Music

Music is powerful. It can help heal. It can overcome cultural barriers. And it can change a person's mood.

Importance of Music
Music is one of the greatest gifts God has given to His children. a gift that has threaded its way through the very
history of this planet. This gift was evident:

At creation when the 'Morning Stars sang together.' (Job 38:7)

When Israel burst into song at their final deliverance at the far shores of the
Red Sea. (Exodus 15)

At the dedication of Solomon's temple. (2 Chronicles 5:7-14)

Throughout the temple services.

At the deliverance of Israel at the time of Jehoshaphat. (2 Chronicles 20)

Through the early church singing psalms, hymns and spiritual songs.
(Colossians 3:16)

Finally at the end of time when the redeemed lift their voices in praise to God.
(Revelation 15: 4,5)

God Himself is described as a musician 'rejoicing over us with singing.'

(Zephaniah 3:17)

Music is used to express the very essence of life, its joys, sorrows, its frustrations. This is a legitimate and
appropriate use of music.
'It has power to subdue rude and uncultivated natures;
power to quicken thought and to awaken sympathy, to
promote harmony of action and to banish the gloom and
foreboding that destroy courage and weaken effort,'
(Education, p. 167,168.)
Music is one of the most effective means of impressing the heart with spiritual truth.' (Education, p. 68)
In worship, God is wearied by rote formalism, hypocrisy and insincerity.

'I cannot bear your evil assemblies. . . they have become a burden to me.'
(Isaiah 1:11-15)

'Away with the noise of your songs! I will not listen to the music of your harps!'
(Amos 5:21-23)

At the same time, sincerity on its own is not enough.

God expects us to have regard for and do what is right. ( I Chronicles 15:1315)

Jesus states that true worshippers will worship in spirit and in truth for these
are the kind of worshippers the Father seeks. (John 4:23,24)

Some Bible Principles

Scripture provides the basis for the guiding principles with which Christians approach worship and life. Some of these
have an important bearing on the music issue.
1. Doing everything to glorify God.
Corinthians 10:31 provides an all-encompassing principle. 'Whether you eat or drink or whatever you do, do it all for
the glory of God.' All music in which Christians participate, whether sacred or secular, ought to glorify God. The
awareness of the presence of God will under-gird and control all music making for the Christian.
2. Choosing God's Ways.
Philippians 4:8 recommends: 'Finally, brothers, whatever is true, whatever is pure, whatever is right, whatever is
admirable-if anything is excellent or praiseworthy-think about such things.' Glorifying God in all things includes taking
the initiative and choosing the noblest, the authentically true and right and pure-the best that is available.
3. Walking with God.
'The fear of the Lord is the beginning of wisdom, the knowledge of the Holy One is understanding.' (Proverbs 9:10. cf.
Proverbs 1:7 and Psalm 111:10) Maintaining a close loyal relationship with God is a sacred duty for any person
seeking discernment in music.
4. Surrendering Creativity to God.
Human creativity is a wonderful gift from God. However in a fallen world it cannot be encouraged to simply pursue
natural tendencies or follow the whims, tastes and preferences of the artist. Even in our music making, we must be
aware that 'there is a way that seems right to a man, but in the end it leads to death.' (Proverbs 14:12) In harmony
with Paul's admonition to 'take captive every thought to make it obedient to Christ.' (2 Corinthians 10:5), musical
creativity also needs to be disciplined under the Lordship of Christ. (cf. Psalm 101:2,3)
5. Being Aware of the Influence of the World.
Scripture admonishes: 'Don't let the world around you squeeze you into its own mould, but let God re-make you so
that your whole attitude of mind is changed.' (Romans 12:2, Phillip's translation) While music of all cultures is to be
respected as the genuine expression of a view of life and experience, in a sinful world no worship music of any
culture or sub-culture can be considered sacrosanct or inherently above scrutiny or critique. The world around us
cannot be allowed to dictate how Christians live or express themselves (1 John 2:15-17). In the arts, as in other
cultural traditions and practises, God challenges us to evaluate, to be discerning, and in general to 'come out from
them and be separate, . . . [to] purify ourselves from everything that contaminates body and spirit, perfecting holiness
out of reverence for God.' (2 Corinthians 6:14- 7:1; cf. John 17:15-19)
6. Understanding what God is Like.
As we come to God in worship, we are encouraged to "worship the Lord in the beauty of His holiness" (Psalm 29:2;
96:9; 1 Chronicles 16:29;). We need to understand His qualities.

