

"O Espírito Santo nunca Se revela por tais métodos, em tal balbúrdia de ruído. Isso é uma invenção de Satanás para encobrir seus engenhosos métodos para anular o efeito da pura, sincera, elevadora, enobrecedora e santificante verdade para este tempo. E melhor nunca ter o culto do Senhor misturado com música do que usar instrumentos músicos para fazer a obra que, foi-me apresentado em janeiro último, seria introduzida em nossas reuniões campais. A verdade para este tempo não necessita nada dessa espécie em sua obra de converter almas. Uma balbúrdia de barulho choca os sentidos e perverte aquilo que, se devidamente dirigido, seria uma bênção. As forças das instrumentalidades satânicas misturam-se com o alarido e barulho, para ter um carnaval, e isto é chamado de operação do Espírito Santo." (Ellen G. White, Mensagens Escolhidas, pág. 36)

Futuro Próximo

2009-09-16T00:52:00.008+02:00

Abaixo encontra-se uma citação que descreve a triste situação da igreja de Deus nos últimos dias, mais especificamente com relação à música, e à "maneira por que é dirigida". Analisemos cuidadosamente a seriedade dessa mensagem.

"Essas coisas que aconteceram no passado hão de ocorrer no futuro. Satanás fará da música um laço pela maneira por que é dirigida. Deus convida Seu povo, que tem a luz diante de si na Palavra e nos Testemunhos, a ler e considerar, e dar ouvidos. Instruções claras e definidas têm sido dadas a fim de todos entenderem. Mas a comichão do desejo de dar origem a algo de novo dá em resultado doutrinas estranhas, e destrói largamente a influência dos que seriam uma força para o bem, caso mantivessem firme o princípio de sua confiança na verdade que o Senhor lhes dera." (Mensagens Escolhidas, vol. 2, p. 38, grifos meus)

Quão impressionantes as palavras deste trecho do Espírito de Profecia. Delas podemos extrair pelo menos três pontos para profunda reflexão: (1) Deus tem intruido claramente Seu povo quanto ao emprego da música em Sua causa e à sua utilização no cotidiano do professo cristão; (2) muita novidade tem sido introduzida na âmbito musical da igreja nos últimos tempos; (3) talvez o futuro, de que a irmã White fala, já seja o presente.

Ora quanto ao primeiro ponto: a igreja adventista tem manifestado uma posição clara que diz respeito a uma doutrina musical há vários anos. Essa resolução deverá ter sempre como guia a Palavra de Deus, exaltar a Cristo como Salvador pessoal e tornar claro o plano da redenção. As diretrizes explicitadas no Espírito de Profecia têm sido largamente empregadas, e estão à disposição do povo, para consulta (inclusive na internet, em: http://www.ellenwhitebooks.com/, por exemplo).
Em relação à segunda proposta reflexiva, temos presenciado tentativas de inovação na adoração e louvor através da música que estão em desacordo com o direcionamento discutido acima. Nossos diretores de música, muitas vezes por desconhecimento ou negligência, permitem que essas inovações aconteçam em suas igrejas, mesmo estando estas em desacordo com a instrução dada a elas.
Por fim, podemos considerar a frase qua abre a citação acima, extraída do livro Mensagens Escolhidas: "Essas coisas que aconteceram no passado hão de ocorrer no futuro." Ora, se as proposição (2) é um fato dentro da igreja em nosso tempo, me pergunto: Teria esse referido tempo chegado? Teria essa dura mensagem, endereçada para uma igreja que está caindo nos engodos do inimigo, sido escrita para a nossa própria?

