Archive for October, 2009

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A Biblical View of the State

October 28, 2009

by Matthew Raley

The question we opened last week is whether evangelicals should continue to identify with conservatives.

This is first a theological question, not a political or social one. Evangelicals should not answer it from their cultural reflexes, but from what the Bible teaches. We need to integrate our loyalties as Americans and as followers of Christ by a renewed theology of citizenship.

I think an inquiry along this line starts with what the Bible teaches about the state.

The Bible does not prescribe a particular form for the state, treating the state in whatever earthly form as a God-ordained institution with stewardship over the civic affairs. God holds officers of state accountable for conduct in justice (including the punishment of violence, theft, and economic fraud and abuse) and warfare.

In the Mosaic law, human functions of state are divided amongst tribes and cities, going back to the system Moses implemented in Exodus 18.13-27. The tribes were assigned territories and governed themselves separately (Joshua 13-21). Thus the nation of Israel from its founding was a confederation, not a centralized human kingdom. Politically, it was a literal theocracy, formalized by a suzerain-vassal treaty (the Sinai covenant, says Deuteronomy 33.1-5).

The law is particularly strong in dividing the state from the priesthood. The Levites had charge of everything related to the worship of the Lord, as well as the enforcement of the ritual laws. The strongest indication of this division is Lord’s choice to take the tribe of Levi as his priestly possession, rather than all first-born sons spread through the tribes (Numbers 3.40-51). Worship was assigned to an group independent of all other loyalties.

The law prepares for but does not mandate a human king, sharply limiting his powers (Deuteronomy 17.14-20). The law and the judge Samuel are explicit that tyranny in the taking of property and in state aggrandizement is a form of evil (1 Samuel 8.10-22).

When a king is appointed by God, he is first from Benjamin (Saul), then from Judah (David), prohibiting the king from the priestly functions that belonged to Levi. Saul crossed this boundary, offering a sacrifice on his own authority, and the Lord’s verdict was that Saul would have no dynasty (1 Samuel 13.8-14).

David understood this separation thoroughly, and the reasoning of statecraft behind it. If worship is strengthened and preserved outside the state’s power, it becomes a source of moral and spiritual nourishment for the people. As such, the institutions of worship bring health to the culture, and serve to reform the state when it becomes tyrannical. So David devoted his reign to the reform, organization, and institutional longevity of the Levitical priesthood (1 Chronicles 22-26). As a result, the priesthood was a source of strength for the reforming kings in Judah throughout the rest of its history.

I draw two principles from these texts. First, authority over civil affairs is best divided among many institutions. This serves to check the evil of tyranny. Second, the state has the duty to preserve the separation of worship institutions. The state must not take over the sphere of worship.

Such was the design of the theocracy for Israel, which had specific purposes in redemption history. The biblical flexibility on forms of state more generally can be seen in a couple of ways.

God’s people showed that they could serve in pagan states. They did this by showing administrative prowess, just decisions, and refusal to yield points of worship to the pagan kings.  Joseph in Egypt (Genesis 41) and Daniel in Babylon (Daniel 1-2) are preeminent examples.

In the New Testament, the most prized aspect of the Roman state was the freedom and peace it gave, so that Christians could bear witness and grow without persecution (1 Timothy 2.1-7). The church saw the restraint of the Roman state in matters of spirituality as an advantage.

So the role of the state in the Bible is primarily negative: to preserve order against crime (Romans 13.1-7). This is because the Bible sees the actual rule of a nation in the conduct of the people themselves. The ethics of the people set the destiny of the nation.

One thing seems clear to me. The vision of the American religious right that government can be a source of righteousness for the people is not in agreement with biblical teaching. I don’t think anyone can plausibly deny that this is their vision. They have leaped too quickly and too often from the “If my people” verse to a call to elect this or that Republican. Further, the vision of the religious left that national righteousness is dependent on passage of the latest welfare scheme (“Budgets are moral documents,” etc, etc) is the same exact error in the opposite political direction.

In the context of biblical teaching, the actions of local churches are far more important in promoting ethics and justice in America than the actions of the state.