He is the Awesome, Powerful, Transcendent God whom we approach

carefully and reverently. (See for example Psalm 89:5-8; 95:3-7)

And yet we also worship Him with joy and confidence because He is
simultaneously the Immanent God who is pleased to call us His friends, (John
15:13-15) a God who even desires to dwell with and in His people through the
presence of the Holy Spirit. (John 14:23)

As the two aspects of the nature of God are kept in dynamic tension in God's self revelation to us, so the elements in
our worship response also need to be held in creative tension, providing direction for the choice of worship music and
performance style. Thus, the worship we bring to God is both contemplative and intellectual as well as experiential
and emotional. Neither aspect should dominate or be taken to excess.
7. The Old Testament Model of Worship and Music.
Although largely anecdotal in nature, the Old Testament picture of worship music developed under David's leadership
in conjunction with prophetic direction (see 2 Chronicles 29: 25), provides some valuable insight and guidance if
studied in its cultural context. While simplistic parallels with our time must be avoided, it is clear that the following are
instructive, and provide a model for worship music today:

The value placed on music ministry

The choice of spiritually committed music leaders

The full-time commitment to developing appropriate musical and lyrical

excellence

The unity of participants in musical activity and purpose across generations

The musical mentoring that occurred

The selection and utilization of musical practices in relation to what was

available at the time

(See for example: 1 Chronicles 9:33; Chapters 15 and 16; cf 2 Samuel 6:5;
23:3-5; 25:6-8; 2 Chronicles 7:6; 35:15; Nehemiah 11:22,23; 12:24, 27ff.;
13:10,11 etc.)

8. The Strengthening of the Entire Church.

The apostle Paul instructed the Corinthian church:'When you come together, everyone has a hymn, or a word of
instruction, a revelation, a tongue or an interpretation. All these must be done for the strengthening of the church.' (1
Corinthians 14: 26) In that the church is the body of Christ, all that occurs there, including the music, must help to
build up and strengthen the entire church, rather than divide and break it down.
9. Variety and Richness of Worship
The New Testament injunction to 'let the word of Christ dwell in you richly as you teach and admonish one another
with all wisdom and as you sing psalms, hymns and spiritual songs with gratitude in your hearts to God,' clearly
celebrates the richness of worship when offered through a variety of legitimate musical expressions.

Lyrical Considerations - What the Words are Saying.

When considering the lyrics of music to be used in worship and constructing worship events, the following should be
noted.

Words should stimulate the mind, they should engage the emotions and
experience and finally mobilize the will.

The words should be creatively crafted, expressing big ideas and themes in
an economy of memorable expression.

The words will accurately reflect scripture, give a true picture of God, build
and encourage enduring moral values and primarily focus on the positive
(Philippians 4:8)

The words should be easily understood but not simplistic and

unnecessarily repetitious.

The words to be sung for worship events, over time should preserve the
appropriate balance between: the corporate versus the individual experience

Praise of God versus personal experience (i.e. the objective versus

subjective emphasis)

Praise versus appeal, admonition, motivation and consecration.

The sentiments of praise, thanksgiving and joy versus the emotions of

longing, sorrow and grief.

The words of the songs that are chosen for times of worship should over time,
express and underscore major Adventist teachings in a proper balance, with
an emphasis on the central Christian teaching of Christ, redemption and
personal salvation.

