Biblical Requirements for Worship Musicians

Summary I. Biblical Data: Levitical Model II. Other Models III. Summary Conclusions IV. Final Remarks Summary: Whatever model we use, we should be intentional and clear in its application: Levitical, Evangelistic, or a Blend of Both. We should also make sure that the whole congregation and every choir member are encouraged and expected to grow in the Lord and to evangelize others. In summary, the theological reason for calling a choir or musical team into existence or for justifying its existence is, therefore, foundational. Foundational questions: What are the nature and purpose of the church, the nature and purpose of its corporate worship, and, then finally, the nature and purpose of having worship leaders, including a choir and musicians? The programming of the service is, for this reason, secondary since one must first answer the above foundational questions before one can properly plan or program worship. The theological reason or foundational questions are the key to having a worship service that is "fit for the King," no matter what style of service. I. Biblical Data: Levitical Model A. Musicians for the Temple (1 Chronicles 24:30b-31; 25:1, 6-8): 30bThese were the descendants of Levi in their various families. 31Like the descendants of Aaron, they were assigned to their duties by means of sacred lots, without regard to age or rank. It was done in the presence of King David, Zadok, Ahimelech, and the family leaders of the priests and the Levites . . .. 1David and the army commanders then appointed men from the families of Asaph, Heman, and Jeduthun to proclaim God's messages to the accompaniment of harps, lyres, and cymbals . . .. 6All these men were under the direction of their fathers as they made music at the house of the LORD. Their responsibilities included the playing of cymbals, lyres, and harps at the house of God. Asaph, Jeduthun, and Heman reported directly to the king. 7They and their families were [1] all trained in making music before the LORD, and each of them--288 in all--was [2] an accomplished musician. 8The musicians were appointed to their particular term of service by means of sacred lots, without regard to whether they were young or old, teacher, or student. B. Levites Purpose (Malachi 2:5-9) 5"The purpose of my covenant with the Levites was to bring life and peace, and this is what I gave them. This called for reverence from them, and they greatly revered me and stood in awe of my name. 6They passed on to the people all the truth they received from me. They did not lie or cheat; they walked with me, living good and righteous lives, and they turned many from lives of sin. 7The priests' lips should guard knowledge, and people should go to them for instruction, for the priests are the messengers of the LORD Almighty. 8But not you! You have left God's paths. Your `guidance' has caused many to stumble into sin. You have corrupted the covenant I made with the Levites," says the LORD Almighty. 9"So I have made you despised and humiliated in the eyes of all the people. For you have not obeyed me but have shown partiality in your interpretation of the law." C. Summary: Temple musicians were Levites, who were to know and rightly teach the truth of God as a Levite in general and to "proclaim God's messages (preach or sing) to the accompaniment of harps, lyres and cymbals" as temple musicians or singers in particular. As such they were also to be trained in music, be trained in worship, and be professional. D. IMPLICATIONS AND CONCLUSION 1. The Five Requirements and Their Implications for Today a. The Musicians were Levites. Given that the primary purpose of the Levites was to be pastors and priests to the people (Malachi 2), I believe that church musicians and every member of the choir should be mature Christian apologists and teachers. They should know the Bible and have a mature knowledge of the faith. They are to be as shepherds to the other members of the congregation. These prerequisites would be the first requirement for any choir member, musician, or choir leader. They should be spiritually mature and show forth the gifts of the Spirit (Cf. Gal. 5:22-23 and 1 Corinthians 13). They should be able to teach the Word of God (Cf. Malachi 2 above). In short, they should have the same qualifications as elders and deacons (Cf. 1 Timothy 3 and Titus 1:5-9). b. The Chief Musicians were under the direct supervision of the King. 1 Chronicles 25:6 says the chief musicians reported directly to the King. Today, I think the chief musicians should report directly to the Sr. Pastor or his or her designee, not the Worship Committee or Music Department. In addition, the Sr. Pastor should have the right to hire and fire the chief musicians based on explicit personnel guidelines and procedures, including having the proper documentation. The other musicians would report to the chief musicians and