Instrumental worship for New Testament Christians can be justified

A Cappella translates to the English phrase, “Of the Chapel.” That’s right; A Cappella music is the type of music found to be coming from chapels or church buildings. Now, if this is true (and we just proved that it is), then logic demands the opposite must also be true. In other words, music with instruments is the type which is not found in places where the church meets. So, if there is an instrument present and in use, the people there are not part of the church: people who use instruments in their worship music are not in the church built and bought by Christ (Romans 16:16). Again, this historical evidence is not religiously binding. However, in light of this evidence, we should be fearful of changing anything regarding this facet of worship. This should be an effective catalyst in provoking us to a deeper and complete study of this topic, regardless of how difficult such study may seem. Hebrews 13:15-16, “By him therefore let us offer the sacrifice of praise to God continually, that is, the fruit of our lips giving thanks to his name. But to do good and to communicate forget not: for with such sacrifices God is well pleased.” We are commanded to give the fruit of our lips as our praise. Giving the fruit of our fingers is strange fruit, and is thus condemned. God could leave it at this and it should be sufficient for us. However, God even gives us a glimpse as to why instruments are forbidden under the New Covenant. Colossians 3:16, “Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.” In this passage, we see that our singing is teaching. Teaching is speaking. We must all speak the same thing (1st Corinthians 1:10). We must all speak truth (Ephesians 4:15). Everyone must be able to understand the message of our singing (1st Corinthians 14:15). So, it is Biblically demonstrated that our singing must be in truth, and that a clear, distinct message must be given in our singing. Can mechanical instruments do this? Paul didn’t think so. 1st Corinthians 13:1, “Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass, or a tinkling cymbal.” The context of this passage may be charity, but it demonstrates how all the spiritual gifts, of the preceding and following passages, work together for harmony and unity: they present a clear message when in their proper place. When these gifts were misused, what was the result? Harmony was disrupted. The message of the church was unclear. What comparison did Paul use to represent destroying this unity? Since unity and a clear message is required in our singing, what comparison would be valid to show an unclear message in our singing? Mechanical instruments make the message unclear. Mechanical instruments destroy the very purpose God gave for our singing. On this argument alone, instruments are prohibited. However, some people with very hard hearts, and very selfish attitudes, will argue about this. Therefore, we will press onward with the second Biblical argument against the mechanical instrument; one against which no sincere person can argue. Ephesians 5:18b-19, “[B]e filled with the Spirit; [s]peaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord…” This is obviously a command with the use of the verb, “be.” So, the question comes, “To whom is the command given?” “What is the grammatical construction of this passage as originally written?” First, we must know the word under discussion. We are to both sing and make melody. We all know what singing entails, so let’s look at making melody. ψάλλω psallō psal'-lo Probably strengthened from ψάω psaō (to rub or touch the surface; compare G5597); to twitch or twang, that is, to play on a stringed instrument (celebrate the divine worship with music and accompanying odes): - make melody, sing (psalms). Many look at this definition, raise their hands in victory, and stop studying further. Is that safe? We see the definition for making melody. However, we need to look at the grammatical construction before we can know HOW to make melody. There are two points that need to be covered. The parsing code (key to grammar) in the Textus Receptus, the Byzantine, AND the Westcott-Hort texts for ψάλλω is: V-PAP-NPM. In fact, in all three texts, a variant of ψάλλω is used to show it is a different part of speech. Rather than ψάλλω, all use ψαλλοντες (psallotes). The lexicons only give the root word. This tells us that we absolutely must see why a variant is used. For that we need just a smidgen of Greek grammar; we need to know exactly what that parsing code means. Ψαλλοντες is present tense and active voice, with an imperative, participial mood. Ψαλλοντες is nominative in case, plural in tense, and masculine in gender. Being a present tense verb (but not perfect tense which would apply only to a one time action), Ψαλλοντες is valid each time one engages in the action of the predicate. The active voice ties this verb directly to a specific means of fulfilling the action; in this instance a specific, named instrument. The mood is an imperative (command), and requires a participle’s conjugation (which in turn requires a case, tense, and gender). In other words, to use this word, a specific instrument must also be named. The only instrument authorized for us in worship is the human heart; we must pluck our heartstrings with our singing. A nominative case verb has nothing to do with the main clause (subject and predicate) of the sentence but ψαλλοντες is rather setting up the circumstance for the sentence’s meaning; describing how the subject and predicate work together. The main clause of this passage is, “Speaking to yourselves in psalms, hymns, and spiritual songs.” Since many have been hoodwinked to think they can find authority for mechanical instruments in there, as well, I will deal with this in a moment. Ψαλλοντες is plural. Since ψαλλοντες is both plural (2nd person) and imperative, all are commanded to ψαλλοντες each time there is music. If ψαλλοντες applies to a piano, harp, or any other stringed, mechanical instrument, and it is already proven to apply to all worshipers, then all must play that specific instrument or be in violation of the imperative. This same principle even prohibits choirs! Greek is not like the Latin in that everything is either masculine of feminine. If this ψαλλοντες applied to mechanical instruments, the gender would be neuter. Since the gender is masculine, you can rest assured this speaks of people: and masculine gender can apply to both males and females when used in the plural, as is the case with the word, “mankind.” Now, let’s turn our attention to the main clause; specifically the subject noun, ψαλμός (psalms). Here is the parsing code for ψαλμός: N-DPM. It is a noun, dative case, plural, and masculine gender. The dative case, in this instance, is specifically “dativus instrumenti.” This simply means that the method to complete the predicate action must be given; i.e., “singing.” It does not say sing and play as proponents of the sinful instrument need it to say if their position were true. Even though in times past the psalms were played, now they are to be sung with the voice. The given conjunction in Strong’s definition for psalms is “or,” not “and.” Instruments are not required. The voice, alone, is an acceptable option. If definitions are different or conflict with each other (or could), it is up to us to determine correctly which option is the truth of God’s Word, and which is a lie. We must use context. We must not violate other passages of Scripture. Moreover, according to Ephesians 5:19, the Psalms were to be spoken; not played. If you refuse to accept this, it will be between you and God when He sends you to Hell at the judgment, for I have told you the truth.