Musical Considerations. What the Music is Saying.

Music is not a neutral medium - it is a language with emotive power for good or evil. Therefore musicians will
choose music that is in keeping with Biblical principles. It is important to note that music styles also are not neutral.
They are value laden, and they require careful evaluation for use in worship. So when considering the form and style
of music to be used in worship events, the following should be noted.

Singability is the first priority

Supportive harmonies and rhythms follow as the next level of artistic and
musical choice.

Balance
There must be balance among musical elements - within the composition and
within the event which may utlize a cluster of compositions.
Avoid monotony and excessive repetitiveness.

Complementarity
The music must match and enhance the words and ideas, with the music

rising out of the stimulus of the words. The words and music need to be
complementary.

Association
Over the passage of time, both musical instruments and music styles can
change their associations.
Worship music planners should be aware of both past and present
associations.

Instrumentation
The choice of instruments to be included in worship music needs to be made
according to the appropriateness of how they will be used and played.

Variety
Encourage a legitimate variety in musical style and song selection. The use of
a variety of hymns, gospel songs, scripture songs and contemporary worship
music will ensure that the broadest possible range of worshippers will find
their worship experience meaningful.

Social and Cultural Considerations

Seventh-day Adventists recognise the contributions of different cultures in offering worship to God through
music. Musical forms and instruments vary greatly around the worldwide church family.
Music from one culture may sound strange to a person from a different culture. Furthermore, cultural change is also
occurring within the various streams of culture around the world. Any one culture, once thought to be homogeneous
in its music/worship expression, may well now give rise to a diversity of musical expressions.
The shrinking of the world into what has been called "the global village" has brought together elements of diverse
musical traditions, and these are now often intersecting and impacting each other in expressions of both popular and
religious/worship oriented music. The impact of culture on worship music should be carefully assessed on the
following principles:

There may well be aspects of music in all cultures that are generally agreed to
be out of harmony with Biblical principles.

Ideally, it is best for people within the various ethnic groups to prayerfully
determine, under the guidance of the Holy Spirit, what is appropriate in their
context. They need to consider both lyrical and musical elements, and the
strength of any negative associations in making their determinations.

Deference to those in the community who experience special difficulty with

negative associations will call for an application of the principle of loving selfsacrifice explained in Romans 14. Some music that blesses individuals and
causes them no offence may be temporarily sacrificed for the sake of general
unity.

It is not appropriate to impose the music of one culture upon a

congregation of another, but it will be valuable to share, explain, and
interpret one to another with an aim of developing understanding and
tolerance. The ultimate goal is unity.

Those involved in music and its public presentation in church life and worship
will be sensitive to cultural and generational differences, without merely
pandering to culturally conditioned taste and preference.

SEVENTH-DAY ADVENTIST PHILOSOPHY OF MUSIC:

PAST AND PRESENT
SDA PHILOSOPHY OF MUSIC: PAST AND PRESENT
The Official Seventh-day Adventist Churchs Guidelines on the Music Debate
(Reproduced from Samuel Koranteng-Pipim, ed., Here We Stand [2005])

[If our worship is intended to be the worship of God, then a discussion of worship styles would be incomplete unless
we offer some practical guidelines on the kind of music that is consistent with the message and mission of the
Seventh-day Adventist church. During the past three or so decades the Adventist church has produced two major
guidelines on music. The first one was voted at the Annual Council meeting of church leaders in Mexico City, Mexico,
October 14-19, 1972. The most recent one was approved on October 12, 2004 at the Annual Council meeting in
Silver Springs, Maryland, USA. These two documents provide parameters or directions for those who seek to know
the mind of the world church as to what God expects from His people in our choice and use of music.---Samuel
Koranteng-Pipim]