Que Deus nos ilumine por intermédio do Seu Espírito, para que possuamos o discernimento necessário para nos afastarmos de tais influências quando estas se manifestarem em sua plenitude. Se esse tempo tiver chegado, que possamos estreitar nossa comunhão com a Fonte de Todo o Conhecimento, para que, de acordo com Sua vontade, nos desviemos do erro. Se esse futuro não tiver chegado ainda, há tempo para nos prepararmos mediante oração, consagração e estudo. p

The Source of All Knowledge (A Fonte de Todo Conhecimento)

2009-09-13T00:46:00.016+02:00

"'That was the true light, which lighteth every man that cometh into the world.' The world has had its great teachers, men of giant intellect and wonderful research, men whose utterances have stimulated thought, and opened to view vast fields of knowledge; and these men have been honored as guides and benefactors of their race. But there is One who stands higher than they. 'As many as received Him, to them gave He power to become the sons of God.' 'No man hath seen God at any time; the only-begotten Son, which is in the bosom of the Father, He hath declared Him.' John 1:12, 18. We can trace the line of the world"s great teachers as far back as human records extend; but the light was before them. As the moon and the stars of the solar system shine by the reflected light of the sun, so, as far as their teaching is true, do the world's great thinkers reflect the rays of the Sun of Righteousness. Every gem of thought, every flash of the intellect, is from the Light of the world. In these days we hear much about 'higher education.' The true 'higher education' is that imparted by Him 'in whom are hid all the treasures of wisdom and knowledge.' 'In Him was life; and the life was the light of men.' Col. 2:3; John 1:4. 'He that followeth Me,' said Jesus, 'shall not walk in darkness, but shall have the light of life.'" (Ellen G. White, The Desire of Ages, pp. 464, 465).

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"'Ali estava a luz verdadeira, que alumia a todo o homem que vem ao mundo.' O mundo tem tido seus grandes ensinadores, homens de cérebro gigantesco e dotados de admirável capacidade de investigação, homens cujas declarações têm estimulado o pensamento e aberto à visão vastos campos de conhecimento; e esses homens têm sido honrados como guias e benfeitores de sua raça. Alguém existe, porém, que os supera a todos. 'A todos quantos O receberam, deu-lhes o poder de serem feitos filhos de Deus.' 'Deus nunca foi visto por alguém. O Filho unigênito, que está no seio do Pai, Esse O fez conhecer.' João 1:12 e 18. Podemos seguir os passos dos grandes homens do mundo até aonde se estende o registro da história humana; a Luz, porém, existia antes deles. Como a Lua e as estrelas de nosso sistema solar brilham pelo reflexo da luz do Sol, assim, no que há de verdadeiro em seus ensinos, refletem os grandes pensadores do mundo os raios do Sol da Justiça. Toda jóia de pensamento, todo lampejo de intelecto, provém da luz do mundo. Ouvimos muito, hoje em dia, acerca da 'educação superior'. A verdadeira "educação superior" é a comunicada por Aquele 'em quem estão escondidos todos os tesouros da sabedoria e da ciência'. Col. 2:3. 'NEle estava a vida, e a vida era a luz dos homens.' João 1:4. "Quem Me segue não andará em trevas", disse Jesus, 'mas terá a luz da vida.'" (Ellen G. White, O Desejado de Todas as Nações, págs. 464, 465).

A Thoughtful Thought (Pensamento Pensativo)

2009-07-19T00:19:00.003+02:00

"Also He has put eternity in their hearts, except that no one can find out the work that God does from beginning to end." Ecclesiastes 3:11b.

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"Também pôs na mente do homem a idéia da eternidade, se bem que este não possa descobrir a obra que Deus fez desde o princípio até o fim." Ecclesiastes 3:11b.

A Matter of Mission (Uma Questão de Missão)

2009-06-27T02:16:00.008+02:00

This week, the Adult Sabbath School Bible Study Guide lesson (english version) brings in the Friday study a couple of questions that are of utmost importance for us and our discussion. I'm reproducing it now, so that we can ponder about it:

"3. How do we as a church protect ourselves from many of the dangerous theological trends that constantly are seeking to infiltrate and pollute our teachings? At the same time, how do we remain open to growing and advancing in new light that can help us better understand our Lord and our mission?"

In this question lies a more serious depth than it seems to have at first sight. The relevance of it's purpose is really a matter of discussion and object of study. Our church, as a church, has specific guidelines on the subject of music making and performing relating to the life of a professed Christian.