would be under the same type of system. Annual reviews and monthly or bi-weekly timesheets would be signed by the respective supervisors. c. The Levites were trained musicians and singers. (1 Chronicles 25:7) The implication would be that the choir directors, musicians, and singers would have training in music as well as in the theology and purpose for worship: regarding for example who we worship, why we worship, at whose direction we worship (i.e. the Holy Spirit-not demographics), and who is the audience we are catering too (i.e. God, the audience of one-not the congregants or seekers). d. The Levites were accomplished musicians. (1 Chronicles 25:7) The text states that all the Levitical musicians were accomplished musicians. This could mean (1) that the musicians during this golden period of the Davidic dynasty were especially blessed by the Lord as a symbolic reference to God's favor upon David and Solomon or-and more likely-(2) that the requirements for being a temple musician included more than simply owing and playing a musical instrument. Just as many are call, but few are chosen, for musicians "many may be trained, but few are accomplished." The temple singers and musicians had to be what we would call a "professional" or polished amateur-not a hobbyist nor someone who tinkers with worship or singing simply because they enjoy doing so. They can be enraptured and find joy with the rest of us in the pews. My point: One may be trained, but still be unaccomplished. One may have studied music, but still lack the polish and skill of the professional or semi-professional musician or singer. The implication is that the Levites did not use a "Y'all all come approach." The musicians and singers had to meet certain standards. Musicians and choir members should meet basic skills and knowledge requirements: 1. sight reading, 2. musical styles and genre interpretative skills, and 3. improvisation skills. In addition, they should have liturgical and worship training. e. The Levites were trained in making music before the Lord (1 Chronicles 25:7). Academically and historically, we do not have tangible evidence and interpretative archaeological or historical data that would allow us to reconstruct the type or genre of music played in the first or second Temple. It may or may not have been a different type, genre, or style of music that was played outside of the Temple. They could have been the same except for the referent, theme, or object of the songs. The temple songs may have focused on God, God's great deeds, God's laws and covenant with humanity, and humans' duties to God. Non-temple songs may have focused on life, love, and family obligations and duties like a lot of country music today. The point is that we do not know if there was a separation between secular and sacred music. Today, a distinction is made. Today, there are definite differences in the knowledge base of secular versus church musicians. Consequently, musicians and singers should be trained in (1) Liturgy and Liturgical History and/or (2) Sacramental Theology or Worship Theology. II. ALTERNATIVE MODELS AND MISSIONS FOR CHURCH CHOIRS A. Church Choir as a Type of Community Choir In this model, the church choir is a service and community outreach vehicle. All community members who like music and wish to sing are encouraged to participate. This involves the church being a part of the community and the community being invited to become involved in the church. B. The Church Choir as a Conscious and Explicit Evangelistic Entry Point In this model, the church choir is also considered to be a community choir, but the veteran members and the officers and staff intentionally use the choir as an evangelistic tool. The choir is used as a vehicle to attract those community members who like to sing--whether or not they can sing. The explicit purpose is to help those community members to have a saving relationship with Christ. The choir offers an entry point for community members to begin a relationship with choir leaders and veteran members, who are trained in friendship and personal evangelism. The hope is that these relationships will grow so that the choir leaders and members will be able to lead gently and "naturally" the community members into a saving relationship with Christ Jesus. The choir, consequently, is one of the vehicles or entry points to get the unsaved into the church so that the choir members can love them and lead them to Christ. C. The Church Choir is Simply an Aesthetic Adornment or a Tradition Prop to the Worship Service Like chandeliers, plants and other artworks, the choir and musicians simply are there to enhance the service or program. They are treated as a traditional prop for worship like a Bible that a pastor or preacher preaches from, but who does not believe that the Bible is authoritative or that Jesus is the Messiah. The pastor is expected to use the Bible, so he