Guidelines Toward
An SDA Philosophy of Music (1972)
Voted, That the following guidelines/or a Seventh-day Adventist Philosophy of Music be adopted:
The Seventh-day Adventist Church has come into existence in fulfillment of prophecy to be God's instrument in a
worldwide proclamation of the Good News of salvation through faith in the atoning sacrifice of God's Son and of
obedience to His commands in preparation for our Lord's return. The lives of those who accept this responsibility
must be as distinctive as their message. This calls for total commitment by each church member to the ideals and
objectives of the Church. Such commitment will affect every department of church life and will certainly influence
the music used by the Church in fulfillment of its God-given commission.
Music is one of God's great gifts to man and is one of the most important elements in a spiritual program. It is an
avenue of communication with God, and "is one of the most effective means of impressing the heart with spiritual
truth" (Education, p. 168). Dealing as it does with matters of eternal consequence, it is essential that music's

tremendous power be kept clearly in mind. It has the power to uplift or degrade; it can be used in the service of good
or evil. "It has power to subdue rude and uncultivated natures; power to quicken thought and to awaken sympathy, to
promote harmony of action, and to banish the gloom and foreboding that destroy courage and weaken effort" (ibid.,
pp. 167-168).
Those, therefore, who select music for the distinctive purposes of this Church must exercise a high degree of
discrimination in its choice and in its use. In their endeavors to meet these ideals, more than human wisdom is
needed. Turning then to revelation for guidance, the following general principles are revealed:
The music should
1. Bring glory to God and assist us in acceptably worshiping Him (1 Cor 10:31).
2. Ennoble, uplift, and purify the Christian's thoughts (Phil 4:8; Patriarchs and Prophets, p. 594).
3. Effectively influence the Christian in the development of Christ's character in his life and in that of others (MS 57,
1906).
4. Have a text (words, lyric, message] which is in harmony with the scriptural teachings of the Church (Review and
Herald. June 6, 1912).
5. Reveal a compatibility between the message conveyed by the words and the music, avoiding a mixture of the
sacred and the profane.
6. Shun theatricality and prideful display (Evangelism, p. 137; Review and Herald, November 30, 1900).
7. Give precedence to the message of the text, which should not be overpowered by accompanying musical
elements (Gospel Workers, pp. 357-358).
8. Maintain a judicious balance of the emotional, intellectual, and spiritual elements (Review and Herald, November
14, 1899).
9. Never compromise high principles of dignity and excellence in efforts to reach people just where they arc
(Testimonies for the Church, 9:143;Evangelism, p. 137).
10. Be appropriate for the occasion, the setting, and the audience for which it is intended (Evangelism, pp. 507-508).
There is much that is spiritually uplifting and religiously valid in the music of the various cultural and ethnic groups;
however, the musical tastes and practices of all should conform to the universal value of Christ-like character, and all
should strive for oneness in the spirit and purpose of the gospel, which calls for unity rather than uniformity. Care
must be exercised that worldly values in music which fail to express the high ideals of the Christian faith be avoided.
The above principles will serve as effective guidelines in the choice and use of music for the varied needs of the
Church. Certain musical forms, such as jazz, rock, and their related hybrid forms, are considered by the Church as
incompatible with these principles. Responsible persons involved in the Church's broad-ranging music activities,
either as leaders or performers, will find little trouble in applying these principles in some areas. Certain other areas