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A lição da Escola Sabatina dos Adultos (versão em inglês) desta semana traz, na parte de sexta-feira, algumas perguntas de suma importância para nós e nossa discussão. Eu as estou reproduzindo agora, para que ponderemos sobre as elas:

"3. Como nós, enquanto igreja, nos protegemos dos tantos teológicos que constantemente buscam infiltrar-se e poluir nossos ensinamentos? Ao mesmo tempo, como nos mantemos abertos ao crescimento e avanço em nova luz que nos ajuda a entender melhor a nosso Senhor e nossa missão?"

Jaz nessa pergunta uma profundidade mais séria do que parece ter à primeira vista. A relevância de seu propósito é, realmente, uma questão para discussão e objeto de estudo. Nossa igreja, enquanto igreja, tem direções específicas quanto ao assunto relacionado ao fazer e interpretar a música, relacionadas à vida do professo cristão.

2009-06-09T16:07:00.001+02:00

A identidade Adventista do Sétimo Dia

1. Os Adventistas do Sétimo Dia defendem frontal separação das coisas do mundo e faz clara distinção entre o sacro e o secular.

2. A música e as percepções estéticas, assim, como a ética e o estilo de vida são transformados pelo Espírito Santo e pela vida de comunhão. Portanto, aceitar a Pessoa de Cristo na vida é permitir mudança do ser, processo permanente e crescente que inicia do interior para o exterior.

3. Os Adventistas do Sétimo Dia entendem que sua Missão é transcultural, por isso, existem tensões. Todavia, o diálogo mediado pela guia do Espírito Santo produz maior compreensão dos "fatos culturais", sempre respaldada pela Palavra de Deus e por uma teologia genuinamente bíblica.

4. A música e suas correlações no culto e na vida cristã é apresentada em Ellen White, como expressão genuína e autêntica do Dom Profético, na forma e natureza como crêem os Adventistas do Sétimo Dia. Por isso, as orientações, recomendações e exortações apresentadas nestes escritos são válidos e necessários, principalmente, porque, uma das características do tempo do fim seria o aparecimento de falsos ensinos (inclui-se artigos, blogs, teses), defendendo heresias eivadas da mistura satânica "erro e verdade".

5. Os Adventistas do Sétimo Dia sabem que num mundo pós-moderno e relativista, manter a unidade da Igreja e sua identidade é tarefa desafiadora, só possível pelo poder do Espírito Santo. A música como produto cultural, não está imune ao processo de massificação que desestrutura a mente, a pessoa, a sociedade e a igreja. A música adventista tem uma identidade da mesma forma como a doutrina adventista tem uma identidade.

Pastor Jael Enéas (Departamental de Música na União Este Brasileira

Sunset (Pôr-do-Sol)

2009-06-06T00:50:00.008+02:00

As I came back from a concert I made today with orchestra in a small town nearby, I watched the sunset through the bus' window. And as I kept deep in thought I saw the scene change from intense sun beams behind gold colored clouds to a vivid red disk partially hidden surrounded by a purple-pink halo. The sky above pictured a blue and green board. The fields, trees and hills were the perfect frame for this beautiful landscape portray.

Before such an astonishing natural manifestation, though not uncommon, I began to ponder about our Creator. He, in His perfect knowledge, didn't give us a simple lamp for light, that could be turned off at a specific moment, so that night would follow. He made a whole complex process of things that not only fulfills a functional expectation, but is amazingly pleasing to our senses. The Lord didn't simply create square shaped vegetation that gave square shaped food. But, instead, made us thousands of tree species, each with its own peculiar character and shape, with its own green shade and intensity; each with its own fruit, which has its own color, taste and proprieties. All this He did both to serve a specific purpose and to please our eyes and palate - our senses.

Among these there is the sonorous wave, I thought, that served music, which was also created by Him. Differently from the trees and birds music isn't just there. Although musical principles and rules can be found in one single sound wave, these physical phenomena exist to be worked upon. It's God's intension that we deal with this acoustic feature ourselves to produce praise to His everlasting name. By so doing we proclaim Him as the only One worthy of praise for creating this physical attribute.

As well as in Nature we can find these specific functional subjects both serving specific purposes and pleasing His creature's senses in specific aesthetic ways, so must the sound, created specifically to please His creature's ears, have a specific sonorous aesthetic result. Too specific?

How aesthetically specific have our music been?

When I witness perfect moments like the twilight I described above, I wonder how much awesome things in Heaven will be. Think of music!

