Art App Handout

ART APPRECIATION
CABALDE
MELANIE ROSE A.
DEFINITIONS OF ART
source: https://www.thoughtco.com/what-is-the-definition-of-art-182707
By Lisa Marder
There is no one universal definition of visual art though there is a general consensus that art is
the conscious creation of something beautiful or meaningful using skill and imagination. The
definition and perceived value of works of art have changed throughout history and in different
cultures. The Jean Basquiat painting that sold for $110.5 million at Sotheby’s auction in May
2017 would, no doubt, have had trouble finding an audience in Renaissance Italy, for example.1
ETYMOLOGY
The term “art” is related to the Latin word “ars” meaning, art, skill, or craft. The first known use of
the word comes from 13th-century manuscripts. However, the word art and its many variants
(artem, eart, etc.) have probably existed since the founding of Rome.
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PHILOSOPHY OF ART
The definition of art has been debated for centuries among philosophers.
”What is art?” is the most basic question in the philosophy of aesthetics, which really means,
“How do we determine what is defined as art?” This implies two subtexts: the essential nature
of art, and its social importance (or lack of it). The definition of art has generally fallen into three
categories: representation, expression, and form.
ART AS REPRESENTATION OR MIMESIS. Plato first developed the idea of art as “mimesis,”
which, in Greek, means copying or imitation. For this reason, the primary meaning of
art was, for centuries, defined as the representation or replication of something that is
beautiful or meaningful. Until roughly the end of the eighteenth century, a work of art
was valued on the basis of how faithfully it replicated its subject. This definition of “good
art” has had a profound impact on modern and contemporary artists; as Gordon Graham
writes, “It leads people to place a high value on very lifelike portraits such as those by
the great masters—Michelangelo, Rubens, Velásquez, and so on—and to raise questions
about the value of ‘modern’ art—the cubist distortions of Picasso, the surrealist figures
of Jan Miro, the abstracts of Kandinsky or the ‘action’ paintings of Jackson Pollock.” While
representational art still exists today, it is no longer the only measure of value.
ART AS EXPRESSION OF EMOTIONAL CONTENT. Expression became important during

the Romantic movement with artwork expressing a definite feeling, as in the sublime or
dramatic. Audience response was important, for the artwork was intended to evoke an
emotional response. This definition holds true today, as artists look to connect with and
evoke responses from their viewers.
ART AS FORM. Immanuel Kant (1724–1804) was one of the most influential of the early
theorists toward the end of the 18th century. He believed that art should not have a concept
but should be judged only on its formal qualities because the content of a work of art is
not of aesthetic interest. Formal qualities became particularly important when art became
more abstract in the 20th century, and the principles of art and design (balance, rhythm,
harmony, unity) were used to define and assess art.
Today, all three modes of definition come into play in determining what is art, and its
value, depending on the artwork being assessed.
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HISTORY OF HOW ART IS DEFINED
According to H.W Janson, author of the classic art textbook, The History of Art, “...we cannot
escape viewing works of art in the context of time and circumstance, whether past or present.
How indeed could it be otherwise, so long as art is still being created all around us, opening our
eyes almost daily to new experiences and thus forcing us to adjust our sights?”
Throughout the centuries in Western culture from the 11th century on through the end of the
17th century, the definition of art was anything done with skill as the result of knowledge and
practice. This meant that artists honed their craft, learning to replicate their subjects skillfully.
The epitome of this occurred during the Dutch Golden Age when artists were free to paint in
all sorts of different genres and made a living off their art in the robust economic and cultural
climate of 17th century Netherlands.
During the Romantic period of the 18th century, as a reaction to the Enlightenment and its
emphasis on science, empirical evidence, and rational thought, art began to be described as
not just being something done with skill, but something that was also created in the pursuit
of beauty and to express the artist’s emotions. Nature was glorified, and spirituality and free
expression were celebrated. Artists, themselves, achieved a level of notoriety and were often
guests of the aristocracy.
The Avant-garde art movement began in the 1850s with the realism of Gustave Courbet. It
was followed by other modern art movements such as cubism, futurism, and surrealism, in
which the artist pushed the boundaries of ideas and creativity. These represented innovative
approaches to art-making and the definition of what is art expanded to include the idea of the
originality of vision.
The idea of originality in art persists, leading to ever more genres and manifestations of art,
such as digital art, performance art, conceptual art, environmental art, electronic art, etc.
QUOTES
There are as many ways to define art and each definition is influenced by the unique perspective
of that person, as well as by their own personality and character.
RENE MAGRITTE: Art evokes the mystery without which the world would not exist.
FRANK LLOYD WRIGHT: Art is a discovery and development of elementary principles of

nature into beautiful forms suitable for human use.
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THOMAS MERTON: Art enables us to find ourselves and lose ourselves at the same time.
PABLO PICASSO: The purpose of art is washing the dust of daily life off our souls.
LUCIUS ANNAEUS SENECA: All art is but imitation of nature.
EDGAR DEGAS: Art is not what you see, but what you make others see.
JEAN SIBELIUS: Art is the signature of civilizations.
LEO TOLSTOY: Art is a human activity consisting in this, that one man consciously, by
means of certain external signs, hands-on to others feelings he has lived through, and that
others are infected by these feelings and also experience them.
CONCLUSION
Today we consider the earliest symbolic scribblings of mankind to be art. As Chip Walter, of
National Geographic, writes about these ancient paintings, “Their beauty whipsaws your sense
of time. One moment you are anchored in the present, observing coolly. The next you are
seeing the paintings as if all other art—all civilization—has yet to exist...creating a simple shape
that stands for something else—a symbol, made by one mind, that can be shared with others—
is obvious only after the fact. Even more than the cave art, these first concrete expressions of
consciousness represent a leap from our animal past toward what we are today—a species
awash in symbols, from the signs that guide your progress down the highway to the wedding
ring on your finger and the icons on your iPhone.”
Archaeologist Nicholas Conard posited that the people who created these images “possessed
minds as fully modern as ours and, like us, sought in ritual and myth answers to life’s mysteries,
especially in the face of an uncertain world. Who governs the migration of the herds, grows the
trees, shapes the moon, turns on the stars? Why must we die, and where do we go afterward?
They wanted answers but they didn’t have any science-based explanations for the world around
them.”
Art can be thought of as a symbol of what it means to be human, manifested in physical form
for others to see and interpret. It can serve as a symbol for something that is tangible, or for
a thought, an emotion, a feeling, or a concept. Through peaceful means, it can convey the full
spectrum of the human experience. Perhaps that is why it is so important.
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THE ELEMENTS AND PRINCIPLES OF DESIGN
source: https://medialoot.com/blog/the-elements-and-principles-of-design/
By Diego Sanchez
THE ELEMENTS OF DESIGN

The elements of design, are the building blocks used by the designers to create the designs.
They are the parts, the components that can be isolated and defined in any visual design, they
are the structure of the work, the objects to be arranged and used as part of any composition.
Although without referring to a specific design (editorial, web, etc.) we can say that the general
Design Elements are composed by:
POINT. A point is the smallest and most basic element of design and it can be
used alone or as a unit in a group (forming a line or a shape). It has position, but
no extension, it is a single mark in a space with a precise and limited location and it
provides a powerful relation between positive and negative space.
LINE. If we place many points one next to the other we obtain a line, which can have
length and direction, but no depth. Lines, besides to be used to create a shape, can
be used to create perspective and dominant directional lines (which create a sense of
continuance in a composition). Also, they can be grouped to create a sense of value,
density or texture.
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SHAPE. Shape is an element defined by its perimeter, a closed contour. It is the area
that is contained within implied line and it has have two dimensions: height and width.
A shape can be geometric (triangle, square, circle, etc.), realistic (animal, human, etc.)
or abstract (icons, stylizations, etc.).
FORM. The Form is derived from the combination of point, line and shape. A form
describe volume, the 3D aspect of an object that take up space and it can be viewed
from any angle (a cube, a sphere, etc.), it has width, height and depth.
COLOR. The color is the response of the eye to differing wavelengths of radiation
within the visible spectrum. Colors are used to generate emotions, define hierarchy,
create interest, etc. There are many different kinds of color systems and theories but
we will focus on the 3 properties: Hue, Value and Saturation.
Hue: is the color name.
Value: it refers to the lightness or darkness, to how close to black or white the Hue is.
Saturation: It refers to the intensity of a hue, the less gray a color has in it, the more
Chroma it has.
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VALUE. Is defined as the relative lightness or darkness, which suggests the depth or
volume of a particular object or area, it is the degree of light and dark in a design, the
contrast between black and white and all the tones in between.
TEXTURE. Texture is the surface quality (simulated and/or actual) that can be seen
and felt, can be rough or smooth, soft or hard, etc. It exists as a surface we can feel,
but also as a surface we can see and imagine the sensation we might have if we touch
it, is both a tactile and a visual phenomenon.
SPACE. Is the area between and around objects (negative space) but it also refers to
variations in the perspective and proportions of objects, lines or shapes and it is used
for the comparative relation between different objects or areas. The real space is
three dimensional, but in Design when we create the feeling of depth we call it space.
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THE PRINCIPLES OF DESIGN
The principles of design combine the elements to create a composition, they are the guidelines
used to arrange the elements. Each principle is a concept used to organize or arrange the
structural elements of a design and it applies to each element of a composition and to the
composition as a whole. Again, without turning to a specific discipline, we can say that the basic
Design Principles are composed by:
BALANCE. Balance is the concept of visual equilibrium of similar, opposing, or