are much more complex, and a more detailed discussion of the factors involved follows.
I. CHURCH MUSIC
Music in the Worship Service.
Worship should be the primary and eternal activity of mankind. Man's highest end is to glorify God. As the worshiper
comes to the house of God to offer a sacrifice of praise, let it be with the best possible music. Careful planning of
every musical clement of the service is essential so that the congregation is led to be a participant and not a
spectator.
The hymns used for this service should be directed to God, emphasizing praise and utilizing the great hymns of our
heritage. They should have strong, singable melodies and worthy poetry. The pastor should take a keen interest in
increasing the quality and fervor of congregational singing. "Singing is seldom to be done by a few" (Counsels on
Health, pp. 481-482). Christian experience will be immeasurably enriched by the learning and use of new hymns.
Where there is a choir, meaningful anthems chosen from master composers of the past and present, sung by
dedicated and well-prepared musicians, will add much to the service and assist in elevating the quality of worship.
Instrumental music, including organ or piano, should harmonize with the lofty ideals of worship and be chosen
carefully from the best materials consistent with the ability and training of the player. The instrumentalist responsible
for accompanying congregational singing has an especially great responsibility to set the right standard in all his
contributions, be they preludes or postludes, offertories or other voluntaries, or accompaniment of hymns. He is in a
unique position to raise the level of worship music in his church. If in the service there should be vocal solos or other
special music, preference should be given to material with scriptural texts and music that is within the singer's range
of ability, and be presented to the Lord without display of vocal prowess. The communication of the message should
be paramount.

Music in Evangelism.
Music used in evangelism may also include gospel music, witness music, or testimony music; but there should be no
compromise with the high principles of dignity and excellence characteristic of our message to ready the people for
the second coming of Christ. The music chosen should
1. Direct the hearer to Jesus as the Way, the Truth, and the Life.
2. Prepare the way for the presentation of the message from God's Word, or continue its appeal, evoking a
response from the hearers.
3. Be played and sung by those whose lives are consistent with the message they bear.
4. Be a vehicle for the deep impression of Bible truth, which will inspire a positive change in the life.
5. Be presented in a carefully planned, orderly manner.
6. Be simple and melodic and presented without emphasis on personal display.

7. Give precedence to the preaching of the Word, both in emphasis and in allotment of time.
8. Maintain a balanced appeal to the emotion and intellect and not just charm the senses.
9. Be understandable and meaningful in content and style for the largest possible cross section of the audience.
Music in Youth Evangelism.
In the field of youth witnessing, most of the above suggestions apply. Consideration also needs to be given to
certain aspects that are unique to this area.
Young people tend to identify closely with the music of the contemporary youth culture. The desire to reach these
youth where they are with the gospel of Christ sometimes leads to the use of certain questionable musical idioms.
In all these idioms, the element which brings the most problems is rhythm, or "the beat."
Of all me musical elements, rhythm evokes the strongest physical response. Satan's greatest successes have often
come through his appeal to the physical nature. Showing keen awareness of the dangers involved in this approach to
youth, Ellen G. White said, "They have a keen car for music, and Satan knows what organs to excite, to animate,
engross, and charm the mind so that Christ is not desired. The spiritual longings of the soul for divine knowledge, for
a growth in grace, are wanting [i.e., lacking]" (Testimonies/or the Church. 1:497). This is a strong indictment of the
way in which music may be put to a use that is in direct opposition to God's plan. The previously mentioned jazz,
rock, and related hybrid forms are well-known for creating this sensuous response in masses of people.
On the other hand, we have many traditional folk-music idioms which have been respected as legitimate branches of
the musical stream. Some of these are acceptable as vehicles for expressing the Christian witness. Others, which
might find acceptance in a Christian secular atmosphere, may be inappropriate for bearing the Saviour's name. Still
others may fall completely outside the Christian's experience. It must be clear, then, that any form of "folk" musical
expression must be judged by the same general principles as all other types discussed in this document.
"Higher than the highest human thought can reach is God's ideal for His children" (Education, p. 18). Those who
strive for this high ideal and who lead in youth witnessing will find guidance through prayerful study of music by the
aid of the Holy Spirit.
In addition to the problem of rhythm, other factors affect the spiritual qualities of the music:
Vocal Treatment. The raucous style common to rock, me suggestive, sentimental, breathy, crooning style of the
night-club performer, and other distortions of the human voice should be avoided.
Harmonic Treatment. Music should be avoided that is saturated with the 7th, 9th, llth, and 13th chords as well as
other lush sonorities. These chords, when used with restraint, produce beauty, but when used to excess distract from
the true spiritual quality of the text.
Visual Presentation. Anything which calls undue attention to the performer(s), such as excessive, affected bodily
movement or inappropriate dress, should find no place in witnessing.
Amplification. Great care should be exercised to avoid excessive instrumental and vocal amplification. When