does. His sermons may not reflect the theology of the text, but at least he quoted from the Bible. The pastor and the Bible are simply props of tradition. In the same way, the choir is simply an aesthetic adornment and a tradition prop for worship. The members need not be believers; they may even be agnostics and atheists who simply enjoy music for music's sake. They are there not to worship the living God or to lead the congregation in singing songs of worship, praise, supplication, and repentance, but to enhance the quality of the music, and/or they are there because they appreciate the aesthetic quality of the music. III. MY CONCLUSIONS A. Churches should model their practices after the Levitical or the Evangelistic Model. B. Churches can blend both the Levitical and Evangelistic Models 1. Types of Blending Many community choirs and dance companies have two teams or troops: (a) the traveling troop or team and (b) a training troop or team that will participate in hometown productions. In a similar vein, congregations could have an "A" choir and a "B" choir. The "A" choir would be "Levitical;" the "B" choir would be "Evangelistic." The "A" choir would have the accomplished and trained Levites. The singers would live and believe what they sing! They would know the Bible and use their Bibles and their voices to the praise of God. The Evangelistic or "B" choir would include a mixture of the Levitical musicians and community and general church members. Option 1: The Evangelistic Choir would be the regular Sunday service choir while the Levitical Choir would be used for "Radio," "Television," and "Web" Broadcasts. Option 2: A second option involves having the Levitical Choir minister at one service and the Evangelical Choir minister at another service. Option 3: A third option is that in use by the Billy Graham Crusades, the Luis Palau Crusades, and Promise Keepers. There is usually a core group of Levites (musicians, soloists, vocal ensembles or quartets and/or special musical guests) and a "Mass" Choir--a "You all come group." This would allow the congregation to have the best of both worlds: a Levitical core team and an inclusive, inviting evangelistic vehicle for reaching the unsaved. IV. Final Summary Whatever model we use, we should be intentional and clear in its application: Levitical, Evangelistic, or a blend of both. We should also make sure that the whole congregation and every choir member are encouraged and expected to grow in the Lord and to evangelize others. Most churches are currently one of the four models: Levitical, Community, Evangelistic, or Aesthetical Prop Choral model. The Levitical and Evangelistic models will resonate with Biblical, Evangelical Christians. More Liberal churches and congregation will prefer the Community and Aesthetic models. The Evangelistic model will be in keeping with those pastors who focus on having as many entry points for the unsaved as possible in order to reach them for Christ. The operating metaphor is taken from the outside business and marketing models that use affinity groups and personal relationships to increase sales contacts and positive client interactions and feedback to increase "sales," market shares, and revenue: more people, more finances, and more buildings and programs. The Levitical model or a blended Levitical and Evangelistic model will appeal to those who are seeking a Biblical approach and model for organizing and constituting worship. Rather than focus on the tangential building, bucks, and butts, they want to focus on individuals spiritual growth in an integrated way where the heart, mind, body, and will are entuned with one another and in harmony with God as the melody. In summary, the theological reason for calling a choir into existence or for justifying its existence is, therefore, foundational. Foundational questions: What are the nature and purpose of the church, the nature and purpose of its corporate worship, and, then finally, the nature and purpose of having worship leaders, including a choir? The programming of the service is, for these reasons, secondary since one must first answer the above foundational questions before one can properly plan or program worship. The programming is not an essential. Whether the service is traditional or classical, blended, or contemporary, Baby Boomer, Generation X, or Generation Y, or Millennials, whether it is multi-cultural, or market and genre based--Southern Gospel, Contemporary Gospel, Contemporary Christian Hits, etc.-these are all, consequential and secondary issues. The theological reason or foundational questions are the key to having a worship service that is "fit for the King, "no matter what style of service. In Essential, Unity; In Opinions, Liberality; In All Things, Love. Yours in Christ, Floyd Knight Biblical Requirements for Worship Musicians: Copyright (c) May 2004 by Floyd Knight. All Rights Reserved. Page 1 of 6