All down through the ages the Christian church has had music expressing the various experiences and distinctive beliefs of its people. The children of Israel sang of their battles and triumphs, and of their faith in God. The Reformation had Martin Luther to give forth in martial music the spirit and beliefs of that vital age. Then followed the evangelical period which gave the church a wealth of beautiful and inspirational music.
The early believers of the third angel's message gave to this denomination a few worthwhile songs, but for many years an urgent need has been felt for more musical creations which convey in song the doctrines held so dear by our believers around the circle of the earth. This message will be the last to be given to a judgment-bound world, and should be heralded forth with every available means. Why not use the mighty power of song to make this last warning to the world as clear and attractive as possible?
Christian composers are in the main a humble lot of folk and not usually bold to push their works before the public, but they are sincere, and have a burden to see this message in song presented to hungry souls, who will many times listen to a sermon in song in preference to the spoken sermon. These composers are often timid because they know that their compositions may be hacked to pieces, as it were, by the musical critic.
Someone has suggested that most criticism springs from a selfish, proud heart. Another's ability serves as a challenge to such a critic, and he loses his sense of superiority, unless he is able to find some fault with the product of the other person's ability. He feels that he can build himself up by tearing the other person down, and that he is failing to build up his ego, unless he is capable of finding something to criticize, no matter how superior the work or performance may be. The oft-repeated expression is, "That was good, but—" It might be well for us all more closely to analyze the purpose and reason for our inclination to pick flaws. Can it be that Christian musicians may be allowing Satan thus to subtly influence their lives and attitudes?
No doubt all will agree that a music composition should not be accepted merely because it is offered by a member of our own denomination. But on the other hand, it should not be neglected or rejected simply because it is from such a composer. Obviously there are certain standards of musicianship which a composition must possess to be acceptable.
Although there are few composers in the world today who can successfully compete with the old masters, the music that accompanies the words, which set forth our peculiar message, should be dignified and of intrinsic worth. The first and most fundamental test to be applied to any purported sacred music is, "Will it have a true and lasting spiritual uplift on the lives of its listeners?" The words true and lasting are used advisedly, because they rule out the false and momentary effect which certain rhythmical and highly sentimental music often produces upon the musically uneducated.
Let us be thankful that we have some composers in our ranks who solicit constructive criticism from Christian musician friends, and whose works are proving to be a great blessing and encouragement to God's people in these last days of earth's history. Some of their compositions are heaven inspired. Some of the material has been published, and more will be.
A new oratorio entitled "The Remnant" has just recently come from the press. What could be more appropriate and vital to God's remnant people just now than a work which deals with the law of God, the saints' reward, Christ's great sacrifice, Satan's supreme effort against the remnant, God's wrath poured out upon evildoers, and many other Bible truths vital to God's chosen people? The book Education appropriately states: "Amidst the deepening shadows of earth's last great crisis, God's light will shine brightest and the song of hope and trust will be heard in clearest and loftiest strains."—Page 166.
We believe the musicians, choir, and choral directors in our various churches and educational institutions will do well to examine carefully new oratorios, cantatas, hymns, and gospel songs as they come from the pens of our denominational writers. If they are properly rehearsed, interpreted, and sung from the heart, many of them will prove to be a great blessing and inspiration in these uncertain days.
The works of the great masters of long ago are just as wonderful and beautiful as they ever were, and we should continue to use them; but let us be free to investigate the works of our more recent composers constructively. For instance, instead of performing Handel's Messiah year after year, try something different, and see what a challenge it is to your group to learn something new and thus give entrance to a new message.