Music: An Actual Object of Study (Música: Um Objeto de Estudo)

2009-05-31T03:45:00.005+02:00

There have been, in the church nowadays, people who say that music has to do with feeling instead of intellect. I would rather say: it has to do with both in a balanced manner. All aspects of Christian life can be thought upon as intellectual and reasonable subjects, and are not less emotional or appeal less to the feelings. An example is the greatest subject we have ever got: the cross. The atoning death of Jesus in our stead, despite its emotionality, can and should be studied under reasonable scrutiny. This is what the whole sacrificial system in ancient Israel was all about. Weren't sanctuary and prophecies studied properly, they would not signify what they're meant to. Seventh-Day Adventist church has also studied particular beliefs and properties of doctrines that become very important for us, like the nature of marriage, sexuality, stewardship, Heaven, eternal life, etc. Music is not less thoughtful. And for this point's sake I quote the opening portion of this week's lesson study.

"It is important that we use our intellectual capacities to grasp as much as humanly possible of what God has revealed to us. Yet, perfect knowledge of all doctrine in not a prerequisite for salvation. We are, though, commanded to do all the things that we have been instructed to do. To be a disciple is to be a lifelong learner and follower of the Master.

"What is a disciple? The SDA Bible Dictionary defines it, basically, as 'one who, as a student or adherent, follows the teaching of another, especially of a public teacher. In the NT "disciple" is the translation of the Gr. mathetes... which is related to manthano, "to learn", hence means "a learner", "a pupil", an "adherent"' - Page 288." Adult Sabbath School Bible Study Guide, April-June 2009, lesson 10, Sabbath Afternoon - May 30, page 80.

If music is not an object of intellectual studies for, Universities like Andrews and other traditional Adventist institutions shouldn't sponsor such studies and fields of research. But that's not the case. Of course.p

Study This Book (Estude Este Livro)

2009-05-23T19:44:00.005+02:00

This post is destined to share the conclusion I once again came to.

Have a blessed Sabbath.

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"Bíblia Sagrada - Estudai este livro!'Eu tento não desperdiçar qualquer oportunidade de alertar pessoas, a qualquer custo sob meu poder, para o estudo constante do livro maravilhoso.' D. L. Moody."

Este post é destinado a compartilhar a conclusão a que mais uma vez cheguei.

Tenham um Sábado abençoado.

A Calling to Holiness (Um Chamado à Santidade)

2009-05-23T03:27:00.004+02:00

“The word holy occurs in the bible in different settings. People are sometimes referred to as holy; so are objects (i.e., the objects in the tabernacle in Israel’s time) or time periods (i.e., the Sabbath). Priests were holy people because they were singled out for service in the sanctuary. They handled holy vessels and instruments that were withdrawn from secular use for a specific ritual purpose. Similarly, holy days are marked by God for a specific purpose. Once they had been singled out holy, they are no longer available for common use, because they have been destined for a higher purpose. The activities in such holy days must correspond with the purpose God has attached to such days.” Sabbath School Bible Study Cuide (Adult) - April-June 2009, Lesson 8, May 18 (Monday) – first paragraph.

What about the music in Adventist Church? What if music in Sabbath, in our homes and inside the church’s walls, is just like the one we have heard in the world during the week? What about our own attitude in worship? What about holiness?p

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“A palavra santo ocorre na Bíblia em diferentes contextos. Às vezes as pessoas são chamadas de santas e o mesmo ocorre com objetos ou Períodos de tempo. O significado básico é “reservado para o uso específico”. Os sacerdotes eram santos porque eram separados para serviço no santuário. Eles manipulavam vasos e instrumentos santos, que eram retirados do uso secular para um propósito cerimonial específico. Da mesma forma, os dias santos são reservados por Deus para um propósito específico. Uma vez que tenham sido reservados como santos, eles não mais estão disponíveis para uso comum, porque foram destinados para um propósito mais elevado. Nesses dias santos, as atividades devem corresponder ao propósito que Deus lhes atribuiu.” Lição da Escola Sabatina (Adultos) – Abril-Junho de 2009, Lição 8, 18 de Maio (segunda-feira) – primeiro parágrafo.