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Audio: The Son Is Your Sovereign

October 26, 2009

by Matthew Raley

"The Lamentation," Petrus Christus c. 1450, Metropolitan Museum of Art

"The Lamentation," Petrus Christus c. 1450, Metropolitan Museum of Art

As we continue to study the Persons of the Trinity and how they work to save us from sin, we take up the plot of the Gospel of John. Will Jesus’ enemies finally “get him”? In this sermon, we find that the Son of God was completely in control of everything that happened to him, even his own death.

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A Painting by William Merritt Chase

October 23, 2009

by Matthew Raley

"A Lake for Miniature Yachts," by William Merritt Chase, ca. 1888, The Metropolitan Museum of Art

"A Lake for Miniature Yachts," by William Merritt Chase, ca. 1888, The Metropolitan Museum of Art

I was browsing through the special exhibitions now showing at the Met (wishing I could stroll instead of scroll), when I found this piece. I love Chase’s work, and it was good to be reminded of his feel for composition after a long time neglecting him.

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The Alliance of Evangelicals and Conservatives

October 21, 2009

by Matthew Raley

Evangelicals and political conservatives  have been allies for decades, an alliance many evangelicals now question.

Evangelicals certainly constitute a large part of the Republican base. But the alliance I’m talking about is more specific. The conservative movement is distinct from the GOP, and the two have long had a strained relationship. Conservatives embraced most of the GOP’s presidential nominees since Ronald Reagan only reluctantly. Neither of the George Bushes were “movement” conservatives, and Bob Dole and John McCain were frequent antagonists.

So my focus is on the evangelical relationship with the conservative movement ideologically and organizationally. Does this alliance serve the cause of Christ? Has the increasing orientation of church life toward political issues harmed churches? Has the politicization of churches harmed conservatism itself?

Let’s start with definition and analysis.

Most people professing to be conservatives today do not know what conservatism is. It is not Fox News, Rush Limbaugh, and Sarah Palin. Indeed, conservatism is not historically or essentially a political philosophy, but a philosophy of culture that expresses itself politically. The logic of its policies cannot be understood without a grasp of the ideas about culture on which the policies are grounded.

There are three basic strains that came together mid-20th century to form what we know as conservatism today.

First, there were libertarians. Thinkers such as Albert Jay Nock and Friedrich Hayek constructed seminal arguments for the free market against state control, arguments that were further developed by economists such as Milton Friedman and political philosophers such as Willmoore Kendall. The supply-side tax policies of Arthur Laffer also came from this strain. For a libertarian, a value that must be preserved is economic liberty vested in private property.

Evangelicals have not felt much kinship with this faction. Socially, evangelicals were small business and agrarian people, not financiers. They were (and remain) based in the southeast and the west, not in the northeast. Furthermore, evangelicals have a long history of economic populism (back to William Jennings Bryan) that continues to this day pitting Wall Street against Main Street.

One question I want to ponder, then, is the significance of private property biblically.

A second strain of conservatism is traditionalism. The thinker here is Russell Kirk, author of The Conservative Mind, which surveyed cultural and political thinkers from Edmund Burke to T. S. Eliot. Conservatives of this faction drew their inspiration from Britain, and from such continental figures as Alexis de Tocqueville. They emphasized the respect for folkways and local hierarchies that informed the American founders as they wrote our Constitution. For a traditionalist, the value that must be preserved is the inherited way of life.

This is the faction in which evangelicals feel most at home. But there is still tension. Most traditionalists are Roman Catholic, leading many on the religious right (e.g. Chuck Colson) to seek theological rapprochement for the sake of cultural alliance.

So I also want to consider the significance of inherited ways of life biblically.

A third strain that went into today’s conservatism consisted of anti-communists — the most socially complex faction.

Most of these conservatives started out on the left and joined one of several migrations to the right. An intellectually powerful migration occurred in the 1930s and 40s in reaction against Stalinism. This group of ex-communists and fellow travelers was represented most prominently by Whittaker Chambers, John dos Passos, and James Burnham. Another migration came when New Deal liberals and internationalists like Ronald Reagan perceived that Democrats were not committed to defeating the Soviet Union. A still later group, consisting of Irving Kristol, John Podhoretz, and Midge Decter, et al., reacted against the counterculture in the 1960s.