amplifying music there should be a sensitivity to the spiritual needs of those giving the witness and of those who are
to receive it. Careful consideration should be given to the selection of instruments for amplification.
Performances. The primary objective in the performance of all sacred music should be to exalt Christ rather than to
exalt the musician or to provide entertainment.
Music in the Home.
1. Music education and appreciation should begin early in the life of the child through (a) The introduction to great
hymns and gospel songs in the informal happy experience of family worship; (b) The establishment of right listening
habits through home audio equipment, which includes carefully selected music; (c) Attendance with the family at
music concerts with standards conforming to those outlined in this document; (d) The proper example and influence
of parents.
2. Family singing and participation in family music instrumental ensembles should be encouraged.
3. Experiments in writing poetry and song compositions might be encouraged.
4. A home music library of wisely selected materials should be established.
5. It must be recognized that Satan is engaged in a battle for the mind and that changes may be effected
imperceptibly upon the mind to alter perceptions and values for good and evil. Extreme care must therefore be
exercised in the type of programming and music listened to on radio and TV, especially avoiding that which is
vulgar, enticing, cheap, immoral, theatrical and identifiable with trends in the counter culture.
Music in the School.
1. In preparing and presenting music for religious functions, school administrators and teachers should work with
the students in a way that will uphold the musical standards of the Church.
2. Witnessing and folk-music groups going out from campuses should receive sponsorship and guidance from those
appointed by the administration, be they music-faculty members or others.
3. Directors of radio stations on Seventh-day Adventist campuses and those who are responsible for the selection of
music played over institutional public-address systems should choose music that is in conformity with the
philosophy of music as expressed in this document.
4. Music teachers in school ensembles and in private teaching activities should make positive efforts to teach
music literature that may be used in church and in soul-winning activities.
5. Because one of the primary objectives of school music- appreciation courses is to teach discrimination in the light
of divine revelation, instructors in these classes on all educational levels are urged to include information in the art of
making qualitative value judgment in the area of religious music.
6. Efforts should be made by the local church and conference to close the culture gap. To this end the trained music
personnel of the schools should be used in musical training and activities so that the lofty ideals of worship be
effectively promoted.

7. Musical presentations in Seventh - day Adventist educational institutions should conform to the standards of
the Church. This applies to local talent as well as to visiting artists, ensembles, and music on entertainment films.
II SECULAR MUSIC