E a música na Igreja Adventista? E se a música no Sábado, nos nossos lares e dentro das paredes da igreja, é exatamente como aquela que ouvimos no mundo durante toda a semana? E a nossa atitude de adoração? E a santidade?p

Is Sacred Music Supposed to be Authentic? (Deve a música Sacra Ser Autêntica?)

2009-05-08T01:58:00.013+02:00

Quoting a line from the A Seventh-day Adventist Philosophy of Music – Guidelines (2004): “It is characterized by quality, balance, appropriateness, and authenticity. Music fosters our spiritual, psychological, and social sensitivity, and our intellectual growth.”* Some questions to ponder about:

On the nature of authenticity in sacred music

How authentic has sacred music been in your church? What does authenticity mean? Does it play any role whatsoever in how we are relating to our Creator when in earnest praise? Does it tell anything about how confusedly this subject has been carried out all the way through these last years?

On the nature of authenticity in sacred music as related to the Christian

Have our church members recognized a brand new, authentic, kind of music when in contact with an average contemporary Christian song, whether instrumental or vocal? Have they sincerely felt authenticity in its text and purely musical character?

Well. Music is music. God created music to sound like something. Resembling the empiricists of times past, we can assume here that once music was created to sound like something it is something. It is an object of study, positively saying – a fact, so to say – and is under the possibility of analysis in logical rational terms, which, instead of proving its origins, aim at explain its inner laws per se. It does mean, hence, that, in a way, there is a facet of quality in music that can be understood by rational beings alone – namely: you and me.

On the other hand music is a whole that makes itself manifest through specific attributes. A plenty of them is of sonorous character, being completely unperceived without emission and reception of sound-like material. Borrowing the reasoning above that God created music to sound like something and music in a perfect environment did sound and still sounds like something – it does matter how music sounds. Ellen G. White describes music of heaven in the following manner: “I have been shown the order, the perfect order, of heaven, and have been enraptured as I listened to the perfect music there. After coming out of vision, the singing here has sounded very harsh and discordant. I have seen companies of angels, who stood in a hollow square, every one having a harp of gold . . . There is one angel who always leads, who first touches the harp and strikes the note, then all join in the rich, perfect music of heaven. It cannot be described. It is melody, heavenly, divine, while from every countenance beams the image of Jesus, shining with glory unspeakable.” Testimonies, vol. 1, p. 146. (1857)

Notice that she says that she “listened to the perfect music” in heaven, which “cannot be described”. She sensitively (talking about the senses) heard the attributes of music and found no earthly terms to describe it further, so perfect it was. It was so authentic , so different from the one she had been acquainted with; which could be readily described as “elegant”, “warm”, “dry”, “fast”, “humorous”… She found no such words as could be used to designate the attributes of that peculiar, authentic music. Had it been just like the one she was used to, she would describe it without any difficulty.

Beyond. She compares it with what music sounded like on earth of her days, after coming out of vision. “The singing here has sounded very harsh and discordant”. The music in heaven was anything but the one she heard on earth (and she for many times heard music of quality, even out of the church). It was authentic.

God does want His music to be authentic, it was created to sound like it. Unfortunately, our music has often sounded like “eighties light rock”, “regular rock n’ roll”, pop-rock, jazz and so forth. Anything you have heard before? So it’s not authentic.

What to do then if we haven’t got a clue of how music sounded in heaven by the pen of Mrs. White? What if we don’t even imagine what those special sound attributes are like? Well. The instruction is clear: “We should endeavour in our songs of praise to approach as nearly as possible to the harmony of the heavenly choirs.” Evangelism p. 507. If the least we know is that music in heaven is authentic, shouldn’t we strive to produce and perform authentic music?p

*Read the entire article clicking below.

A Seventh-day Adventist Philosophy of Music – Guidelines (2004)

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Citando o A Seventh-day Adventist Philosophy of Music - Guidelines (2004): a música "é caracterizada pela qualidade, equilíbrio, e autenticidade. A música promove nossa sensitividade espiritual, social e psicológica, e nosso crescimento intelectual."* Algumas questões para que ponderemos:

Sobre a natureza da autenticidade

Quão autêntica tem sido a música sacra em sua igreja? O que autenticidade significa? Desempenha ela um papel na maneira como nos relacionamos com nosso Criador quando em genuíno louvor? Isso nos diz algo sobre a maneira confusa em que esse assunto tem sido abordado por todos esse últimos anos?

