Jehoshaphat (king of Judah 870-848 BC) was renowned for his godliness and devotion to orthodoxy. An accomplished warrior, his battlefield successes included the defeat of a superior army of Moabites, Ammonites and Meunites (2 Chronicles 20). Before entering, God, through the prophet Jahaziel, told Jehoshaphat, "...the battle is not yours, but God's. You needn't fight this battle. Take up your position; stand firm and see the deliverance the Lord will give you" (2 Chronicles 20: 16-17). Also beforehand, Jehoshaphat looked to the whole community - not just hose in powerful positions - for guidance (2 Chronicles 20: 13). The important thing in the end is that he obeyed God alone. Therein, the story of Jehoshaphat models a style of church
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“There came no more abundance of spices as these which the Queen of Sheba gave to King Solomon” (Kings 10: 10). In the ancient world, Gentiles had perfected the technique of gently threshing spices with sticks. Similarly today, music is crafted and refined with precision outside the Church in the world. The world, not the church, is the leading authority on music. Like Solomon, the Church must humbly assume the world's expertise, consume its product, and then discard it as soon as it fails to serve God's holy and expansive purpose. "Assume, consume, and destroy" sums up the biblical paradigm for the use of music in Christian worship. Music must point vertically toward God, yet in a horizontal fashion, embrace the world. As cultural currency, music must collaborate intimately with the Liturgy within the Liturgy and assist in revealing to the masses the full significance of each liturgical action.
During the course of this chapter, the following precepts concerning the use of music in Christian worship will also come to light:
Music Ministry falls under the authority of the office of priest - the music director of any parish is always the priest
The criterion for participation in any aspect of music ministry is simple: Baptism
At no time during Christian worship is music the most important thing happening. Music is always secondary and supports and/or points toward a sacred liturgical action taking place
The “language of the people” is foundational to the use of Music in Christian
“There came no more abundance of spices as these which the Queen of Sheba gave to King Solomon” (Kings 10: 10). In the ancient world, Gentiles had perfected the technique of gently threshing spices with sticks. Similarly today, music is crafted and refined with precision outside the Church in the world. The world, not the church, is the leading authority on music. Like Solomon, the Church must humbly assume the world's expertise, consume its product, and then discard it as soon as it fails to serve God's holy and expansive purpose. "Assume, consume, and destroy" sums up the biblical paradigm for the use of music in Christian worship. Music must point vertically toward God, yet in a horizontal fashion, embrace the world. As cultural currency, music must collaborate intimately with the Liturgy within the Liturgy and assist in revealing to the masses the full significance of each liturgical action.
During the course of this chapter, the following precepts concerning the use of music in Christian worship will also come to light:
Music Ministry falls under the authority of the office of priest - the music director of any parish is always the priest
The criterion for participation in any aspect of music ministry is simple: Baptism
At no time during Christian worship is music the most important thing happening. Music is always secondary and supports and/or points toward a sacred liturgical action taking place
The “language of the people” is foundational to the use of Music in Christian