Professor Wargo is a loyal Seventh-day Adventist. He is a member of the faculty of the Washington Missionary College School of Music, as well as Professor of Viola at Peabody. As the viola soloist in the National Symphony Orchestra of Washington, D.C., he is exempted by the conductor, Dr. Hans Kindler, from all Sabbath-day and Friday-night performances and rehearsals—thus, he witnesses constantly for his faith.—Editor.
Although all are invited to "respond to God's goodness in notes of praise," yet there are those among us who have been blessed with a special talent for music. This gift is designed by God to be a definite part of religious service. Down through the ages, music has been intimately associated with divine worship. David, the sweet psalmist of Israel, appointed a number of the Levites to be the singers and players of Israel, playing on psalteries, harps, cymbals, trumpets, and other musical instruments. Music was a profession to these men of God. They studied their instruments, became proficient in using them, developed a technique, and played and sang to the glory of God.
And so it should be today. Ellen G. White, moved by the Holy Spirit, has written:
"As a part of religious service, singing is as much an act of worship as is prayer. Indeed, many a song is prayer."—".Education," p. 268.
"In the meetings held, let a number be chosen to take part in the song service. And let the singing be accompanied with musical instruments skillfully handled. We are not to oppose the use of instrumental music in our work. This part of the service is to be carefully conducted; for it is the praise of God in song."—"Testimonies," Vol. IX, p. 144.
If music in religious service is as important as prayer, we should be extremely careful in the selection of special music. So often an incompetent singer or player stands before a congregation, and his music instead of inspiring and elevating the soul, detracts from the service itself. This, I believe, is not pleasing to God. Those taking part in the service are to be "chosen" and the musical instruments are to be "skillfully" handled. "Music should have beauty, pathos, and power." It is better to have no music at all than to listen to music that fails of reaching the high standards which Seventh-day Adventists should cherish.
But says one, "If the individual is a consecrated Christian, his humble playing means more than that of the greatest musician in the world who has not given his heart to Christ." Truly, ability without the consecrated life does not mean much. The Holy Spirit alone can impress hearts, and it is He who works through the individual. Those leading out in the music in our church services do the very best they can, and this should be appreciated. But it is my desire to bring to the minds of our workers a realization of the importance of greater efficiency in this line of Christian endeavor.
I
Do we invite a member of the church, untutored in the faith, to preach a sermon or even teach a class just because he is a good Christian? No, only those prepared for this responsibility are chosen. If an individual is talented in teaching or speaking, he is encouraged to follow a definite line of study which will prepare him to be used in this capacity.
God has graciously given this people an abundance of musical talent, and I believe He expects it to be developed. "Music can be made a great power for good; yet we do not make the most of this branch of worship," writes the servant of the Lord in "Testimonies," Volume IV, page 71. We need to encourage those who have a special gift in music to study this art more seriously. If talented students were only made to realize the importance of good music in our work, and the present demand for accomplished musicians in our evangelistic efforts and our schools, they would have the ambition and incentive to pursue this line of study more seriously.
Some of our colleges are prepared to meet the demands of those desiring to study music as a profession. The teachers in this department are hoping and anxiously waiting for students to dedicate their musical talents to God, and to study music more conscientiously with this definite objective in view. I repeat, we are to encourage those possessing this precious gift to strive for mastery in the field of music and then to dedicate their talents to this great cause. This consecrated developed talent will be a mighty power for good. As a result of its influence, hearts will truly be elevated, ennobled, and drawn closer to the threshold of the Infinite.
II
I think of the great field of evangelism. How important it is to have a well-trained staff of workers in soul-winning efforts. The Bible workers and ushers are carefully chosen, and other details are carefully arranged, but how often the special music is picked at random. Many people have the idea that we are a small, insignificant sect, and a low standard of music in a series of lectures does not help to alter this opinion. I do not want to be misunderstood on this point. A high standard of music does not necessarily mean the playing of Bach, Beethoven, or Brahms. A beautiful hymn, masterfully played, is many times more effective than a classical composition.
I am happy that many of our evangelists see the importance of getting the very best music for their meetings, and of securing that which rightly represents our truth. They realize that the right kind of music softens the heart and prepares the soul for the message of the evening. The speaker himself is inspired by uplifting music. One of our most successful evangelists said to me, "A beautiful composition well played is a real sermon to me." And so it is to many. In evangelistic advertising, a musical feature often appeals to a certain class of people and draws them to the lectures.
Rightly used, music provides unique contacts for presenting this message, in our work for both individuals and groups. I think of a young woman violinist in the city of Washington. After talking with her for some time on the subject of music, I spoke to her about her soul. She replied, "Music is the only language I speak. As I play beautiful music I realize that there must be something beyond." It was my happy privilege to tell her something about this "beyond." I believe her heart was touched. When we parted she said, "No one ever spoke to me about this before."
III
While concertizing on Cape Cod, Massachusetts, a few years ago, I was privileged to present a lecture on archeology in the Baptist church of Falmouth. God blessed the message to such an extent that a number of the audience requested that the same lecture be given at a later time. A date was set, invitations were sent out to the clergy of the Cape, signed by two ministers who were present at the lecture. The high-school auditorium in a near-by city was secured for the evening, and I was asked to play a half-hour recital before the lecture.
An intelligent audience appeared that night, including ministers, teachers, and music lovers. The Holy Spirit worked through me, and I shall never forget the experience. I not only spoke on the subject of archeology, but presented a strong appeal to the people to get ready for Christ's soon coming. A number of times since then, I have played in the same Baptist church, and spoken on various points of our message; and I have a standing invitation to speak whenever I return to the Cape. I relate this experience because I truly believe that music was the medium through which Christ worked to reach these people.
The burden of my heart is to see the standard of music in our work raised to a high plane, that it may be a strong power for good. May each one do his part in this matter, and when the work is finished may we have the exalted privilege of singing the song of Moses and the Lamb in the earth made new.