contrasting elements that together create a unified whole. It refers to the appropriate
arrangement of the objects in a design to create the impression of equality in weight
or importance. It comes in 2 forms: Symmetrical (when the weight of a composition
is evenly distributed around a central vertical or horizontal axis) and Asymmetrical
(when the weight of a composition is not evenly distributed around a central axis).
EMPHASIS. It marks the location in a composition which most strongly draw the
viewer attention, it is also referred as the focal point. It is the most important area
or object when compared to the other objects or areas in a composition. There
are three stages of emphasis, related to the weight of a particular object within a
composition: Dominant (the object with the most visual weight), Sub-dominant (the
object or element of secondary emphasis) and Subordinate (the object with the least
visual weight, which is usually the background).
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MOVEMENT. Is the visual flow through the composition, where (depending on the
elements placement) the designer can direct the viewer´s eye over the surface of the
design. The movement can be directed along edges, shapes, lines, color, etc and the
purpose of movement is to create unity with eye travel. By arranging the composition
elements in a certain way, a designer can control and force the movement of the
viewer’s eyes in and around the composition.
PATTERN. An object or symbol that repeats in the design is a pattern. It can be a

pattern with a precise and regular repetition or an alternate pattern, which uses
more than a single object or form of repetition. We can say that is simply keeping
your design in a certain format.
REPETITION. Repetition creates unity and consistency in the composition; it is the

reuse of the same, similar or different objects throughout the design. The repetition
can be irregular, regular, uneven or even and can be in the form of Radiation (where
the repeated elements spread out from a central point) or Gradation (where the
repeated elements become smaller or larger). It often works with a pattern to make it
seem active and along with the Rhythm helps to create different types of it.
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PROPORTION. Proportion is the comparative relationship in between two or more
elements in a composition with respect to size, color, quantity, degree, etc, or between
a whole object and one of its parts. The purpose of the proportion principle is to create
a sense that has order between the elements used and to have a visual construction;
and it can occur in two ways: Harmonious (when the elements are in proportion) or
Unbalanced (when the disproportion is forced).
RHYTHM. Rhythm is the alternation or repetition of elements with defined intervals

between them, it creates a sense of movement and it is used to establish a pattern
and/or a texture. There can be 3 different types of rhythm: Regular, Flowing or
Progressive. The Regular rhythm occurs when the intervals between elements are
similar, the Flowing rhythm gives a sense of movement while the Progressive rhythm
shows a sequence of forms through a progression of steps.
VARIETY. Variety is the principle that refers to the combination of elements in an

intricate and complex relationship using different values, lines, textures, shapes,
hues, etc. It is complementary to unity and often needed to create visual interest or
to call the attention to a specific area in the composition.
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UNITY. Unity it is used to describe the relationship between the individual elements
and the whole of a composition (which creates a sense of completeness, that all of the
parts belong together) and it is a concept that comes from the Gestalt theory of visual
perception and psychology. Three of the most well-known concepts of this theory
are the Closure (is the idea that the brain tends to fill in missing information when it
perceives an object is missing some of its pieces), Continuance (is the idea that once
you begin looking in one direction, you will continue to do so until something more
significant catches your attention) and Similarity, Proximity and Alignment (is the idea
that elements of similar size, shape and color tend to be grouped together by the
brain).
EXAMPLES
In the following quick examples, you may notice how the Elements and Principles of Design
are combined. The following examples do not pretend to be a complex explanation of the
multiple possible combinations, but to serve as an easy visual example of how the elements
and principles work together.
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CHRISTIAN PERSPECTIVE AND THE ARTS
source: http://circle.adventist.org/files/jae/JAE_v71n1.pdf
By JOHN WESLEY TAYLOR, V
BY JOHN WESLEY TAYLOR, V
Arts
CHRISTIAN
FOCUS
FOR THE
T
he arts (e.g., music, painting,
drama, sculpture, and literature)
Did God place within humans both the desire
are life-changing, opening up new and the ability to create things that are unique
horizons and opportunities for
teachers to connect with students and lovely? If so, are there divine standards
in meaningful ways.
The arts can also be controver-
that apply to the creation and appreciation of
sial. Perhaps you have heard com- works of art?
ments like these:
• “Come on! It’s just an expression of creativity,
and can’t be ‘right’ or ‘wrong.’” lieve2—a rationale based not merely on tradition, personal pref-
• “There’s no need to analyze it—just enjoy it!” erence, or popular opinion. Clearly, our answers must not be
• “Well, there aren’t any swear words in the story, so I really superficial or dismissive. Rather, we must carefully examine the
don’t see any problem.” arts and seek to formulate guiding principles that will enable us
• “She’s a great writer. How can you say that this book is in- to experience, understand, and thoroughly enjoy what God has
appropriate for a college literature class? Those taking the class intended, while rejecting that which is demeaning, degrading,
are adults and not as impressionable as younger students.” immoral, or antagonistic to Christian beliefs and values.
As Christians, we must ask some crucial questions: Are the
arts of value? Did God place within humans both the desire and Defining Art
the ability to create things that are unique and lovely? If so, are The arts are forms of expression that clarify, intensify, and
there divine standards that apply to the creation and apprecia- interpret life. They stimulate our capacity for observation, train
tion of works of art? our power of reflection, and help us to identify and empathize
These issues are of concern to Christian educators.1 We, and with others. Although the arts incorporate many formats, we
our students, should be able to give a reason for what we be- will consider the following major categories:
http://education.gc.adventist.org/jae The Journal of advenTisT educaTion • ocToBer/novemBer 2008 5
PAGE 13
The arts are forms of
expression that clarify,
intensify, and interpret life.
1. The auditory arts meld sound and silence,
pitch, timbre, and intensity, rhythm, and some-
times words into acoustic productions such as vo-
cal or instrumental music.
2. The visual arts incorporate the prime ingre-
dients of mass, space, light and shadow, as well as
form, proportion, perspective, and hue to produce
painting, sculpture, architecture, and the like.
3. The literary arts, such as poetry and prose,
weave rhyme, rhythm, simile, metaphor, contrast,
alliteration, and the meaning of words into written
tapestries.
4. The dramatic arts, including theatre and film
production, revolve around such key components
as plot, unison and dissonance, fluidity and awk-
wardness, cadence, angularity, and interdepen-
dence.
Although some art forms resonate with certain
individuals more than with others, each can enrich
our lives.
The Arts Are of Christian Value

Why does a work of art have worth? First and
foremost, art acquires merit because it is an ex-
pression of creativity; and creativity is of value be-
cause God is the Creator, and we are made in His
image.3
A
second reason is that the Bible specifi-
cally calls for artistic production. Both
congregational singing and instrumen-
tal renditions were at various times
ordained by God as key components of evaluation. These include the following considerations:
worship.4 On another occasion, God directed that simple drama 1. Levels of understanding influence appreciation. There are at
be enacted in order to communicate spiritual lessons.5 least three levels of artistic understanding—sensation, compre-
Perhaps one of the greatest demonstrations of the value God hension, and valuation.
places on artistic expression is found in the design of the sanctu- Sensation is the raw data from our sense organs, which stimu-
ary.6 According to God’s plan, there were to be carvings, statu- lates an emotive response. It is possible, however, to sense some-
ary, embroidered curtains, and artistic depictions of nature. The thing without truly understanding it.8 Much popular music, for
ceremonies were carefully choreographed. Furthermore, God example, has strong sense appeal because it is pleasurable on a
personally commissioned those who were to prepare these aes- physical level. Great music is enjoyable, too, but it provides an
thetic components,7 which provides convincing evidence that opportunity to incorporate an intellectual component into the
God values both the artist and artistic expression. listening experience. It calls for comprehension of both the me-
dium and the message.
Seeking a Christian Framework There is, however, an even more critical dimension. Valua-
Seventh-day Adventist education seeks to bring a distinctive tion means assessing something in terms of one’s worldview.9
Christian perspective to teaching and learning. To construct a This requires discernment, as one places the aesthetic experi-
Christian view of the arts requires us to identify biblical princi- ence within a conceptual framework and exposes it to normative
ples that guide creative expression and provide criteria for artistic principles and evaluative criteria. For the Christian, an aesthetic
6 The Journal of advenTisT educaTion • ocToBer/novemBer 2008 http://education.gc.adventist.org/jae
PAGE 14
to change across time, place,
and culture.
Such modifications are
not intrinsically evil. Ancient
Hebrew poetry, for example,
hardly ever rhymed. Rather,
it used literary devices such
as parallelism and allitera-
tion. Does this mean that
it is not really poetry (or
that modern verse that does
rhyme is not really poetry)?
Certain forms of contempo-
rary music utilize harmonic
combinations and sequences
that do not appear in mu-
sic written 50 years ago.
Is this wrong? Or could it
be, as with language, that
21st-century forms and ex-
pressions connect more ef-
fectively with the present
generation? It seems clear
work should not be merely something that a Christian must learn to appreciate
one likes or even comprehends, but an art forms from various historical periods
experience that lifts one to a higher, and cultural contexts, while at the same
more spiritual plane. It implies that while time making value judgments based on
sensory delight and emotional pleasure the Christian worldview.
are legitimate components of the Chris- There is one more aspect to consider.
tian life, the love of God must supersede Every significant work of art has a close
the love of pleasure.10 Since art, music, link between the medium and the mes-
and drama can have such a profound sage. Artistic styles, in fact, often develop
emotional impact, Christians need to as a result of a certain worldview. Fur-
carefully apply rational and spiritual cri- thermore, over time, certain art forms
teria in their evaluation of all types of art. become symbolically associated with par-
2. Both medium and message must be considered. There are two ticular messages. Thus, one must also consider the real-life con-
parallel elements of art: style and message. Each is significant. notations of artistic styles, whether expressed through music,
Art forms can be used to convey many types of messages—re- sculpture, literature, or any other art form.
alism or fantasy, truth or falsehood, good or evil; but they always 3. It is possible to differentiate between technical expertise and
Art acquires merit because it is an expression of creativity; and creativity is