Sobre a natureza da autenticidade na musica sacra relacionada com o cristão

Têm nossos membros reconhecido um gênero novo e autêntico de música quando em contato com um exemplar contemporâneo cristã regular, tanto instrumental quanto vocal? Têm eles sinceramente sentido autenticidade no seu texto e caráter puramente musical?

Pois bem. Música é música. Deus criou a música para que soasse como algo. Relembrando os empiricistas de tempos passados, podemos assumir aqui que: uma vez que a música foi criada para que soasse como algo, ela é algo (conseqüentemente). É um objeto de estudo, positivamente falando – um fato, por assim dizer – e está sob a possibilidade de ser analisada em racionais lógicos, que, em vez de provar sua origem, tem por objetivo explicar suas leis internas per se. Isso significa, logo, que há uma faceta qualitativa na música que pode ser apreendida por seres racionais somente – a saber: você e eu.

Por outro lado, música é um todo que se manifesta através de atributos específicos. Vários deles são de caráter sonoro, sendo completamente imperceptíveis sem a emissão e recepção de material sonoro. Fazendo uso da ponderação acima de que Deus criou a música para que soasse como algo, e música em um ambiente perfeito soava e ainda soa como algo – a maneira como a música soa é algo relevante. Ellen G. White descreve a música do céu da seguinte maneira: “Foi-me mostrada a ordem, a perfeita ordem do Céu, e senti-me arrebatada ao escutar a música perfeita que ali há. Depois de sair da visão, o canto aqui me soou muito áspero e dissonante. Vi grupos de anjos que se achavam dispostos em quadrado, tendo cada um uma harpa de ouro. ... Há um anjo que dirige sempre, o qual toca primeiro a harpa a fim de dar o tom, depois todos se ajuntam na majestosa e perfeita música do Céu. Ela é indescritível. É melodia celestial, divina, enquanto cada semblante reflete a imagem de Jesus, irradiando glória indizível.” Testemunhos Seletos, vol. 1, pág. 45.

Note que ela diz ter escutado “a música perfeita” no céu e, que “é indescritível”. Ela sensitivamente (falando dos sentidos) ouviu os atributos dessa música e não encontrou termos terrenos para descrevê-la além disso, tão perfeita era ela. Era tão autêntica tão diferente da qual ela conhecia, a qual poderia prontamente ser descrita como “elegante”, “seca”, “rápida”, ou “bem humorada”... Ellen White não encontrou palavras que poderiam ser usadas para designar os atributos daquela autêntica, peculiar música. Se esta fosse como a música com que ela estava acostumada, a teria descrito sem dificuldade.

Mais além. Ela a compara com o que a música na terra de seus dias, depois de sair da visão. “O canto aqui me soou muito áspero e dissonante”. O canto no céu era outra coisa que não o que ela ouviu aqui no mundo (e ela por muitas vezes ouviu boa música, mesmo fora da igreja). Ela era autêntica.

Deus quer que Sua música sua autêntica, ela foi criada para que soasse assim. Infelizmente, nossa música tem soado “como rock dos anos 80”, “rock n’ roll”, pop-rock, jazz, entre vários outros. Algo que você já tenha ouvido antes? Então não é autêntica.

O que fazer então se não temos a menor idéia de como a música soava pela pena da senhora White? O que fazer se sequer imaginamos como são esses atributos especiais do som? Bem. A instrução é clara: Devemos esforçar-nos em nossos cânticos de louvor, por aproximar-nos o mais possível da harmonia dos coros celestes.” Evangelismo pág. 507. Se o mínimo que sabemos é que a música no céu é autêntica, não deveríamos nos eforçar para produzir e reproduzir música autêntica?p

* Leia o artigo inteiro clicando na link acima (versao em inglês).

