Jubal's Lyre: Music in the Divine Story
Jubal's Lyre is an occasional series exploring the significance of music and musicians in the Bible.
The title for this series of articles has been drawn from an aria by George Frederick Handel in his oratorio Joshua that begins with the declaration, “Oh, had I Jubal’s lyre or Miriam’s tuneful voice.” Jubal is the first musician mentioned in the Bible, identified in Genesis 4:21 as “the father of all who play the harp and flute.” We later meet Miriam as timbrelist and singer during the Exodus of the Hebrews from Egypt, when she leads the celebration following the crossing of the Red Sea. Jubal and Miriam were no doubt talented musicians, but they did not conjure God’s presence through a series of their musical gestures. While we do not have any further word about Jubal other than his seminal role, Miriam is indeed a gifted but flawed Hebrew, as further reading about her will reveal. In these short reflections, we will find that the Bible does not emphasize what some cultures embraced in their traditions: music as magical or manipulative. For example, the early Greeks celebrated the musical demi-god Orpheus who could move all creation with his sounds. Our Bible instead stresses the straightforward human element. Jubal and Miriam were “regular” folk, not musical magicians.
We know very little about the style or quality of the many musical events and even the music itself discussed in the Bible. Much has been lost through the centuries, including all those intriguing rubrics at the head of many psalms, musical references we cannot now understand, though some have tried to unlock those secrets. However, we can follow the role of music in various biblical stories, and we can learn a great deal that we can apply to our own use of music.
These written reflections began as short devotionals shared over a long period, in both Salvation Army musical rehearsals and in music history classes at Asbury University. I have tried to distill these to the degree that they may be applied in the most general way by the typical Salvationist musician. The approach will be broadly chronological, following musical references as they appear first the Old Testament, and then the New. Interested readers can always delve deeper into the many theological ideas or questions raised in these short pieces. I don’t claim to be a biblical scholar, but I have had over 60 years of musical leadership within The Salvation Army, during which I have been carefully guided by biblical principles concerning music.
Music is a great gift from God and a wonderful tool in support of worship. It is also one of the great pleasures of life, both sacred and secular. For well over a century Salvationists have used music in remarkable ways in the support of spreading God’s Kingdom and lifting up the “saints.” Yet, as we will find out in these reflections, music can be easily misunderstood, even misused. The great St. Augustine wrote in his “Confessions” about how easily music can be distorted, misconstrued, misused, or misappropriated. He declared that he had “sinned criminally by being more moved by the singing than by what is sung.” To which he also added that “by the delights of the ear, weaker minds may be stimulated to a devotional frame.” That is the dilemma, expressed in a nutshell, about music.
And so, to our first, broad reflection about music in God’s sacred Word.
-----
It is remarkable how the Bible incorporates music into the most significant events in history. Most notably, at three pivotal points in the Divine story music is present: Creation, Incarnation, and the Second Coming of our Lord. In Job 38 we read that at the moment of Creation “the morning stars sang together and all the angels shouted for joy.” That may have influenced C.S. Lewis when he wrote Aslan “singing” Narnia into existence. And his friend, J.R.R. Tolkien, referred to the “song of Illuvatar” (The Creator) in “The Silmarillion” as Middle Earth – indeed that whole universe – comes into existence. Music – song – is present at the start of all things. But music does not create; it is a tool of the Creator.
Then at the announcement of Christ’s Incarnation, we read in Luke 2:14 of angels praising God and saying – or rather singing – “Glory to God in the highest…!” At Christ’s return music has a great supportive role: “And they sang a new song…You are worthy” (Revelation 5:9). Soon we read, “In a loud voice they sang: ‘Worthy is the Lamb that was slain,’” and of course, the entire heavenly universe singing “To him who sits on the throne…” No wonder Handel was inspired when writing Messiah!
Music serves as the great support and embodiment of joy and praise. Yet the music is not the central point—it only has a supportive role, and it is definitely not the main event. In upcoming articles, we will examine the roles of joy and praise via music in both the sacred and secular realms as revealed in biblical excerpts. Should anyone wish to contact me with thoughts, ideas, or questions, please drop an email to [email protected].