For anti-communist conservatives,  free society was the primary thing to preserve against communist dictatorship. These conservatives had experienced radical leftism from the inside, or in direct contact, and regarded it not as mistaken but evil. They were intellectuals — journalists, novelists, social scientists, policy analysts.

Evangelicals were certainly anti-communist, but had little affinity for the academic orientation of many conservatives from this faction.

I want to ponder whether loyalty to one’s culture and patriotism for one’s country have significance in the biblical scheme of things.

The man who, more than anyone else, fused the three strains into one movement was William F. Buckley, Jr. He was able to fuse them partly because he personally embodied all of them. He was reared on Nockian anti-statism and on Catholic traditionalism, and was driven politically by the mandate to defeat the Soviet Union. The instrument he founded for articulating the fusion and gathering the factions under one roof was National Review. (The term fusionism and its intellectual formulations were the construct of fellow editor Frank Meyer.)

The fusion worked because all of the factions shared the principle that localities are strongest when free to govern themselves. The localities need to be strong in order to keep people strong. Communism was the ultimate offense against this philosophy because it violently leveled all local authority.

To consider whether evangelicals should keep thinking of themselves as conservatives, the first question is not whether Palin is a hot political commodity, or whether Rush is a liability, but whether the Bible agrees with what conservatism is.

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Audio: The Father Is Your Savior

October 19, 2009

by Matthew Raley

"Father of the Artist," Paul Cezanne, c. 1865, National Gallery

"Father of the Artist," Paul Cezanne, c. 1865, National Gallery

In a society afflicted with absent and even abusive fathers, the idea that God is a faithful Father who loves his children is increasingly abstract. For many believers, the first person of the Trinity is a blank. In this sermon, we study what Jesus teaches about the Father in the upper room discourse (John 13-16).

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Audio: The Key To Christian Living

October 15, 2009

by Matthew Raley

"The Baptism of Christ," by Giovanni Domenico Tiepolo (1727-1804), Metropolitan Museum of Art

"The Baptism of Christ," by Giovanni Domenico Tiepolo (1727-1804), Metropolitan Museum of Art

Jesus’ discourse with his disciples in the upper room (John 13-16) prepares them for life in the world after his ascension. Though it has many famous passages, I find that believers often miss its most essential teaching: that fellowship with the Triune God is the key to Christian living. This sermon introduces the doctrine of the Trinity from the Gospel of John.

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Is An Evangelical Art Music Possible?

October 14, 2009

by Matthew Raley

The father of Christian contemporary music, Larry Norman, recorded a song decades ago quoting Martin Luther: “Why should the devil have all the good music?” It was push-back against those who said rock and roll was inherently devilish.

Ever since, the quote has been a favorite of youth pastors who like to think that Luther was talking about tavern drinking songs that were turned into hymns. Take the music of the marketplace, they say, and make it preach Jesus.

Sorry. Martin Luther never thought the devil lived in taverns. The man liked his beer. As far as Luther was concerned, the devil lived in Rome. Specifically, the devil had taken over St. Peter’s, with its architecture, its sculptures and frescos … and its choirs.

In fact, Luther’s quote was about the most eminent composer of that time, one-time member of the Papal choir, Josquin des Prez. He it was who wrote “all the good music” that the devil had — art music, developed over the centuries from Gregorian chant. This music was pre-Palestrina, having many independent parts, so florid in their mutual imitations that the text of the mass tended to get lost.

Luther himself was a well-trained singer and a composer. He wrote many of the Lutheran hymns himself. They were not tavern tunes at all.

Larry Norman’s little artifact comprehends the scope of my argument over the last few months. Evangelicals have ditched their folk singing tradition (music from life) in favor of pop music (music from the store). In doing so, they leveled the varied and authentic cultures of churches all over the country into the wasteland of Christian radio. Evangelical leaders committed this blunder because of musical illiteracy, and turned their movement into a cultural parasite.

I have argued that the folk singing dynamic can be recovered, and the richness of local church cultures gradually restored.