of value because God is the Creator, and we
are made in His image.
convey a message. In fact, artwork often amplifies the impact of worldview. Technical excellence is evidenced by the artist’s ex-
an idea. It adds strength to the encapsulated worldview, what- pertise, as judged by experts or by other individuals in sustained
ever it is. An example is the use of artworks as political propa- contact with the art form. In painting, for example, technical
ganda to promote racism or bigotry, such as in Nazi Germany. excellence may include the use of color, form, texture, composi-
Consequently, the artistic message must be carefully examined to tion, and balance, as well as the handling of lines and perspec-
see if it matches one’s beliefs. tive, and the unity of the artwork, among other criteria.
What about style? Some individuals reject contemporary art By recognizing technical expertise as an indicator of excel-
forms, not because they are contrary to a Christian worldview, lence, one can disagree with an artist’s perspective on life, while
but because they feel threatened by a new medium or unfamiliar still asserting that he or she is a great artist. In other words, an
style. But since art is an integral part of life, its forms are bound artwork is not rubbish simply because we disagree with the art-
PAGE 15
ist’s worldview. On the other hand, if something immoral or Christians have maintained that visual art should be strictly rep-
untruthful is embodied in great art, it can be far more destruc- resentational—a precise depiction of nature. According to bibli-
tive than if crudely expressed. Hence, the greater the technical cal precedent, however, art does not have to be realistic. Rather,
excellence of the work of art, the more carefully its worldview it can incorporate creative, inventive dimensions. Woven into
must be critiqued. the hem of the priest’s robe, for instance, were figures of pome-
4. Both the purpose and the effect of a work of art must be care- granates in scarlet, purple, and blue.13 In nature, pomegranates
fully considered. Art can be created for many reasons. It may be are red and perhaps purple, but never blue. Thus, we can con-
produced, for example, simply as a work of beauty; and this is clude that God values imagination and creativity.
biblical. In the construction of the temple, Solomon “decorated A work of art may also be created as an element of worship.
the house with precious stones for beauty.”11 In the courtyard, Initially, there appears to be a paradox: The same God who
there was a “sea of cast bronze” supported by 12 statues of oxen, prohibited the creation of any engraved image also told Moses
its brim “shaped like a lily blossom.” Furthermore, there were to fashion a tabernacle that would incorporate many forms of
two free-standing columns placed in the courtyard. In each case, representational art.14 The candlestick, for example, included
these elements were added because God wanted beauty to be figures of flowers and fruit, while the most holy place included
evident. models of angelic beings. This apparent inconsistency is re-
Art can further serve as an avenue for the imagination.12 Some solved in Leviticus 26:1: The problem was not in the represen-
tative quality of the art, but in making it an object
of worship. Today, while we may not bow down
and worship works of art, perhaps we need to
more closely consider our adulation of the pro-
ducers or performers of various art forms. Only
God is worthy of worship.
In addition to its intended purpose, the final
effect of an artistic expression must also be con-
sidered. Scripture reminds us, “Every good tree
bears good fruit, but a bad tree bears bad fruit.
. . . By their fruits you will know them.”15 For the
Christian, the final test of a work of art is its ef-
fect on one’s spiritual life. Art that helps us to be
better persons—more committed to God’s plan
for our lives, more attuned to the needs of those
around us—is art that is fitting for the Christian
to study and create.
5. While artistic expression should always convey
an uplifting spiritual message, it need not be religious.
Religion is a vital dimension of a Christian’s life.
It centers on God’s work of salvation and our
response to this marvelous gift. Through special
encounters, it seeks to cultivate a vibrant per-
sonal relationship between us and God. Being a
Christian, however, means more than a one-day-
a-week religious experience—it means viewing
all aspects of life from a spiritual perspective.16
How does this relate to the arts? First, artistic
expression may indeed focus on religious themes,
and this is proper. However, religious subject
matter does not ensure that a work of art trans-
mits a Christian worldview. On the other hand,
non-religious dimensions of life also offer appro-
priate themes for the Christian artist, provided
that the totality of life is viewed from a Spirit-
filled perspective.
Take the literary arts, for example. The Bible
not only contains religious poetry, but also non-
religious verse. Take, for instance, the Song of
Solomon. While this poem has at times been
interpreted as a description of the love of Christ
PAGE 16
Christian, if they transmit spiritual values and
elucidate the Christian worldview.
In this section, we have briefly examined five
criteria for artistic production and apprecia-
tion. Principles such as these can help us to
view the arts from a Christian perspective, as
well as relate thoughtfully to issues that stu-
dents find particularly relevant. We will now
consider two of these issues—the matter of
culture, and the question of the sacred and the
common.
Christianity and Culture

Christianity and culture can relate in a num-
ber of ways.17 At one extreme, culture is seen as
inherently good, and all its manifestations are
embraced. At the other extreme, culture is seen
as inherently evil, so Christians must reject and
try to separate themselves from its immoral
influence.
There is a third perspective, however—one
that sees culture as a battlefield of the great
controversy between good and evil. This view
requires the Christian to carefully evaluate cul-
ture in the light of biblical principles, affirming
cultural components that are in harmony with
God’s character and plan, while rejecting and
attempting to remedy any conditions that run
counter to the divine standard.
This “Christ transforms culture” orientation
is particularly relevant for Christian education.
A prime goal of education is to help students
value their cultural heritage while preparing
them to exert a positive influence on the larger
society.18 Unfortunately, Christian schools have
at times unwittingly led students to either ac-
cept culture uncritically or to mindlessly reject
it altogether.
How then should we approach the arts,
which are inseparably linked to cultural sym-
bols, subjects, and styles? First, we should
To construct a Christian view of the arts requires us to identify biblical

principles that guide creative expression and provide criteria for artistic
evaluation.
for His church, it is fundamentally a beautiful antiphonal ex- help students understand that society and culture were part of
pression of the love between a man and woman—a romantic God’s divine plan for this world. As this world plunged into the
literary piece placed by God in the Bible. In the arena of dra- conflict between good and evil, however, elements of culture
matic prose, the Book of Esther is considered one of the great became subverted and distorted. Thus, the initial task for the
masterpieces of all time. Yet, while it powerfully portrays spiri- Christian is to recognize the Lordship of Christ in all dimen-
tual themes, it never even mentions the name of God. If even sions of life, and to carefully assess culture and its artistic ex-
the Bible can contain non-religious literary works, it stands to pressions according to a Christian worldview. The foremost
reason that non-religious artistic expressions are fitting for the consideration must be to reject evil and embrace that which is
PAGE 17
There are at least three levels of artistic understanding—sensation,
comprehension, and valuation.
good—in harmony with God’s character and His plan for our While all aspects of life must be viewed from a spiritual per-
lives. spective, there does seem to be strong scriptural support for dif-
There is another dimension, however, within that which is ferentiating between the sacred and the common.22 At the burn-
good—the progression from low to high culture, from mass ing bush, Moses was commanded by God to remove his sandals,
preference to a more refined taste.19 The art forms of mass cul- “for the place where you stand is holy ground.”23 It is apparent
ture are often overtly sentimental and filled with clichés. They that Moses commonly wore sandals, and that this was accept-
tend to depict the obvious and at times, the crude or vulgar. able.24 At Mount Horeb, however, he was standing on “holy
These artistic expressions lack an intellectual dimension and do ground” and must, to show his reverence, differentiate between
not offer an aesthetic experience.20 One essential goal of Chris- the sacred and the common. A few years later, Aaron’s inebri-
tian education is to help students develop and mature in cultural ated sons, Nadab and Abihu, failed to make this distinction, and
appreciation.21 were punished for using common fire for a sacred purpose.25
What are the implications for education? First, we must help
The Issue of the Sacred and the Common our students to realize the difference between the sacred and the
We now turn to the question of the sacred and the common. common, particularly in the arts. We must be especially care-
ful not to mix the sacred and the common in
our worship of God.26 Students should be
encouraged, however, to experience in their
lives both the sacred and the common, each
within the parameters of God’s plan for their
lives. To limit our lives to the common de-
prives us of the abundant life that grows out
of a personal encounter with God.27
The Christian Life

