The Feminisation of the Church Step 3: Use Music for the Moral Revolution

At one time the church was known to speak out against certain types of
music.  Some music was too sensual.  Certain music could influence a
certain licentiousness that was unhealthy in the eyes of the church
leaders at the time.

In this series on the feminization of culture, I've wanted to get you thinking about communication.  In particular, communication with music.

First, I highlighted how hymns were used to help eliminate a rigorous intellectualism in the church and replace it with a more emotional environment.

Second, I drew your attention to how music is an important ingredient in communication, and we can contradict ourselves by having the wrong music with the right words.

One composer who understood this was Richard Wagner.  Remembered often because his music was popular with German Nazism, it is also important to remember what Wagner contributed to musical development in another way.  He contributed to a moral — better known as an anti-faith – revolution with his particular style of music.

At one time the church was known to speak out against certain types of music.  Some music was too sensual.  Certain music could influence a certain licentiousness that was unhealthy in the eyes of the church leaders at the time.

Take certain European folk music, Spanish, for example.  It can often be an example of seductiveness.  But it is this type of sensuality that, if not held in check, can lead to something out of place.

Now the church fathers saw that to open the door to licentiousness in any form was just courting disaster.  So especially in the church, music was devoid of the kind of emotions that, while they might have a proper place in the bedroom of a married couple, certainly did not need exposure outside the home in culture or the church.

With the 19th century onslaught against Christianity, one man who failed in political revolution turned his musical skills into a self-conscious desire to continue the revolution with music.  The revolution was one against Christian culture, the key being Christian morals and moral restraint that had been achieved by the application of biblical principles.

Sexual licentiousness is relationships without rules.  The emphasis is on emotion.  So Wagner turned his hand to writing music that encouraged licentiousness and emotion.  He had a choice.  "He could either subordinate his desires to the logic of the music, or the music to the logic of his desires" (E. Michael Jones, Dionysos Rising, p. 43).

To understand this revolution, think about the basis of our music, the diatonic scale.  According to Jones, "The diatonic scale with its ability both to arouse the emotions and to subdue them to the demands of reason had unleashed a burst of musical creativity without precedent in the history of the human race, a creativity that found one of its more significant expressions in the German-speaking lands of the eighteenth century."

"The price of admission, however, was the rigor of the tonal, diatonic system, which conformed so admirably to the movement of human emotion.  Because it possessed a beginning, middle, and end, the diatonic scale could evoke a catharsis of emotion unprecedented in other musical systems.  But there was a price to pay here, and the price was the adherence to the canons of reason.  The emotions that were aroused would be resolved only by returning to the key from which they originated.  To modulate the notes unceasingly from one key to another, as Wagner's chromaticism did, was tantamount to blunting the emotional focus" (ibid.)
Stop!

Go back and read that again.  Did you get the point?

Here's how Jones summed it up:

"The music that was the fullest expression of this modulation of emotion from key to key for hours on end with no resolution in sight had a lot in common with pornography.  It was musical pornography and was having a sort of enervating, draining, and debilitating effect on the audiences that heard it" (ibid.)

Wagner self-consciously wrote the type of music he did to evoke erotic emotions.  Just as pornography is sex without rules, so classical music following Beethoven — who desired to compose without rules — became just that.  Music without rules.

We need to follow the music trend into the twentieth century to see the end result of music without rules.  John Cage sitting at a piano for three or four minutes not playing anything — yet pretending this was serious composition.  Its equivalent is modern, abstract art that looks like it was painted by a two-year-old in a temper fit.  A world without rules is a childish world, and music without rules becomes childish and primitive — elementary.

Our churches, full of highly romanticised harmony and erotic rhythm are the breeding ground for emotions rather than reason — reason based on God's word.  If you understand this, you know why it is most often females standing up the front leading the new music in the contemporary church, with a tendency, when it suits them, to move with the music in ways which they surely don't intend.

But this lack of understanding — the anti-intellectualism that is rampant – in our age is playing havoc in our churches.

Until the music is changed, we are unlikely to effect a change in the culture which is increasingly recognized as feminized.

This is why we need musicians who can compose — Christian music, if you please.

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