Music That Makes You Dumb (Música Que Faz de Vocé um Burro)

2009-04-18T17:34:00.008+02:00

Average SAT (with standard error) for the 133 most popular entries for "favorite music" on facebook. The vertical axis doesn't mean anything.

Get the conclusions yourself...

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Média do SAT* (com margem de erro padrão) para as 133 opções de "música favorita" no facebook. O eixo vertical não quer dizer nada.

Tire a conclusão por você mesmo...

* Scholastic Aptitude Test - Teste comum nos EUA realizado para admissão de alunos em cursos superiores.

World Conditions (Condições do Mundo)

2009-04-10T05:56:00.003+02:00

Condição do Mundo

"E farei o juízo a linha para medir, e a justiça o prumo..." Isaías 28:17 (JFAA)

Death Before Resurrection (Morte Antes da Ressurreição)

2009-04-06T05:17:00.004+02:00

Morte antes da ressurreição.

"Se o grão de trigo caindo na terra não morrer, fica ele só." João 12:24 (JFAA)

Not fanatic, but radical! (Não Fanáticos, Mas Radicais!)

2009-03-27T01:16:00.020+01:00

After a human being is converted to Christian belief, he is compelled to make an outstanding change in all aspects of his life. Christ becomes his actual pattern in all existing areas. If we, then, come to analyze this very pattern one has when adhering to such a belief, we learn that the proximity with it brings more perfection in doctrine and generates a willingness to become more and more like it. Or should generate, at least. Life with Christ makes us feel how erring we are and how many things we have to change everyday.

If the last paragraph is true, we must agree that being like Christ means 100% of likeness. And, if He is the model of perfection, He must be 100% perfect, which He is indeed. Any other percentage, like 99% or 85%, doesn't mean being like Him. The world is exactly the opposite of Christ (0%). Especially the world of our times. It is skeptical, self-centered, lustful, hypocrite and false. If Christ was astonishingly different from usual (regular, common) and so special at the time he was on earth, how much more if he had come to-day! What would people call Him? Radical!

A person is radical when he or she adheres completely to a belief. When there is nothing that can hinder him or her of attempting something in behalf of their beliefs. Jesus was completely committed with the Father's will, no matter what came to pass (even to the point of death). And anyone who intend such a commitment at anytime whatsoever will be called radical likewise. According to the dictionary, this word means also "drastic" and "extreme".

Most of us misunderstand the concept of radicalism and tend to compare or equal it to fanaticism. For many times the term appears associated with cultural groups that act barbarically toward one another, needless to name them, while the term that better suits to them is fanatic. The latter means excessive zeal for some believe. Note that the excessiveness denotes an abusive, unhealthy management which, instead of communicating piety, leads a person to self destruction and of those around him, whether physically or mentally (not to mention spiritually, which is already implicit).

Jesus was not fanatic. And He doesn't want us to be. All He asks is that we should be entirely committed with God as He Himself always was, in heaven and while living among us. The closer we get to His perfection of character, the more perfect we will be. Once we aim at the 100% perfect character of our Redeemer, there will be no possibility of aiming low. And all aspects of our lives must change according to His pattern.

I insist again in our so-called principal subject: music. If all areas of our lives are to suffer change, so must our way of worshiping the Creator, presently: of praising Him through music as a crucial part of worship. Unfortunately, music inside the church has been deeply connect to that outside it, not just in style but in purely musical issues also. We must always have in mind the depravation music of the world has been in contact with for so many centuries after the fall of man, and how much the enemy wants it to be deplored even to destruction of those who hear it. It's not a secret. This kind of music that has been produced in the world lacks whatever divinity or high purpose, thus owning the score of 0% of perfection in our ranking. Logically, I understand, the farer from the latter one music in the church be, and the closer to the character of Christ, the more perfect it will grow. If music for God shares characteristics of world music such as rock and jazz, which are etymologically pagan styles, and doesn't attempt to praise the Creator (on the contrary), it loses strength when employed for divine ends.

Suppose the music in heaven scores 100%, how much would the one of our present-day church get? p

"He who says he abides in Him ought himself also to walk as He walked" I John 2:6 (NKJV) See also I John 2:28-3:9.