In summary, we have seen that the arts
have inherent value. We have further exam-
ined a number of principles that can help us
develop a Christian perspective on the arts.
By using these principles, we can empower
our students to differentiate between me-
dium and message, purpose and effect, and
to develop more profound levels of under-
standing. This will enable them to tell the
difference between expertise and worldview
and between the spiritual and the profane.
Finally, we looked at some ways to help stu-
dents understand the relationship between
culture and artistic expression, and to under-
stand the role of the sacred and the common.
Artistic experiences can be life changing.
Consequently, the artistic domain has be-
come a focal point in the great controversy
between good and evil.28 As Adventist teach-
ers, our relationship with the arts must be
congruent with a Christian understanding of
God and of His creation, of origin and des-
tiny, of principles and values. We must guide
our students to think deeply and spiritually,
to observe carefully and discriminate wisely.
Together, we must make choices that glorify
God.
In the final analysis, the Christian’s life
PAGE 18
5. Ezekiel 4:1-3.
6. Exodus 25-27.
7. Exodus 35:30-35.
8. In His day, Jesus noted that some individuals looked
without seeing and listened without understanding (Matthew
13:13).
9. Perceptive delineations of the Christian worldview can
be found in the following works, among others: B. J. Walsh
and J. R. Middleton, The Transforming Vision: Shaping a Chris-
tian Worldview (Downers Grove, Ill: InterVarsity Press, 1984);
J. W. Sire, Discipleship of the Mind: Learning to Love God in the
Ways We Think (Downers Grove: InterVarsity, 1990).
10. Isaiah 35:1, 2, 10; Song of Solomon 2:11-13; 2 Timothy
3:4.
11. 2 Chronicles 3:6-4:5. Unless otherwise indicated, all
Bible quotations in this article are from the New King James
Version (NKJV). Copyright © 1979, 1980, 1982, 1983 by
Thomas Nelson, Inc.
12. Leland Ryken discusses a Christian view of the imagi-
nation in his essay “The Creative Arts,” published in Arthur
Holmes, ed., The Making of a Christian Mind: A Christian
Worldview and the Academic Enterprise (Downers Grove: Inter-
Varsity, 1985), pp. 105-131.
13. Exodus 28:33. Also note the “unrealistic” descriptions
of creatures depicted in the books of Daniel and Revelation.
14. Exodus 20:4, 5; 25:18, 31-33.
15. Matthew 7:17, 20.
16. 1 Corinthians 10:31; 2 Corinthians 10:5; Colossians
3:17.
17. Reinhold Niebuhr, Christ and Culture (New York:
Harper & Row, 1975).
18. See J. A. Banks, “The Social Construction of Differ-
ence and the Quest for Educational Equality,” in R. S. Brandt,
ed., Education in a New Era (Alexandria, Va.: ASCD, 2000),
pp. 21-41.
19. Morris Taylor has developed this concept more fully in
his essay “Choosing Music in a Christian College,” in Hum-
must be an expression of joy and beauty in the midst of a dark, berto Rasi, ed., Christ in the Classroom (Silver Spring, Md.: The
Institute for Christian Teaching, 1991), vol. 16, pp. 285-306. A summary is
despairing world. Perhaps the Christian life itself should be our available online at http://circle.adventist.org/files/jae/en/jae198951040604.pdf.
supreme work of art, our greatest aesthetic masterpiece. 0 20. Paul observed, “When I was a child, I spoke as a child, I understood
________________________________________ as a child, I thought as a child; but when I became a man, I put away childish
things” (1 Corinthians 13:11).
John Wesley Taylor, V, Ph.D., is a Professor of 21. While encouraging cultural maturation, we should note that not every-
Educational Philosophy at Southern Adventist Uni- thing considered to be high culture is acceptable for the Christian. Stravin-
sky’s “Rite of Spring,” for example, depicts the orgies of a pagan festival that
versity in Collegedale, Tennessee. After studying in culminate in human sacrifice. Certain works of literature, accepted by some
a conservatory of music, he began to work as a high as “high culture,” contain language or embedded ideas that do not harmonize
school teacher of math and music. Subsequently, he with Christian values. Teachers must also take into account the maturity of
has taught in a dozen different countries where he their students and the sensibilities of their constituents when deciding what to
include in the curriculum.
has continued to explore the arts in a variety of cul- The Christian’s imperative is to reject the evil in culture and affirm that
tures. Dr. Taylor may be reached via e-mail at jwtv@southern.edu or which is good. Within that which is good, however, there should also be
by telephone at (423) 236-2444. growth toward cultural refi nement. “‘Something better’ is the ‘watchword of
______________________________________________________ education, the law of all true living” (Ellen G. White, Education [Mountain
View, Calif.: Pacific Press Publ. Assn., 1903], p. 296.
NOTES AND REFERENCES 22. Sacred, by way of defi nition, is that which especially belongs to God—
either because of His direct presence or express command, or because it has
1. Francis Schaeffer addresses this matter in his works, How Should We been specifically dedicated to God. Examples include the Sabbath (Exodus
Then Live? (Old Tappan, N.J.: Fleming H. Revell, 1976) and Art and the Bible 20:8-11; Ezekiel 20:20), the tithe (Leviticus 27:30; Malachi 3:8), and the time
(London: Hodder and Stoughton, 1973), as does H. B. Hannum in the book and place of worship.
Christian Search for Beauty (Nashville, Tenn.: Southern Publ. Assn., 1975). A 23. Exodus 3:5.
perceptive essay by Jo Ann Davidson, “The Bible and Aesthetics” (2000) is 24. Exodus 12:11.
available online at http://www.aiias.edu/ict/vol_26B/26Bcc_201-265.htm. 25. Leviticus 10:1-2. Similarly, Uzzah, of the tribe of Judah, perished when
2. 1 Peter 3:15. he reached out and touched the sacred ark (1 Chronicles 13:9, 10). The Koha-
3. Genesis 1:26-27. A cogent exploration of this concept may be found in G. thites, of the tribe of Levi, were the only ones expressly commanded to bear
Spring, “In the Image of God: The Creative Act in Teaching and Learning.” the ark (Numbers 4:15). Other examples may be found in 1 Samuel 13:9-14
In Humberto Rasi, Christ in the Classroom (Silver Spring, Md.: The Institute and 2 Chronicles 26:16-21.
for Christian Teaching, 1998), vol. 21, pp. 315-333. Available online at http:// 26. Genesis 4:3-7.
www.aiias.edu/ict/vol_21/21cc_315-333.htm. 27. Psalm 16:11; John 10:10.
4. Exodus 15:1-21; Revelation 15:31; Chronicles 23:5; 2 Chronicles 29:25-28. 28. Ephesians 6:12, 13.
PAGE 19
A SEVENTH-DAY ADVENTIST PHILOSOPHY OF MUSIC
source: https://www.adventist.org/guidelines/a-seventh-day-adventist-philosophy-of-music/
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. 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 God’s 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 Lord’s 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”. “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.”
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 God’s,–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
PAGE 20
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. Heaven’s communion
begins on earth. We learn here the keynote of its praise.”
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 hope–the 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 music”–sometimes referred to as religious music–

designates 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 spirit’s 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.
PAGE 21
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 admirable–if anything is excellent or
praiseworthy–think 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 foundations–glorifying God in all things and choosing the noblest
and the best–depend 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,

