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Originally Posted by JohnOwen007  [1] Your argument against instruments only works if music and instruments themselves are types of something. It's easy to show that sacrifices were types because the NT explicitly tells us. However, what is music (and instruments) typological of? The NT is silent at that point. They aren't types, and so (I think) may continue. One can't simply say that because instruments were a part of temple worship then they should be abolished along with sacrifices. On that account we wouldn't be allowed to meet in a building because OT sacrifices were done in the temple (a building). |
Marty, the question is not quite as simple as you make out. The point is that instruments were tied to typical worship, as were the priestly vestements etc. We do not need to find an explicit antitype of instruments as Christ was the fulfilment of the whole temple cultus. However I would suggest (tentatively) that as incense symbolised the prayer of the saints so the instruments sumbolised the praise of the saints. The trumpets were blown over the burnt offering which
could symbolise the preaching of the gospel.
Calvin: "There is a distinction, however, to be observed here, that we may not indiscriminately consider as applicable to ourselves, every thing which was formerly enjoined upon the Jews. I have no doubt that playing upon cymbals, touching the harp and the viol, and all that kind of music, which is so frequently mentioned in the Psalms, was a part of the education; that is to say, the puerile instruction of the law: I speak of the stated service of the temple. For even now, if believers choose to cheer themselves with musical instruments, they should, I think, make it their object not to dissever their cheerfulness from the praises of God. But when they frequent their sacred assemblies, musical instruments in celebrating the praises of God would be no more suitable than the burning of incense, the lighting up of lamps, and the restoration of the other shadows of the law."
Dickson on Psalm 150: 3-5
Here are other six exhortations, teaching the manner of praising God under the shadow of typical music, appointed in the ceremonial law. Whence learn,
1. Albeit the typical ceremonies of musical instruments in God's public worship, belonging to the pedagogy of the church, in her minority before Christ, be now abolished with the rest of the ceremonies; yet the moral duties shadowed forth by them, are still to be studied, because this duty of praising God, and praising him with all our mind, strength, and soul, is moral, whereunto we are perpetually obliged.
2. The variety of musical instruments, some of them made use of in the camp, as trumpets; some of them sounding by lighter touching of them, as stringed instruments; some of them by beating on them more sharply, as tabrets, drums, and cymbals; some of them sounding by touching and blowing also, as organs: all of them giving some certain sound, some more quiet, and some making more noise: some of them having a harmony by themselves; some of them making a concert with other instruments, or with the motions of the body in dancing; some of them serving for one use, some of them serving for another, and all of them serving to set forth God's glory, and to shadow forth the duty of worshippers, and the privileges of the saints; - the plurality and variety, I say, of these instruments, were fit to represent divers conditions of the spiritual man, and of the greatness of his joy to be found in God, and to teach what stirring up should be of the affections and powers of our soul, and one of another, unto God's worship; what harmony should be among the worshippers of God, what melody each should make in himself, singing to God with grace in his heart, and to show the excellence of God's praise, which no means nor instrument, nor any expression of the body joined thereunto, could sufficiently set forth: and thus much is figured forth in these exhortations to praise God with trumpet, psaltery, harp, timbrel, stringed instruments, and organs, loud and high sounding cymbals.
Dickson on Psalm 4
From the inscription of this Psalm, which is the first wherein mention is made of the chief musicians, or musical instruments: learn 1. The praise of God and the joy of his Spirit, allowed on his people, surpass all expression which the voice of words can make; for this was signified by the plurality, and diversity of musical instruments (some of them sounding by being beaten, some of them by being blown,) superadded to the voice of singing in the prĉdagogy of Moses. 2. Albeit the ceremonial, figurative, and religious use of musical instruments be gone, with the rest of the Levitical shadows, (the natural use of them still remaining
yet the vocal singing of Psalms in the church is not taken away, as the practice and doctrine of Christ and his apostles make evident; and so the voice of a musician in the public worship still is useful. 3. The Psalms are to be made use of with discretion, as the matter of the Psalm, and edification of the worshippers may require. And in the public, it is the called minister of the congregation's place, to order this part of the worship with the rest; for this, the direction of the Psalms to the chief musician giveth ground.