Can music really be helpful or harmful, irrespective of the words that go with it?

As an art form, music is unique. It is made up of a variety of ingredients such as rhythm, harmony, texture, and melody. Depending upon the presence and balance of these and other related components, music can be soothing or invigorating, ennobling or vulgarizing, philosophical or orgiastic. Music can be the source of the richest blessings or an adjunct of rebellion and sinful behavior.1

This is because, on a very basic level, music influences our feelings and emotions. Even in Bible times, physicians were aware of the power of musical stimuli. Those who attempted to treat King Saul's despondency recommended music to help restore his emotional balance.2

To hear music is to respond to it. It enters our being on what is called the sub-verbal level. So when we are in the presence of music we are powerless to keep it from having an impact, and as we listen to it we are having an emotional experience. Physiological changes take place within our bodies, producing glandular secretions that can modify our emotions and feelings. Psychologists call it an "affective response".3

The body's response to music can influence behavior in two ways. The emotional changes the music prompts may begin to develop certain thought patterns in us; since thoughts inspire actions, music can modify our behavior. But music may also bypass thought and affect our behavior directly, as may be seen on a simple level by anyone who has ever found his toe tapping to music he was not even consciously aware of hearing.4

Bodily Response

Music can produce within the body a number of physical phenomena that are typical of the changes that occur during other kinds of emotional episodes. There can be changes in respiration, blood distribution within the body, and variations in the blood sugar levels. Under the influence of music, pupillary reflexes change, brain-wave patterns are modified and metabolism is affected. As these changes take place within the body a person may be stimulated or sedated, depending upon the nature of music he is responding to.5

Music psychologists report that similar musical experiences produce nearly parallel moods or emotional changes in different people within a given culture. Emotional reactions to music do not appear to be closely related to intelligence, musical aptitude, musical education, or age level above the sixth grade.6

Ancient Insight

Long before the Christian era thoughtful people recognized the influence of music on society. A Confucian scholar wrote, "Music is intended to arouse man to turn back from wickedness and evil. For changing the mores and improving the customs there is nothing better than music." The Greek philosopher Plato recommended that the ideal state should promote music that had an influence for good, and that music with an evil influence ought to be outlawed.7

The use of music in mystic rites contributed to the Greek doctrine of Ethos, giving music an unparalleled function in the molding of character.8 The Greeks believed certain musical modes or scales to be manly and strong, and others to promote emotions of ecstasy and passion. Some modes were thought to induce lasciviousness and still others sadness and mournful thoughts. More recently, Martin Luther warned against the wrong use of music and was well aware that Satan uses this divine gift for his own devilish purposes.9

The anthropologist Alan P. Merriman states that all cultures have music as a vehicle for the expression of those ideas and emotions not revealed in other ordinary types of disclosures. Their musical communications are involved with both special and general feelings such as exaltation, grief, longing or passion, joy in motion, sexual excitement, and a variety of other emotions as well.10

If we want to "guard well the avenues of the soul," we must be watchful on both counts. Beautiful music does not nullify the effects of improper words, nor do fine sentiments (even Christian ones) undo the power of the wrong kind of music to affect us.

Music and Emotion

Psychologist Lewis Thorpe lists three general classes of emotions: the mild, upbuilding emotions, the strong, emergency emotions, and the emotions of sex, including lust.

Martial music appeals to the strong, emergency kind of emotions, and can be a stimulating experience in a military parade, for example. When one hears a full and vibrant orchestral performance of an allegro movement of one of Beethoven's symphonies, the joyful and upbuilding emotions are affected. The performance of Handel's "Hallelujah Chorus" or of a sacred anthem gives the performers and the listeners an emotional experience that is desirable and uplifting.11

In the third category, there are certainly appropriate love songs that stimulate the love emotions in a proper way without vulgar expressions that are so much a part of modern popular music. But an appeal to the sexual emotions, including lust, is surely very much in evidence in performances of many kinds of jazz and rock. Such compositions as "Satisfaction," "Let's Spend the Night Together," or "Lay, Lady, Lay," as well as many other less extreme examples, can incite lustful emotions and suggest improper thoughts and sinful actions.12

Jazz, rock, and their variants are the music that is used almost exclusively in night clubs, taverns, discotheques, houses of prostitution, and strip-tease joints.

Why? Simply because these kinds of music are more in harmony with the objectives of these places than compositions by Mozart, Debussy, Stockhausen, or Varese would be. The kind of music used in these establishments helps to attract customers by taking advantage of their natural enjoyment of musical sounds, and the qualities of the music itself tend to reduce the inhibitions of the customers as well as of the entertainers.13

When we consider the power of music to affect us physically and emotionally, and to deliver suggestions to us both through the music and the lyrics, how particular we should be about what we choose to listen to! The message of the music will register, not only in our minds, but in our very bodies. Clearly, "I like it" is not enough justification for the Christian to listen to any particular kind of music. We must ask, "What is this music designed to do to me—what is its intended effect?" and be prepared to answer honestly and without special pleading.14

Music has a tremendous power, not only for evil, but also for good. For instance, the sincere message of a simple hymn, when sung at the appropriate time, can have a tremendous appeal to those with whom the Spirit of God is working. Many evangelists appropriately use a musical selection as the high point of their appeal for decisions for Christ. The musical medium can be used effectively by those who are trying to lead others to Him.15

Ellen White confirms this: "Music was made to serve a holy purpose, to lift the thoughts to that which is pure, noble, and elevating, and to awaken in the soul devotion and gratitude to God." This is the highest use of music, and the primary purpose for which the musical gift was given to mankind.16