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.
PAGE 22
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 Christ’s
soon coming.
PAGE 23
MUSIC: ITS ROLE, QUALITIES, AND INFLUENCE
source: https://whiteestate.org/legacy/issues-music-html/
As Set Forth in the Writings of Ellen G. White
1. THE ROLE OF MUSIC
The Power of Song. --The history of the songs of the Bible is full of suggestion as to the uses and
benefits of music and song. Music is often perverted to serve purposes of evil, and it thus becomes
one of the most alluring agencies of temptation. But, rightly employed, it is a precious gift of God,
designed to uplift the thoughts to high and noble themes, to inspire and elevate the soul.
As the children of Israel, journeying through the wilderness, cheered their way by the music of
sacred song, so God bids His children today gladden their pilgrim life. There are few means more
effective for fixing His words in the memory than repeating them in song. And such song has
wonderful power. It has power to subdue rude and uncultivated natures; power to quicken thought
and awaken sympathy, to promote harmony of action, and to banish the gloom and foreboding
that destroy courage and weaken effort.
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 God’s, --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!
The value of song as a means of education should never be lost sight of. Let there be singing in
the home, of songs that are sweet and pure, and there will be fewer words of censure and more
of cheerfulness and hope and joy. Let there be singing in the school, and the pupils will be drawn
closer to God, to their teachers, and to one another.
As a part of religious service, singing is as much an act of worship as is prayer. Indeed, many a song
is prayer. --Education, pp. 167, 168.
A Weapon Against Discouragement. --If there was much more praising the Lord, and far less
doleful recitation of discouragements, many more victories would be achieved. --Letter 53, 1896.
(Evangelism, p. 499)
Let praise and thanksgiving be expressed in song. When tempted, instead of giving utterance to
our feelings, let us by faith lift up a song of thanksgiving to God.
Song is a weapon that we can always use against discouragement. As we thus open the heart to
the sunlight of the Saviour’s presence, we shall have health and His blessing. --Ministry of Healing
p. 254. (1905)
PAGE 24
To Impress Spiritual Truth. --Song is one of the most effective means of impressing spiritual truth
upon the heart. Often by the words of sacred song, the springs of penitence and faith have been
unsealed. --Review and Herald, June 6, 1912.
A Means to Conserve Christian Experience. --Evening and morning join with your children in God’s
worship, reading His Word and singing His praise. Teach them to repeat God’s law. Concerning the
commandments, the Israelites were instructed: “Thou shalt teach them diligently unto thy children,
and shalt talk of them when thou sittest in thine house, and when thou walkest by the way, and
when thou liest down, and when thou risest up.” Accordingly, Moses directed the Israelites to set
the words of the law to music.
If it was essential for Moses to embody the commandments in sacred song, so that as they marched
in the wilderness, the children could learn to sing the law verse by verse, how essential it is at this
time teach our children God’s Word! Let us come up to the help of the Lord, instructing our children
to keep the commandments to the letter. Let us do everything in our power to make music in our
homes, that God may come in. --Review and Herald, September 8, 1904. (Evangelism, p. 499)
To Make Work Pleasant. --Make your work pleasant by songs of praise. --Child Guidance, p. 148.
Drives the Enemy Away. --I saw we must be daily rising and keep the ascendancy above the
powers of darkness. Our God is mighty. I saw singing to the glory of God often drove the enemy,
and praising God would beat him back and give us the victory. --Letter 5, 1850.
Song Helped Jesus Resist the Enemy. --When Christ was a child like these children here, He
was tempted to sin, but He did not yield to temptation. As He grew older He was tempted, but
the songs His mother had taught Him to sing came into His mind, and He would lift His voice in
praise. And before His companions were aware of it, they would be singing with Him. God wants
us to use every facility which Heaven has provided for resisting the enemy. --Manuscript 65, 1901.
(Evangelism, p. 498)
Bringing Heaven’s Gladness. --The early morning often found Him in some secluded place,
meditating, searching the Scriptures, or in prayer. With the voice of singing He welcomed the
morning light. With songs of thanksgiving He cheered His hours of labor, and brought heaven’s
gladness to the toil-worn and disheartened. --Ministry of Healing p. 52. (1905)
He Sang Songs of Praise. --Often He expressed the gladness of His heart by singing psalms and
heavenly songs. Often the dwellers in Nazareth heard His voice raised in praise and thanksgiving
to God. He held communion with heaven in song; and as His companions complained of weariness
from labor, they were cheered by the sweet melody from His lips. His praise seemed to banish the
evil angels, and, like incense, fill the place with fragrance. The minds of His hearers were carried
away from their earthly exile, to the heavenly home. --The Desire of Ages, pp. 73, 74.
PAGE 25
2. THE EFFECTIVE USE OF MUSIC IN ISRAEL’S EXPERIENCE
Songs Fixed Lessons in Mind. --As the people journeyed through the wilderness, many precious
lessons were fixed in their minds by means of song. At their deliverance from Pharaoh’s army the
whole host of Israel had joined in the song of triumph. Far over desert and sea rang the joyous
refrain, and the mountains re-echoed the accents of praise, “Sing ye to the Lord, for He hath
triumphed gloriously.” Exodus 15:21. Often on the journey was this song repeated, cheering the
hearts and kindling the faith of the pilgrim travelers. The commandments as given from Sinai, with
promises of God’s favor and records of His wonderful works for their deliverance, were by divine
direction expressed in song, and were chanted to the sound of instrumental music, the people
keeping step as their voices united in praise.
Thus their thoughts were uplifted from the trials and difficulties of the way, the restless, turbulent
spirit was soothed and calmed, the principles of truth were implanted in the memory, and faith
was strengthened. Concert of action taught order and unity, and the people were brought into
closer touch with God and with one another. --Education, p. 39.
In the Schools of the Prophets: Part of the Curriculum. --In both the school and the home
much of the teaching was oral; but the youth also learned to read the Hebrew writings, and the
parchment rolls of the Old Testament Scriptures were open to their study. The chief subjects of
study in these schools were the law of God, with the instruction given to Moses, sacred history,
sacred music, and poetry. --Education, p. 47.
What Music Accomplished. --Sanctified intellects brought forth from the treasure house of God
things new and old, and the Spirit of God was manifested in prophecy and sacred song.
Music was made to serve a holy purpose, to lift the thoughts to that which is pure, noble, and
elevating, and to awaken in the soul devotion and gratitude to God. What a contrast between the
ancient custom and the uses to which music is now too often devoted! How many employ this
gift to exalt self, instead of using it to glorify God! A love for music leads the unwary to unite with
world lovers in pleasure gatherings where God has forbidden His children to go. Thus that which
is a great blessing when rightly used, becomes one of the most successful agencies by which Satan
allures the mind from duty and from the contemplation of eternal things.
Music forms a part of God’s worship in the courts above, and we should endeavor, in our songs
of praise, to approach as nearly as possible to the harmony of the heavenly choirs. The proper
training of the voice is an important feature in education and should not be neglected. Singing, as
a part of religious service, is as much an act of worship as is prayer. The heart must feel the spirit
of the song to give it right expression. --Patriarchs and Prophets, p. 591.
Looking Back. --The journey to Jerusalem, in the simple, patriarchal style, amidst the beauty of
the springtime, the richness of midsummer, or the ripened glory of autumn, was a delight. With
offerings of gratitude they came, from the man of white hairs to the little child, to meet with God
in His holy habitation. As they journeyed, the experiences of the past, the stories that both old
and young still love so well, were recounted to the Hebrew children. The songs that had cheered
PAGE 26
the wilderness wandering were sung. God’s commandments were chanted, and, bound up with
the blessed influences of nature and of kindly human association, they were forever fixed in the
memory of many a child and youth. --Education, p. 142.
3. DESIRABLE QUALITIES
Clear Intonations- Distinct Utterance. --No words can properly set forth the deep blessedness
of genuine worship. When human beings sing with the Spirit and the understanding, heavenly
musicians take up the strain, and join in the song of thanksgiving. He who has bestowed upon us
all the gifts that enable us to be workers together with God, expects His servants to cultivate their
voices, so that they can speak and sing in a way that all can understand. It is not loud singing that
is needed, but clear intonation, correct pronunciation, and distinct utterance. Let all take time
to cultivate the voice, so that God’s praise can be sung in clear, soft tones, not with harshness
and shrillness that offend the ear. The ability to sing is the gift of God; let it be used to His glory.
--Testimonies, Vol. 9, pp. 143, 144. (1909)
Factors in Effectual Music. --Music can be a great power for good; yet we do not make the most
of this branch of worship. The singing is generally done from impulse or to meet special cases, and
at other times those who sing are left to blunder along, and the music loses its proper effect upon
the minds of those present. Music should have beauty, pathos, and power. Let the voices be lifted
in songs of praise and devotion. Call to your aid, if practicable, instrumental music, and let the
glorious harmony ascend to God, an acceptable offering.
But it is sometimes more difficult to discipline the singers and keep them in working order, than
to improve the habits of praying and exhorting. Many want to do things after their own style; they
object to consultation, and are impatient under leadership. Well-matured plans are needed in, the
service of God. Common sense is an excellent thing in the worship of the Lord. --Gospel Workers, p.
325. (1892) (Evangelism, p. 505)
Effective Pathos. --There is a great pathos and music in the human voice, and if the learner will
make determined efforts, he will acquire habits of talking and singing that will be to him a power
to win souls to Christ. -- Manuscript 22, 1886. (Evangelism, p. 504)
Not Volume but Fine Qualities. --Great improvement can be made in singing. Some think that
the louder they sing the more music they make; but noise is not music. Good singing is like the
music of the birds--subdued and melodious. In some of our churches I have heard solos that
were altogether unsuitable for the service of the Lord’s house. The long-drawn-out notes and the
peculiar sounds common in operatic singing are not pleasing to the angels. They delight to hear
the simple songs of praise sung in a natural tone. The songs in which every word is uttered clearly,
in a musical tone, are the songs that they join us in singing. They take up the refrain that is sung
from the heart with the spirit and the understanding. --Manuscript 91, 1903. (Evangelism, p. 510)
PAGE 27
With Solemnity and Awe. --The melody of song, poured forth from many hearts in clear, distinct
utterance, is one of God’s instrumentalities in the work of saving souls. All the service should be
conducted with solemnity and awe, as if in the visible presence of the Master of assemblies .
--Testimonies, Vol. 5, p. 493.
With Melody and Distinctness. --I am glad that a musical element has been brought into the
Healdsburg school. In every school, instruction in singing is greatly needed. There should be much
more interest in voice culture than is now generally manifested. Students who have learned to
sing sweet gospel songs with melody and distinctness, can do much good as singing evangelists.
They will find many opportunities to use the talent that God has given them, carrying melody and
sunshine into many lonely places darkened by sin and sorrow and affliction, singing to those who
seldom have church privileges.
Students, go out into the highways and the hedges. Endeavor to reach the higher as well as the
lower classes. Enter the homes of the rich and the poor, and as you have opportunity, ask, “Would
you be pleased to have us sing? We should be glad to hold a song service with you.” Then as hearts
are softened, the way may open for you to offer a few words of prayer for the blessing of God. Not
many will refuse.
Such ministry is genuine missionary work. God desires every one of us to be converted and to learn
to engage in missionary effort in earnest. He will bless us in this service for others, and we shall see
of his salvation. --Review and Herald, Aug. 27, 1903. (Portion in Evangelism, p. 504)
One of God’s Entrusted Talents. --The human voice in singing is one of God’s entrusted talents to
be employed to His glory. The enemy of righteousness makes a great account of this talent in his
service. And that which is the gift of God, to be a blessing to souls, is perverted, misapplied, and
serves the purpose of Satan. This talent of voice is a blessing if consecrated to the Lord to serve His
cause. --Letter 62, 1893. (Evangelism, p. 498)
Choir and Congregational Singing. --In the meetings held, let a number be chosen to take part in
the song service. And let the singing be accompanied with musical instruments skillfully handled.