Music "rightly employed, is a precious gift of God, designed to uplift the thoughts to high and noble themes to inspire
and elevate the soul" (Education, p. 167).
The Seventh-day Adventist life-style demands that the individual Christian exercise a high degree of discrimination
and individual responsibility in the selection of secular music for personal use, solo, or group performance. All such
music should be evaluated in me light of the instruction given in Philippians 4:8: "Finally, brethren, whatsoever
things are true, whatsoever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever
things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praise, think on
these things." He will also keep in mind the warning given by Ellen G. White in Testimonies for the Church, vol. 1, p.
497:
"I was shown that the youth must take a higher stand, and make the Word of God the man of their counsel and their
guide. Solemn responsibilities rest upon the young, which they lightly regard. The introduction of music into their
homes, instead of inciting to holiness and spirituality, has been the means of diverting their minds from the truth.
Frivolous songs and the popular sheet music of the day seem congenial to their taste. The instruments of music have
taken time which should have been devoted to prayer. Music, when not abused, is a great blessing; but when put to a
wrong use, it is a terrible curse."
The Christian will not sing songs that are incompatible with the ideals of truth, honesty, and purity. He will avoid
elements that give the appearance of making evil desirable or goodness appear trivial. He will try to avoid
compositions containing trite phrasing, poor poetry, nonsense, sentimentality, or frivolity, which lead away from the
counsel and teachings found in scripture and in the Spirit of Prophecy.
He will consider music such as blues, jazz, the rock idiom, and similar forms as inimical to the development of
Christian character, because it opens the mind to impure thoughts and leads to unholy behavior. Such music has a
distinct relationship to the permissiveness of contemporary society. The distortion of rhythm, melody, and harmony
as employed by these styles and their excessive amplification dulls the sensibilities and eventually destroys the
appreciation for that which is good and holy.
Care should be exercised when using a secular tune wedded to sacred lyrics, so that the profane connotation of the
music will not outweigh the message of the text. Moreover, the discerning Christian, when selecting any secular
music for listening or performing which is not included in the above categories [blues, jazz, rock, etc.] will subject
such music to the test of the principles given in the general principles outlined in this Philosophy of Music.
The true Christian is able to witness to others by his choice of secular music for social occasions. He will, through
diligent search and careful selection, seek out that type of music which will be compatible with his social needs and
his Christian principles.
"There must be a living connection with God in prayer, a living connection with God in songs of praise and
thanksgiving" (Evangelism, p. 498).

[The above guidelines was voted by Official Action of the Autumn Council of the General Conference Committee,
October 14-19, 1972, Mexico City, Mexico. NOTE: Punctuation slightly altered.]

A Seventh-day Adventist Philosophy of Music Guidelines (2004)

VOTED, To approve as guidelines the document, A Seventh-day Adventist Philosophy of Music, which reads as
follows:
A Seventh-day Adventist Philosophy of Music - Guidelines

God has woven music into the very fabric of His creation. When He made all things the morning stars sang together
and the angels shouted for joy.Job 38:7 The book of Revelation portrays heaven as a place of ceaseless praise,
with songs of adoration to God and the Lamb resounding from all.Rev 4:9-11; 5:9-13; 7:10-12; 12:10-12; 14:1-3;
15:2-4; 19:1-8
Because God made humans in His image, we share a love and appreciation for music with all His created beings. In
fact, music can touch and move us with a power that goes beyond words or most other types of communication.[1] At
its purest and best, music lifts our beings into the very presence of God where angels and unfallen beings worship
Him in song.
But sin has cast blight over the Creation. The divine image has been marred and well-nigh obliterated; in all aspects
this world and Gods gifts come to us with a mingling of good and evil. Music is not morally and spiritually neutral.
Some may move us to the most exalted human experience, some may be used by the prince of evil to debase and
degrade us, to stir up lust, passion, despair, anger, and hatred.
The Lords messenger, Ellen G White, continually counsels us to raise our sights in music. She tells us, Music, when
not abused, is a great blessing; but when it is put to a wrong use, it is a terrible curse.[2] Rightly employed, . . .
[music] is a precious gift of God, designed to uplift the thoughts to high and noble themes, to inspire and elevate the
souls.[3]
Of the power of song, she writes: It is one of the most effective means of impressing the heart with spiritual truth.
How often to the soul hard-pressed and ready to despair, memory recalls some word of Gods,the long-forgotten
burden of a childhood song,and temptations lose their power, life takes on new meaning and new purpose, and
courage and gladness are imparted to other souls! . . . As a part of religious service, singing is as much an act of
worship as is prayer. Indeed, many a song is prayer. . . . As our Redeemer leads us to the threshold of the Infinite,
flushed with the glory of God, we may catch the themes of praise and thanksgiving from the heavenly choir round
about the throne; and as the echo of the angels song is awakened in our earthly homes, hearts will be drawn closer
to the heavenly singers. Heavens communion begins on earth. We learn here the keynote of its praise.[4]
As Seventh-day Adventists, we believe and preach that Jesus is coming again soon. In our worldwide proclamation
of the three angels messages of Revelation 14:6-12 we call all peoples to accept the everlasting gospel, to worship
God the Creator, and to prepare to meet our soon-returning Lord. We challenge all to choose the good and not the
bad, to say No to ungodliness and worldly passions, and to live self-controlled, upright and godly lives in this
present age, while we wait for the blessed hopethe glorious appearing of our great God and Saviour, Jesus

