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An investigation into the phenomena and practices of spiritual ...

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constituent <strong>of</strong> worship even where <strong>the</strong>re are no musical instruments, where <strong>the</strong>re issinging for different purposes such as prayer, thanksgiving, celebration <strong>and</strong> worship. In<strong>the</strong> services observed in both churches music for worship is prominent as backgroundmusic as well as music where some or all <strong>the</strong> congregation takes part. Evidence for <strong>the</strong>importance <strong>of</strong> music can be found in <strong>the</strong> orders <strong>of</strong> services for each church in section4.10.9.2 Contextualising <strong>the</strong> Origins <strong>of</strong> Worship MusicBoth non-academic popular <strong>and</strong> serious academic <strong>the</strong>ological accounts tend to give <strong>the</strong>legitimacy <strong>of</strong> antiquity to <strong>the</strong> healing effects <strong>of</strong> music, but sometimes, especially amongevangelicals, <strong>the</strong>re are warnings against “<strong>the</strong> devil‟s music”. Muddiman‟s (2004)commentary on Paul‟s epistle to <strong>the</strong> Ephesians (<strong>and</strong> also on that to <strong>the</strong> Colossians)shows how <strong>the</strong> apostle emphasises <strong>the</strong> importance <strong>of</strong> speaking to each o<strong>the</strong>r in „psalms,hymns <strong>and</strong> <strong>spiritual</strong> songs‟ as part <strong>of</strong> corporate worship.Evangelical Christian <strong>the</strong>ology <strong>of</strong>ten sees <strong>the</strong> use <strong>of</strong> music in worship as having beencreated in perfection with <strong>the</strong> angels but having <strong>the</strong>n been made imperfect in partbecause <strong>of</strong> <strong>the</strong> angels, led by Satan, who became imperfect. Typical <strong>of</strong> this demonologyare <strong>the</strong> writings <strong>of</strong> Dill (2003), which have since been cited on <strong>the</strong> internet. In Dill‟sattempt to identify „<strong>the</strong> devil‟s music‟, he argues that <strong>the</strong> music that King <strong>of</strong> Tyrereferred to in Ezekiel 28 is <strong>the</strong> same as Lucifer in Isaiah <strong>and</strong> that in both scriptures <strong>the</strong>angel is presented in a contradictory or sarcastic way as having high esteem as <strong>the</strong> son<strong>of</strong> <strong>the</strong> morning <strong>and</strong> at <strong>the</strong> same time <strong>the</strong> angel <strong>of</strong> destruction „fallen from heaven <strong>and</strong>weakened <strong>the</strong> nations‟ creation <strong>of</strong> music reflecting satanic forces, so that music is notalways <strong>of</strong> a positive healing or <strong>spiritual</strong> nature.282

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