We are not to oppose the use of instrumental music in our work. This part of the service is to be
carefully conducted; for it is the praise of God in song. The singing is not always to be done by a
few. As often as possible, let the entire congregation join. --Testimonies, Vol. 9, p. 144. (1909)
The Song Service. --The singing should not be done by a few only. All present should be encouraged
to join in the song service. --Letter 157, 1902. (Evangelism p. 507)
More on Musical Instruments. --Let the talent of singing be brought into the work. The use of
musical instruments is not at all objectionable. These were used in religious services in ancient
times. The worshipers praised God upon the harp and cymbal, and music should have its place in
our services. It will add to the interest. --Letter 132, 1898. (Evangelism, pp. 500-501)
Instrumental Music at the General Conference of 1905. --I am glad to hear the musical
instruments that you have here. God wants us to have them. He wants us to praise Him with heart
and soul and voice, magnifying His name before the world. --Review and Herald, June 15, 1905.
PAGE 28
4. UNDESIRABLE QUALITIES
Shrieking Sacred Words of Hymns of Praise. --Music forms a part of God’s worship in the
courts above. We should endeavor in our songs of praise to approach as nearly as possible
to the harmony of the heavenly choirs. I have often been pained to hear untrained voices,
pitched to the highest key, literally shrieking the sacred words of some hymn of praise.
How inappropriate those sharp, rasping voices for the solemn, joyous worship of God. I
long to stop my ears, or flee from the place, and I rejoice when the painful exercise is ended.
Those who make singing a part of divine worship should select hymns with music appropriate to
the occasion, not funeral notes, but cheerful, yet solemn melodies. The voice can and should be
modulated, softened, and subdued. --Signs of the Times, June 22, 1882. (Evangelism, p. 507-8)
No Jargon or Discord. --I saw that all should sing with the spirit and with the understanding also.
God is not pleased with jargon and discord. Right is always more pleasing to Him than wrong. And
the nearer the people of God can approach to correct, harmonious singing, the more is He glorified,
the church benefited, and unbelievers favorably affected. --Testimonies Vol. 1, p. 146. (1857)
Sing With the Spirit and Understanding. --Do not hire worldly musicians if this can possibly be
avoided. Gather together singers who will sing with the spirit and with the understanding also.
The extra display which you sometimes make entails unnecessary expense, which the brethren
should not be asked to meet; and you will find that after a time unbelievers will not be willing to
give money to meet these expenses. --Letter 51, 1902. (Evangelism p. 509)
5. RELIGIOUS MUSIC MADE SATAN’S SNARE
A. THE MUSIC AT THE 1900 INDIANA CAMP MEETING DESCRIBED BY EYE WITNESSES
Its Almost Overwhelming Impact. --There is a great power that goes with the movement
[Holy Flesh] that is on foot there. It would almost bring anybody within its scope, if they are
at all conscientious, and sit and listen with the least degree of favor; because of the music
that is brought to play in the ceremony. They have an organ, one bass viol, three fiddles, two
flutes, three tambourines, three horns, and a big bass drum, and perhaps other instruments
which I have not mentioned. They are as much trained in their musical line as any Salvation
Army choir that you ever heard. In fact, their revival effort is simply a complete copy of the
Salvation Army method, and when they get on a high key, you cannot hear a word from the
congregation in their singing, nor hear anything, unless it be shrieks of those who are half
insane. After an appeal to come forward for prayers, a few of the leading ones would always
come forward, to lead others to come; and then they would begin to play on the musical
instruments, until you could not hear yourself think; and under the excitement of this strain,
they get a large proportion of the congregation forward over and over again. --S. N. Haskell
report to E. G. White, September 25, 1900.
PAGE 29
Dance tunes and Sacred Words. --We have a big drum, two tambourines, a big bass fiddle,
two small fiddles, a flute and two comets, and an organ and a few voices. They have “Garden
of Spices” as the songbook and play dance tunes to sacred words. They have never used our
own hymn books, except when Elders Breed or Haskell speak, then they open and close with
a hymn from our book, but all the other songs are from the other book. They shout Amens,
and “Praise the Lord,” “Glory to God,” just like a Salvation Army service. It is distressing to one’s
soul. The doctrines preached correspond to the rest. “The poor sheep are truly confused.”
--Mrs. S. N. Haskell report to Sara McEnterfer, September 12, 1900.
Lively Songs and Self-Induced Hysteria. --I attended the camp meeting in September
of 1900, which was held at Muncie, where I witnessed first-hand the fanatical excitement
and activities of these people. There were numerous groups of people scattered all over
the campground engaged in arguing and, when these fanatics conducted the services in the
large pavilion, they worked themselves up to a high pitch of excitement by the use of musical
instruments, such as: trumpets, flutes, stringed instruments, tambourines, an organ, and a
big bass drum. They shouted and sang their lively songs with the aid of musical instruments
until they became really hysterical. Many times I saw them, after these morning meetings,
as they came to the dining tent fairly shaking as though they had the palsy. --Burton Wade
account to A. L. White, January 12, 1962.
B. ELLEN G. WHITE COMMENTS ON THE MUSIC AT THE 1900 INDIANA CAMP MEETING
A Bedlam of Noise Which Confuses the Senses. --The things you have described as taking
place in Indiana, the Lord has shown me would take place just before the close of probation.
Every uncouth thing will be demonstrated. There will be shouting, with drums, music, and
dancing. The senses of rational beings will become so confused that they cannot be trusted
to make right decisions. And this is called the moving of the Holy Spirit.
The Holy Spirit never reveals itself in such methods, in such a bedlam of noise. This is an
invention of Satan to cover up his ingenious methods for making of none effect the pure,
sincere, elevating, ennobling, sanctifying truth for this time. Better never have the worship of
God blended with music than to use musical instruments to do the work which last January
was represented to me would be brought into our camp meetings. The truth for this time
needs nothing of this kind in its work of converting souls. A bedlam of noise shocks the
senses and perverts that which if conducted aright might be a blessing. The powers of satanic
agencies blend with the din and noise, to have a carnival, and this is termed the Holy Spirit’s
working.
No encouragement should be given to this kind of worship. The same kind of influence came
in after the passing of the time in 1844. The same kind of representations were made. Men
became excited, and were worked by a power thought to be the power of God. --Letter 132,
1900, to S. N. Haskell. (Published in Selected Messages, Book 2, pp. 36, 37.)
PAGE 30
Music Acceptable if “Properly Conducted,” Made Satan’s Snare. --The Holy Spirit has
nothing to do with such a confusion of noise and multitude of sounds as passed before
me last January. Satan works amid the din and confusion of such music, which, properly
conducted, would be a praise and glory to God. He makes its effect like the poison sting of
the serpent.
Those things which have been in the past will be in the future. Satan will make music a snare
by the way in which it is conducted. God calls upon His people, who have the light before
them in the Word and in the Testimonies, to read and consider, and to take heed. Clear and
definite instruction has been given in order that all may understand. But the itching desire
to originate something new results in strange doctrines, and largely destroys the influence
of those who would be a power for good if they held firm the beginning of their confidence
in the truth the Lord had given them. --Letter 132, 1900 to S. N. Haskell. (Published in Selected
Messages, Book 2, pp. 37, 38.)
These [in Indiana] were carried away by a spiritualistic delusion. --Evangelism, p. 595.
Noise No Evidence of Sanctification. --I have been instructed by the Lord that this
movement in Indiana is of the same character as have been the movements in years past.
In your religious meetings there have been exercises similar to those I have witnessed in
connection with those movements in the past. . . . There was much excitement, with noise
and confusion. One could not tell what was piped or what was harped. Some appeared to be
in vision, and fell to the floor. Others were jumping, dancing, and shouting . . . .
The manner in which the meetings in Indiana have been carried on, with noise and
confusion, does not commend them to thoughtful, intelligent minds. There is nothing in
these demonstrations which will convince the world that we have the truth. Mere noise
and shouting are no evidence of sanctification, or of the descent of the Holy Spirit. Your
wild demonstrations create only disgust in the minds of unbelievers. The fewer of such
demonstrations there are, the better it will be for the actors and for the people in general. . . .
Many such movements will arise at this time, when the Lord’s work should stand elevated,
pure, unadulterated with superstition and fables. We need to be on our guard, to maintain a
close connection with Christ, that we be not deceived by Satan’s devices.
The Lord desires to have in His service order and discipline, not excitement and confusion.
We are not now able to describe with accuracy the scenes to be enacted in our world in the
future; but this we do know, that this is a time when we must watch unto prayer; for the great
day of the Lord is at hand. Satan is rallying his forces. We need to be thoughtful and still, and
to contemplate the truths of revelation. Excitement is not favorable to growth in grace, to
true purity and sanctification of the spirit...
God calls upon His people to walk with sobriety and holy consistency. They should be very
careful not to misrepresent and dishonor the holy doctrines of truth by strange performances,
by confusion and tumult. By this, unbelievers are led to think that Seventh-day Adventists are
a set of fanatics. Thus prejudice is created that prevents souls from receiving the message
PAGE 31
for this time. When believers speak the truth as it is in Jesus, they reveal a holy, sensible calm,
not a storm of confusion. --General Conference Bulletin, April 23, 1901. (Published in Selected
Messages, Book 2, pp. 33-36)
6. THE LURE OF WORLDLY MUSIC
No Frivolous Waltz or Flippant Song in the Schools of the Prophets. --The art of sacred melody
was diligently cultivated. [In the schools of the prophets.] No frivolous waltz was heard, nor flippant
song that should extol man and divert the attention from God; but sacred, solemn psalms of praise
to the Creator, exalting His name and recounting His wondrous works. -- Fundamentals of Christian
Education, p. 97.
When Satan Takes Charge. --There has been a class of social gatherings in _____ of an entirely
different character, parties of pleasure that have been a disgrace to our institutions and to the
church. They encourage pride of dress, pride of appearance, self-gratification, hilarity and trifling.
Satan is entertained as an honored guest, and takes possession of those who patronize these
gatherings.
A view of one such company was presented to me, where were assembled those who profess
to believe the truth. One was seated at the instrument of music, and such songs were poured
forth as made the watching angels weep. There was mirth, there was coarse laughter, there was
abundance of enthusiasm, and a kind of inspiration; but the joy was such as Satan only is able
to create. This is an enthusiasm and infatuation of which all who love God will be ashamed. It
prepares the participants for unholy thought and action. I have reason to think that some who
were engaged in that scene heartily repented of the shameful performance. --Counsels to Teachers,
p. 339. (Emphasis Supplied.)
Music Put to a Wrong Use. --I feel alarmed as I witness everywhere the frivolity of young men and
young women who profess to believe the truth. God does not seem to be in their thoughts. Their
minds are filled with nonsense. Their conversation is only empty, vain talk. They have a keen ear
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 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. It
excites, but does not impart that strength and courage which the Christian can find only at the
throne of grace while humbly making known his wants and with strong cries and tears pleading for
PAGE 32
heavenly strength to be fortified against the powerful temptations of the evil one. Satan is leading
the young captive. Oh, what can I say to lead them to break his power of infatuation! He is a skillful
charmer, luring them on to perdition. --Testimonies, Vol. 1, pp. 496-497. (Emphasis Supplied.)
Satan Uses it to Gain Access. --Eternal things have little weight with the youth. Angels of God are in
tears as they write in the roll the words and acts of professed Christians. Angels are hovering around
yonder dwelling. The young are there assembled; there is the sound of vocal and instrumental
music. Christians are gathered there, but what is that you hear?
It is a song, a frivolous ditty, fit for the dance hall. Behold the pure angels gather their light closer
around them, and darkness envelops those in that dwelling. The angels are moving from the scene.
Sadness is upon their countenances. Behold, they are weeping. This I saw repeated a number of
times all through the ranks of Sabbath keepers, and especially in _______.
Music has occupied the hours which should have been devoted to prayer. Music is the idol which