Christ.Titus 2:12, 13
We believe that the gospel impacts all areas of life. We therefore hold that, given the vast potential of music for good
or ill, we cannot be indifferent to it. While realizing that tastes in music vary greatly from individual to individual, we
believe that the Scriptures and the writings of Ellen G White suggest principles that can inform our choices.
In this document the phrase sacred musicsometimes referred to as religious musicdesignates music that
focuses on God and on biblical and Christian themes. In most cases, it is music composed and intended for worship
service, evangelistic meetings, or private devotion and may be both vocal and instrumental music. However, not all
sacred/religious music may be acceptable for an Adventist. Sacred music should not evoke secular associations or
invite conformity to worldly behavioral patterns of thinking or acting.
Secular music is music composed for settings other than the worship service or private devotion. It speaks to the
common issues of life and basic human emotions. It comes out of our very being, expressing the human spirits
reaction to life, love, and the world in which the Lord has placed us. It can be morally uplifting or degrading. Although
it does not directly praise and adore God, nevertheless it could have a legitimate place in the life of the Christian. In
its selection the principles discussed in this document should be followed.
Principles to Guide the Christian

The music that Christians enjoy should be regulated by the following principles:
1. All music the Christian listens to, performs or composes, whether sacred or secular, will glorify God: So whether
you eat or drink or whatever you do, do it all for the glory of God.1 Corinthians 10:31 This is the over-riding biblical
principle. Anything that cannot meet this high standard will weaken our experience with the Lord.
2. All music the Christian listens to, performs or composes, whether sacred or secular, should be the noblest and the
best: Finally, brothers, whatever is true, whatever is pure, whatever is right, whatever is admirableif anything is
excellent or praiseworthythink about such things.Phil 4:8 As followers of Jesus Christ who hope and expect to
join the heavenly choirs, we view life on this earth as a preparation for, and foretaste of, the life to come.
On these two foundationsglorifying God in all things and choosing the noblest and the bestdepend the other
principles listed below for the selection of music by Christians.
3. It is characterized by quality, balance, appropriateness, and authenticity. Music fosters our spiritual, psychological,
and social sensitivity, and our intellectual growth.
4. It appeals to both the intellect and the emotions and impacts the body in a positive way. It is wholistic.
5. Music reveals creativity in that it draws from quality melodies. If harmonized,[5] it uses harmonies in an interesting
and artistic way, and employs rhythm that complements them.
6. Vocal music employs lyrics that positively stimulate intellectual abilities as well as our emotions and our will power.
Good lyrics are creative, rich in content, and of good composition. They focus on the positive and reflect moral
values; they educate and uplift; and they correspond with sound biblical theology.

7. Musical and lyrical elements should work together harmoniously to influence thinking and behavior in harmony
with biblical values.
8. It maintains a judicious balance of spiritual, intellectual, and emotional elements.
9. We should recognize and acknowledge the contribution of different cultures in worshiping God. Musical forms and
instruments vary greatly in the worldwide Seventh-day Adventist family, and music drawn from one culture may
sound strange to someone from a different culture.
Seventh-day Adventist music-making means to choose the best and above all to draw close to our Creator and Lord
and glorify Him. Let us rise to the challenge of a viable alternative musical vision and, as part of our wholistic and
prophetic message, make a unique Adventist musical contribution as a witness to the world regarding a people
awaiting Christs soon coming.
[These guidelines were approved and voted by the General Conference of Seventh-day Adventists Annual Council
on October 13, 2004.]