But there is one last consideration. The art music descended from Josquin and from Luther’s heir, Johann Sebastian Bach, ran aground in industrial society. Philosopher Theodor Adorno said that the only thing left for modern music to express is the alienation of the individual.

Contemporary, newly composed art music (mostly from secular academia) has no mission to edify people, that is, to bring them together on the basis of shared things. The mission of new art music seems to be that of presenting very personal pieces that, it is hoped, will be “accessible” to listeners. It has institutional support, for now, but no philosophical basis.

I may be alone among evangelicals in thinking this is an important problem. But here goes: Evangelical composers could produce what academia cannot, a renewed development of art music from living folk traditions. This art can begin by adding emotional range to a worship service to glorify God, replying to folk singing with artistic affirmation. (An example from Bach here.) An evangelical composer can do this by exploring three mandates:

1. Modernist alienation from the listener is evil.

The musician is a servant of God to the community, not a prophet of his or her own selfish passion. God’s musician should not affirm sentimental delusions in God’s people. He challenges perceptions and assumptions. But he does so within the confession of truths that are prejudicially shared.

New art music, following Adorno, has restricted itself to the tools of deconstruction and shock so long that it now exhibits a pathetic inability to relate. Whatever its brilliance as art — and the brilliance is often real — it is frequently not humane. When it does reach out, it offers the tentative comfort of the emotionally distant.

Overthrow the Beethovenian priesthood of the artist. Reconstitute Bach’s guild of pious craft.

2. Bypass pop music and mine a living folk tradition in a local church.

Pop music is, in the vast majority of cases, dead commercialism. It sometimes renews itself with an act that comes straight from the street. But the market usually softens the act. Renewal may come with the Beatles, but what gets stuck in your head is the Monkeys. There is not enough raw material in pop music to interact with meaningfully.

Evangelicals have a folk tradition. Once they resuscitate it, they should speak to it. The interaction between art composition and folk singing is so long and fruitful that it needs no more than a few names to fill it in: Bartok, Kodaly, Katchaturian, Copland, Shostakovich, Chopin, Paganini, Haydn, etc., etc., etc.

American evangelical folk hymns are fertile ground. They only require a composer who believes what they say.

3. Employ forms that live in the broader American tradition.

An audience responds to form before it responds to style. Form is prejudicial. A composer who aims at edifying an audience shouldn’t waste his time with surface-level stylistic mimicry. Form says “we.” The 12-bar blues and the 32-bar song are both suited to unbelievable stylistic flexibility. And, with Americans, they retain the unconscious power of a Sarabande in Bach’s day. (Bach took care with his stylistic etiquette, yes. But his dance movements are harmonic and contrapuntal tours de force.)

These three mandates had their equivalents in Luther’s day. He understood that the Reformation would never thrive as a cultural parasite on Roman Catholicism. So he worked hard at developing his people’s folk singing. And he inaugurated an artistic tradition that produced, in less than two centuries, Bach himself.

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The Controversial Gidon Kremer

October 14, 2009

by Matthew Raley

At a post-concert party in the early 1990s, Saul and Aron Bitran, the violinists of Cuarteto Latinoamericano, were debating the merits of virtuoso soloists. Gidon Kremer’s name came up, and there was a pregnant pause. One of the brothers, I don’t remember which, said quietly, “I think he does things just to be different.”

The other shook his head in dismay. “Oh, I don’t agree. His readings have real merit.”

That’s the way it is with Kremer. He leaves houses divided.

In this performance of the Giga from Bach’s Partita No. 2 in d minor, he varies the tempo in ways that I don’t understand. But Kremer’s playing is brilliant, full of unexpected colors, clean articulations, and rhythmic interest.

He even divides me.

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A Strategy That Calls People to Sing

October 7, 2009

by Matthew Raley

The reason churches need to recover the folk singing dynamic is that individuals need to be called out of their own heads to participate in the singing of the body of Christ. Believers are too rooted in their own passions to grow in Christ. They need to pull out their headphones and make music with others, as Ephesians 5 describes. I believe that what’s at stake in this issue is not their emotional satisfaction in worship, but their spiritual growth.