many professed Sabbath keeping Christians worship. Satan has no objection to music if he can
make that a channel through which to gain access to the minds of the youth.
Anything will suit his purpose that will divert the mind from God and engage the time which should
be devoted to His service. He works through the means which will exert the strongest influence to
hold the largest numbers in a pleasing infatuation, while they are paralyzed by his power. When
turned to good account, music is a blessing; but it is often made one of Satan’s most attractive
agencies to ensnare souls. When abused, it leads the unconsecrated to pride, vanity, and folly.
When allowed to take the place of devotion and prayer, it is a terrible curse.
Young persons assemble to sing, and, although professed Christians, frequently dishonor God and
their faith by their frivolous conversation and their choice of music. Sacred music is not congenial
to their taste. I was directed to the plain teachings of God’s word, which have been passed by
unnoticed. In the judgment all these words of inspiration will condemn those who have not heeded
them. --Testimonies, Vol. 1, pp. 585-586. (Emphasis Supplied)
Low Songs and Lewd Gestures. --Among the most dangerous resorts for pleasure is the theater.
Instead of being a school of morality and virtue, as is so often claimed, it is the very hotbed of
immorality. Vicious habits and sinful propensities are strengthened and confirmed by these
entertainments. Low songs, Lewd gestures, expressions, and attitudes, deprave the imagination
and debase the morals.
Every youth who habitually attends such exhibitions will be corrupted in principle. There is no
influence in our land more powerful to poison the imagination, to destroy religious impressions, and
to blunt the relish for the tranquil pleasures and sober realities of life than theatrical amusements.
The love for these scenes increases with every indulgence, as the desire for intoxicating drink
strengthens with its use. --Testimonies, Vol. 4, pp. 652-653. (Emphasis Supplied)
Israel Beguiled by Heathen Music. --Balaam knew that the prosperity of Israel depended upon
their observance of the law of God, and that there was no way to bring a curse upon them but
by seducing them to transgression. He decided to secure to himself Balak’s reward, and the
PAGE 33
promotion he desired, by advising the Moabites what course to pursue to bring the curse upon
Israel. He counseled Balak to proclaim an idolatrous feast in honor of their idol gods, and he would
persuade the Israelites to attend, that they might be delighted with the music, and then the most
beautiful Midianitish women should entice the Israelites to transgress the law of God, and corrupt
themselves, and also influence them to offer sacrifice to idols. This Satanic counsel succeeded too
well. --Spiritual Gifts, Vol. 4, p. 49. (Emphasis Supplied)
Beguiled with music and dancing, and allured by the beauty of heathen vestals, they cast off their
fealty to Jehovah. --Patriarchs and Prophets, p. 454.
Musical Entertainments to Have a Religious Atmosphere. --It has been revealed to me that not
all the families who have a knowledge of the truth have brought the truth into their practice. Every
talent of influence is to be sacredly cherished for the purpose of gathering souls to Christ’s side.
Young men and young women, do not consider that your musical entertainments, conducted as
they are in ______ are doing acceptable missionary work. A spirit has come into them that is of a
different order. We had this same spirit to meet thirty years ago, and we bore decided testimony
against it in Battle Creek.
A decided religious feature should be encouraged in all our gatherings. Light has been given me
decidedly again and again. Thirty years ago, when certain ones would assemble together for an
evening of singing exercises, the spirit of courting was allowed to come in, and great injury was
done to souls, some of whom never recovered. --Manuscript 57, 1906.
The Peril of Worldly Entertainments. --It is not safe for the Lord’s workers to take part in worldly
entertainments. Association with worldliness in musical lines is looked upon as harmless by some
Sabbath keepers. But such ones are on dangerous ground. Thus Satan seeks to lead men and
women astray, and thus he has gained control of souls. So smooth, so plausible is the working of
the enemy that his wiles are not suspected, and many church members become lovers of pleasure
more than lovers of God. --Manuscript 82, 1900.
7. SECULAR MUSIC
Qualities of Acceptable Secular Music. --For about an hour the fog did not lift and the sun did not
penetrate it. Then the musicians [on the ship] who were to leave the boat at this place entertained
the impatient passengers with music, well selected and well rendered. It did not jar upon the
senses as the previous evening, but was soft and really grateful to the senses because it was
musical. --Letter 6b, 1893, pp. 2, 3. (Written of the landing in New Zealand in February 1893.)
Beautiful Instrumental Music at the Swiss Beer Garden. --The same night there was beautiful
music and fireworks close by across the road. There is an extensive beer garden owned by the
city and carried on by the city. This garden is made attractive with flowers and shrubs and noble
PAGE 34
trees, giving a nice shade. There are seats that will accommodate hundreds, and little oval tables
are adjusted before these seats and this most beautiful instrumental music is played by the band.
--Manuscript 33, 1886.
An Indescribable Concert. --We are having an indescribable concert. Nine are singing, -Dutch or
German or French, I cannot tell which. The voices are just splendid, quite entertaining. I think it is
a Sunday-school excursion company. --Letter 8, 1876.
8. THE MUSICAL PERFORMERS
Ambition for Display. --Musical entertainments which, if conducted properly, will do no harm,
are often a source of evil. In the present state of society, with the low morals of not only youth
but those of age and experience, there is great danger of becoming careless, and giving especial
attention to favorites, and thus creating envy, jealousies, and evil surmisings. Musical talent too
often fosters pride and ambition for display, and singers have but little thought of the worship of
God. Instead of leading minds to remembering God, it often causes them to forget Him. --Letter 6a,
1890.
Singing for Display-Counsel to a Leader of Music. --I was taken into some of your singing
exercises, and was made to read the feelings that existed in the company, you being the prominent
one. There were petty jealousies, envy, evil surmisings, and evil speaking . . . . The heart service
is what God requires; the forms and lip service are as sounding brass and a tinkling cymbal. Your
singing is for display, not to praise God with the spirit and understanding. The state of the heart
reveals the quality of the religion of the professor of godliness. --Letter 1b, 1890. (Evangelism, p. 507.)
Music That Offends God. --Display is not religion nor sanctification. There is nothing more offensive
in God’s sight than a display of instrumental music when those taking part are not consecrated, are
not making melody in their hearts to the Lord. The offering most sweet and acceptable in God’s
sight is a heart made humble by self-denial, by lifting the cross and following Jesus.
We have no time now to spend in seeking these things that only please the senses. Close heart
searching is needed. With tears and heartbroken confession we need to draw nigh to God that He
may draw nigh to us. --Review and Herald, November 14, 1899. (Evangelism, p. 510)
Music Acceptable to God. --The superfluities which have been brought into the worship in ________
must be strenuously avoided . . . . Music is acceptable to God only when the heart is sanctified and
made soft and holy by its facilities. But many who delight in music know nothing of making melody
in their hearts to the Lord. Their heart is gone “after their idols.” -- Letter 198, 1899. (Evangelism, p.
512)
PAGE 35
9. TESTIMONY TO A SENSITIVE CHOIR DIRECTOR
A Message of Counsel Touching Many Facets of Music and the Musician
I was shown the case of Brother S., that he would be a burden to the church unless he comes into
a closer relation with God. He is self-conceited. If his course is questioned he feels hurt. If he thinks
another is preferred before him, he feels that it is an injury done to him . . . .
Brother S. has a good knowledge of music, but his education in music was of a character to suit
the stage rather than the solemn worship of God. Singing is just as much the worship of God in
a religious meeting as speaking, and any oddity or peculiarity cultivated attracts the attention of
the people and destroys the serious, solemn impression which should be the result of sacred
music. Anything strange and eccentric in singing detracts from the seriousness and sacredness of
religious service.
Bodily exercise profiteth little. Everything that is connected in any way with religious worship
should be dignified, solemn, and impressive. God is not pleased when ministers professing to be
Christ’s representatives so misrepresent Christ as to throw the body into acting attitudes, making
undignified and coarse gestures, unrefined, coarse gesticulations. All this amuses, and will excite
the curiosity of those who wish to see strange, odd, and exciting things, but these things will not
elevate the minds and hearts of those who witness them.
The very same may be said of singing. You assume undignified attitudes. You put in all the power
and volume of the voice you can. You drown the finer strains and notes of voices more musical
than your own. This bodily exercise and the harsh, loud voice makes no melody to those who hear
on earth and those who listen in heaven. This singing is defective and not acceptable to God as
perfect, softened, sweet strains of music. There are no such exhibitions among the angels as I have
sometimes seen in our meetings. Such harsh notes and gesticulations are not exhibited among the
angel choir. Their singing does not grate upon the ear. It is soft and melodious and comes without
this great effort I have witnessed. It is not forced and strained, requiring physical exercise.
Brother S. is not aware how many are amused and disgusted. Some cannot repress thoughts not
very sacred and feelings of levity to see the unrefined motions made in the singing. Brother S.,
exhibits himself. His singing does not have an influence to subdue the heart and touch the feelings.
Many have attended the meetings and listened to the words of truth spoken from the pulpit,
which have convicted and solemnized their minds; but many times the way the singing has been
conducted has not deepened the impression made. The demonstrations and bodily contortions,
the unpleasant appearance of the strained, forced effort has appeared so out of place for the
house of God, so comical, that the serious impressions made upon the minds have been removed.
Those who believe the truth are not as highly thought of as before the singing.
Brother S.’s case has been a difficult one to manage. He has been like a child undisciplined and
uneducated. When his course has been questioned, instead of taking reproof as a blessing, he
has let his feelings get the better of his judgment and he has become discouraged and would do
nothing. If he could not do in everything as he wanted to do, all in his way, he would not help at
PAGE 36
all. He has not taken hold of the work earnestly to reform his manners but has given up to mulish
feelings that separate the angel from him and bring evil angels around him. The truth of God
received in the heart commences its refining, sanctifying influence upon the life.
Brother S. has thought that singing was about the greatest thing to be done in this world and
that he had a very large and grand way of doing it. Your singing is far from pleasing to the angel
choir. Imagine yourself standing in the angel band elevating your shoulders, emphasizing the
words, motioning your body and putting in the full volume of your voice. What kind of concert and
harmony would there be with such an exhibition before the angels?
Music is of heavenly origin. There is great power in music. It was music from the angelic throng
that thrilled the hearts of the shepherds on Bethlehem’s plains and swept round the world. It is in
music that our praises rise to Him who is the embodiment of purity and harmony. It is with music
and songs of victory that the redeemed shall finally enter upon the immortal reward.
There is something peculiarly sacred in the human voice. Its harmony and its subdued and heaven-
inspired pathos exceeds every musical instrument. Vocal music is one of God’s gifts to men, an
instrument that cannot be surpassed or equaled when God’s love abounds in the soul. Singing with
the spirit and the understanding also is a great addition to devotional services in the house of God.
How this gift has been debased! When sanctified and refined it would accomplish great good in
breaking down the barriers of prejudice and hardhearted unbelief, and would be the means of
converting souls. It is not enough to understand the rudiments of singing, but with the knowledge,
must be such a connection with heaven that angels can sing through us.
Your voice has been heard in church so loud, so harsh, accompanied or set off with your gesticulations
not the most graceful, that the softer and more silvery strains, more like angel music, could not be
heard. You have sung more to men than to God. As your voice has been elevated in loud strains
above all the congregation, you have been thoughtful of the admiration
you were exciting. You have really had such high ideas of your singing, that you have had some
thoughts that you should be remunerated for the exercise of this gift.
The love of praise has been the mainspring of your life. This is a poor motive for a Christian. You
have wanted to be petted and praised like a child. You have had much to contend with in your own
nature. It has been hard work for you to overcome your natural besetments and live a self-denying,
holy life. --Manuscript 5, 1874.
©Ellen G. White Estate