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Depois de um ser humano ser convertido à fé cristã, ele é compelido a fazer uma mudança significativa em todos os aspectos de sua vida. Cristo se torna seu modelo para todas as áreas existentes. Se , então, passarmos a analisar esse modelo a que uma pessoa se filia quando adere a tal crença, entendemos que a proximidade com ele traz mais perfeição doutrinária e gera vontade de se parecer mais e mais com ele. Ou, pelo menos, deveria gerar. A vida com Cristo faz-nos sentir quão errantes somos e quantas coisas temos para mudar a cada dia.

Se o parágrafo último é verdadeiro, devemos concordar que ser igual a Cristo significa 100% de semelhança. E, se Ele é o modelo de perfeição absoluta, dever ser 100% perfeito, o que é fato. Qualquer outra procentagem, como 99% ou 85%, não significa ser igual a Ele. O mundo é exatamente o oposto de Cristo (0%). Especialmente o mundo dos nossos dias. Este é sético, egoísta, promíscuo, hipócrita e falso. Se Cristo foi tão diferente do usual (normal, comum) e tão especial enquanto esteve na terra, quão mais distinto seria se tivesse vindo hoje. Do que as pessoas o chamariam? Radical!

Uma pessoa é radical quando adere completamente a uma crença. Quando não há nada que possa impedi-la de realizar algo em prol dela. Jesus era completamente comprometido com a vontade do Pai, não importava o que acontecesse (até mesmo ao ponto de morrer). E qualquer um que pretende tal comprometimento a qualquer tempo irá igualmente ser taxado de radical. De acordo com o dicionário essa palavra também significa "drástico" e "extremo".

Muitos de nós entendem mal o conceito de radicalismo e tendem a compará-lo a fanatismo. Muitas vezes o termo aparece associado a grupos culturais que agem de forma bárbara para com o semelhante, sendo desnecessário nomeá-los, enquanto o termo que se encaixa melhor seria fanatismo. Este último sim, significa zelo excessivo por alguma crença. Note-se que excesso denota uma administração abusiva e prejudicial que, no lugar de comunicar piedade, leva uma pessoa à destruição do prórprio eu e daqueles ao seu redor, quer fisicamente ou mentalmente (sem mencionar espiritualmente, o que já está implícito).

Jesus não era fanático. E Ele não deseja que o sejamos. Tudo o que Ele pede é que sejamos inteiramente comprometidos com Deus, como Ele próprio sempre foi, tanto no Céu como enquanto viveu em nosso meio. Quanto mais próximos estivermos de Sua perfeição de caráter, tanto mais perfeitos seremos. Uma vez que visemos o caráter 100% perfeito de nosso Redentor, não haverá possibilidade de mirar um padrão mais baixo. E todos os aspectos de nossas vidas deverão se transformar de acordo com esse modelo.

Mais uma vez insisto no nosso dito assunto principal: música. Se todas as áreas de nossa vida devem sofrer mudança, nossa forma de adorar o Criador também deve, significando aqui: de louvá-lo através da música como parte crucial da adoração. Infelizmente a música dentro da igreja tem estado em profunda conexão com aquela de fora dela, não somente em questão de estilo mas também em assuntos puramente musicais. Devemos ter em mente a depravação com que a música do mundo tem estado em contato por tantos séculos após a queda do homem, e quanto o inimigo deseja que ela seja deplorada, até mesmo à destruição daqueles que a ouvem. Isso não é segredo. A esse tipo de música que tem sido produzida no mundo falta divinidade e um elevado propóstito, conseqüentemente possuindo um score de 0% de perfeição em nosso ranking. Logicamente, eu entendo, quanto mais distantes desta última a música na igreja estiver, e quanto mais próxima do caráter de Cristo, mais perfeita ela se desenvolverá. Se a música para Deus tem características e comum com a música do mundo com jazz e rock, que são estilos estimologicamente pagãos e não buscam o louvor ao Criador (muito pelo contrário), ela perde força quando empregada para fins divinos.

Suponha que a música do Céu atinge 100% de perfeição, quanto a música da igreja de nossos dias atingiria? p

"Aquele que diz estar nEle, também deve andar como Ele andou" I João 2:6 (JFAA) Veja também I João 2:28-3:9.