So here is the strategy we have followed in Orland to recover the folk singing dynamic:

1. We’ve given up the right to sing the music we each prefer as individuals.

Look, if I never sang another chorus, I’d be happier. Speaking as a music consumer, the entire CCM industry could disappear tomorrow and my quality of life would be undiminished.

But the reality is that very few believers feel in their guts the kind of music that I feel in mine, the kind of music that I respond to most passionately as a listener. So I have to make a decision. Am I going to claim the right to sing in worship the music that I prefer for listening?

No, I don’t have that right. Christ is glorified, and I am edified, when I join others and we raise our voices together.

In Orland — a rural, small Evangelical Free church — we brought in all sorts of instruments, including the dreaded drums, without a worship war. Believers here saw the need to give up this “right.”

2. We’ve made no effort to produce a certain style.

Six years ago, when our we began to change our worship, we did not pursue a certain demographic, demanding that those not in that demographic get out of the way. We said frankly that we didn’t know what the style of the music was going to be. Our style would emerge over time.

3. We have embraced the musicians and singers we have, in all their diversity, and asked them to work together to lead the congregation.

We have the usual instruments, and the usual musical backgrounds: classical, rock, CCM, bluegrass. We asked all the musicians to go back to basic rehearsal and performance skills, like listening to the other players and finding a good blend, establishing rhythmic integrity, and responding to the expressiveness of others. We found that the classically trained musicians picked up improvisation, while the rock players saw better results from lower volume. (More in a moment.)

4. We have adopted a stripped-down singing style.

Vocal leaders understood that their job was not to have a personal worship experience in front of the congregation, as if they could lead “by example.” Their job — their service of worship to God — was to give leadership that the congregation could follow musically. Singers did not slide up to notes, syncopate for expression, or ornament melodic lines. They sang the notes that they wanted the congregation to sing.

A funny thing happened. The congregation sang.

5. We put strong doctrinal and devotional themes into our singing.

A theme is a developing idea. “Jesus” is not a strong theme. “Jesus is loving” is not a strong theme, either. Both are too general. A strong theme has potential for development: “Jesus’ love is sacrificial” is somewhat better.

For several years, we aligned the sermon with the scripture reading, and took a theme for the singing from them. This year, our readings aren’t aligned with the sermon, but cover the history of redemption up to the birth of Christ. Next year, the readings will cover biblical doctrine. We sing lyrics, regardless of style, that best develop the themes in the readings.

What’s that? You don’t have scripture readings in your worship services?! What exactly is the source of your unity, then?

6. We encourage a variety of musicians to do solos, including young people.

There is a place for solos — that is, for individual testimony in music to the greatness of God. Just as we combined a variety of musicians in the leadership team, so we encourage a wide range of styles in soloists. We have bluegrass, Gaither, CCM, classical. We’ve even had fifes. It was thrilling.

7. We minimize electronic amplification as best we can.

Most contemporary worship services are stupidly loud. You wouldn’t hear the congregation even if they were singing.

A worship service is not a rock concert. So we took out many of the monitors (small speakers that help the musicians hear), lowered the overall volume, emphasized the vocals, and brought up the weaker instruments (e.g. acoustic guitars). These decisions had a lot to do with the “live,” hard-surfaced room in which we sing.

This approach gives enough amplification so that the congregation can follow, but not so much that they’re drowned out.

Over the last six years, this strategy has produced a service that is different. It’s unique to us. People who come with strong stylistic preferences don’t like it. But people who come to participate in a community find that there is a healthy one to join.

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The Daughters of Edward Darley Boit

October 6, 2009

by Matthew Raley

"The Daughters of Edward Darley Boit," by John Singer Sargent, 1882, Museum of Fine Arts, Boston

"The Daughters of Edward Darley Boit," by John Singer Sargent, 1882, Museum of Fine Arts, Boston

I was looking at a survey of John Singer Sargent’s work last night and was reminded of how compelling this painting is. This piece has it all: atmosphere, fascinating color, light effects, compositional interest, and psychological tension. I particularly love the informal placement of the girls, as if we’ve blundered into some game they were playing.