June 30, 1972
PAGE 37

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ART APPRECIATION

ART AS EXPRESSION OF EMOTIONAL CONTENT. Expression became important during

FRANK LLOYD WRIGHT: Art is a discovery and development of elementary principles of

LUCIUS ANNAEUS SENECA​: All art is but imitation of nature.

JEAN SIBELIUS: Art is the signature of civilizations.

THE ELEMENTS OF DESIGN

BALANCE. Balance is the concept of visual equilibrium of similar, opposing, or

PATTERN. An object or symbol that repeats in the design is a pattern. It can be a

REPETITION. Repetition creates unity and consistency in the composition; it is the

RHYTHM. Rhythm is the alternation or repetition of elements with defined intervals

VARIETY. Variety is the principle that refers to the combination of elements in an

http://education.gc.adventist.org/jae The Journal of advenTisT educaTion • ocToBer/novemBer 2008 5

The Arts Are of Christian Value

6 The Journal of advenTisT educaTion • ocToBer/novemBer 2008 http://education.gc.adventist.org/jae

Art acquires merit because it is an expression of creativity; and creativity is

http://education.gc.adventist.org/jae The Journal of advenTisT educaTion • ocToBer/novemBer 2008 7

8 The Journal of advenTisT educaTion • ocToBer/novemBer 2008 http://education.gc.adventist.org/jae

Christianity and Culture

To construct a Christian view of the arts requires us to identify biblical

http://education.gc.adventist.org/jae The Journal of advenTisT educaTion • ocToBer/novemBer 2008 9

The Christian Life

10 The Journal of advenTisT educaTion • ocToBer/novemBer 2008 http://education.gc.adventist.org/jae

http://education.gc.adventist.org/jae The Journal of advenTisT educaTion • ocToBer/novemBer 2008 11

In this document the phrase “sacred music”–sometimes referred to as religious music–

3. It is characterized by quality, balance, appropriateness, and authenticity.

5. Music reveals creativity in that it draws from quality melodies. If harmonized,

6. Vocal music employs lyrics that positively stimulate intellectual abilities as

7. Musical and lyrical elements should work together harmoniously to influence

9. We should recognize and acknowledge the contribution of different cultures

Seventh-day Adventist music-making means to choose the

1. THE ROLE OF MUSIC

5. RELIGIOUS MUSIC MADE SATAN’S SNARE

6. THE LURE OF WORLDLY MUSIC

8. THE MUSICAL PERFORMERS

A Message of Counsel Touching Many Facets of Music and the Musician

©Ellen G. White Estate

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LUCIUS ANNAEUS SENECA: All art is but imitation of nature.