Dangers

But even religious music is not without its dangers. Not long ago, at the invitation of one of my non-Adventist music students, I visited a local Pentecostal church and was able to witness a use of gospel music that was totally out of harmony with normal standards of worship. In the front of the church, which seated no more than 250 worshipers, were enough drums, synthesizers, amplifiers and loudspeakers to fill a room many times that size with sound at a decibel level that would even then be decidedly uncomfortable.17

At the beginning of the worship service, the performance of standard gospel hymns began at a relatively soft level, at a moderate tempo and very little use of the drums. However, the musicians gradually abandoned the pianissimo in favor of the forte and then fortissimo with all twelve speakers at maximum volume level. The percussion instruments, at high volume and with complex rhythms, were leading out in a drastic change in the conduct of those who had come to this evening worship service.18

As tempo and sound level increased, the congregation began to stir in the pews and soon were standing and raising their hands. As the music progressed from simple melodies and rhythms to higher volume levels and rhythmic complexities, many in the congregation (of primarily Anglo-Saxon heritage) began to dance in the aisles and chancel of the little church. The dancing was not with another person, but individual parishioners would jump and whirl, often shaking violently as they fell to the floor—with screams of ecstasy. As the service was at its height of excitement, the musicians very gradually lowered the volume while simplifying and softening the beat. Gradually, the physical manifestations moderated, and within a few moments all were back in their pews singing softly and occasionally raising one or both hands while recuperating from the strenuous exercises they had just experienced.19

This congregation had been led through this entire thirty-minute experience by the influence of music—music that led them in tiny increments of excitement by means of skillfully played instruments. During the zenith of the service, a young man seated behind me asked me, "Are you saved?" He was apparently puzzled by my lack of participation. I asked a high-school age girl, "What does it feel like to be writhing on the floor with people praying over you?" "It is the most ecstatic and glorious experience you can imagine," she replied. However, if it had not been for the musical excesses, these "high" experiences would not have taken place.20

I did not sense the presence of the Holy Spirit in the church that evening; I felt instead that the congregation had been violated by the musicians.21

An Adventist Example

Most Seventh-day Adventists are acquainted with the controversy over music that arose as a result of the camp meeting held in Muncie, Indiana in September of 1900. Elder S. N. Haskell attended this meeting as a representative of the General Conference. It was not an insignificant gathering. The Muncie Daily Herald of September 13 noted that an estimated 3,500 people were present at some of the meetings.22

S. N. Haskell wrote to Ellen White reporting that musical instruments were used to such an excess that "everything is drowned but simply the noise of the instruments. It is a mixture of truth and error, with much excitement and music".

A layman who attended the camp meeting wrote that "they worked themselves up to a high pitch of excitement by the use of musical instruments, such as: trumpets, flutes, stringed instruments, tambourines, an organ, and a big bass drum." His list more or less coincides with the listing given to Ellen White by S. N. Haskell. Others reported hysterical manifestations such as falling on the ground, and violent shaking of the entire body.

The Muncie Daily Star reported in detail on many of the events at the camp meeting. When a reporter asked the conference president about dissension caused by the musical instruments, he argued that they used only those instruments mentioned in the Bible. However, much of the criticism had to do not with the presence of the instruments, but with the manner in which they were used.23

Ellen White addressed the issue. "The things you have described as taking place in Indiana, the Lord has shown me would take place just before the close of probation. Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and dancing. The senses of rational beings will become so confused that they cannot be trusted to make right decisions. And this is called the moving of the Holy Spirit." Several paragraphs later she added, "No encouragement should be given to this kind of worship. The same kind of influence came in after the passing of the time in 1844. The same kind of representations were made. Men became excited, and were worked by a power thought to be the power of God".24

Her counsel alerts the concerned Christian to the dangers that are inherent in the thoughtless or unwise use of even religious music—dangers to which Seventh-day Adventists are not immune. Is it possible that some with the talent of musical leadership in our churches are tending in that direction? Today witnessing groups often use music as the primary means of communication; those in charge of some Sabbath worship services seem to be similarly motivated. It is very possible that the popularity of this trend rests much more on the type of music employed and the style in which it is performed than on the spiritual message inherent in the words.25

The clapping of the hands in rhythm to the strong beat of the music is often followed by other responses to the volume and rhythm until the entire body is affected by the musical stimulation. This kind of behavior is rampant in many non-Adventists congregations, and the Seventh-day Adventist Church could easily become similarly involved. However, these actions are neither Biblical nor in harmony with the thoughts presented by Ellen White on the use of music in worship. She said about those who tended to overuse music in their worship services, "Their religion seems to be more of the nature of a stimulus rather than an abiding faith in Christ." Perhaps we could apply the advice given in Psalm 46:10: "Be still, and know that I am God".26

No human being knows more about the influence of music on behavior than does Satan. He was the leader of music in heaven, and he is very much aware of its influence. We know for a certainty that he has perverted every gift that God has given us—and this perversion includes not only secular music but also music for the church. Surely he has an interest in infiltrating our worship services with false doctrine and with the wrong kind of music. No one is better equipped than is he to know how to use music to detract from a true worship experience.27

The conditions found in ancient Israel must not be repeated in our time. Speaking to His people through the prophet Amos, the Lord commanded the Israelites, "Take thou away from me the noise of your songs; for I will not hear the melody of thy viols" (Amos 5:23). We must take very seriously the need to be discriminating in our choices of both secular and sacred music. Each kind of music can be either a blessing or a curse depending upon personal choices.28

In all her many writings, Mrs. White refrained from opposing either kind of music as such. Instead, she sought to have music used wisely and in proper balance. And she repeatedly taught that music can be used to help gather souls to Christ; for singing especially, when used along with Bible reading and prayer, can touch the hearts of unbelievers.29