Sacred Worship and Instruments in the Antitypical Day of Atonement

What do you think of this article? Study Purpose This study asks what Psalm 150 actually teaches about musical instruments in worship, how its Old Testament sanctuary setting should be understood under the new covenant, and how its principles apply to instruments such as but not limited to the piano, organ, drums (cajón/symbals), acoustic guitar, and bass guitar. Scripture remains the governing standard; Adventist and Ellen G. White materials are used as contextual and pastoral guidance. SIMPLE CONCLUSION Psalm 150 clearly shows that wind, stringed, and percussion instruments can be used acceptably in praising God. It does not require every church to use every instrument, and it does not answer every question about style or volume. It also does not support the rule that instruments are acceptable outside the sanctuary but forbidden inside it. 1. Psalm 150 within the Book of Psalms Psalm 150 is the concluding doxology of both Book Five of the Psalms and the entire Psalter. It belongs to the final group of “Hallelujah Psalms,” Psalms 146–150, each of which begins and ends with “Praise the Lord.” This position matters. The Psalter contains lament, repentance, grief, doubt, deliverance, thanksgiving, and praise. After taking worshippers through the full range of faithful human experience, it ends with every voice and instrument directed toward the praise of God. Psalm 150 contains thirteen forms of the Hebrew verb halal, “to praise.” Ten are repeated imperatives commonly translated “Praise Him.” The focus is therefore not the musicians, their preferences, or the emotional experience they can produce. God is repeatedly the object of praise. The psalm progresses through four questions: • Where should God be praised?—verse 1 • Why should God be praised?—verse 2 • By what means should God be praised?—verses 3–5 • Who should praise God?—verse 6 Psalm 150 is therefore much larger than a list of approved instruments. It summons all living beings, in every sphere, to praise God for who He is and what He has done. 2. Verse 1: Where Should God Be Praised? “Praise the Lord! Praise God in His sanctuary; praise Him in His mighty firmament.” The Hebrew expression translated “in His sanctuary” is beqodsho. The noun qodesh refers to holiness or a holy place, while the suffix means “His.” The phrase can therefore mean “in His holy place” or “in His sanctuary.” The parallel expression uses raqia, “expanse” or “firmament,” recalling the heavens of Genesis 1. The earthly-temple interpretation On this reading, the “sanctuary” is the Jerusalem temple, while the “firmament” extends the call from earth to heaven. If this is correct, Psalm 150 places the instrumental praise of verses 3–5 in connection with the sanctuary. It cannot then establish the rule, “Instruments may be used elsewhere, but not in the sanctuary.” The movement is the opposite: praise begins in God’s sanctuary and expands throughout the heavens. The heavenly-sanctuary interpretation Because “sanctuary” and “firmament” stand in poetic parallelism, some interpreters understand both expressions as references to God’s heavenly dwelling. Others understand one line as earthly and the other as heavenly. The precise location is debated, but the larger point is clear: God’s reign and praise cannot be confined to one small place. The verse is expansive rather than restrictive. Does this sanctuary mean a modern church building? Not directly. Under the old covenant, the sanctuary and temple possessed a unique theological status connected with sacrifice, priesthood, and God’s covenantal presence. In the New Testament, temple and sanctuary language is applied principally to: • Christ and His body—John 2:19–21 • The heavenly sanctuary where Christ ministers—Hebrews 8:1–2; 9:11–12 • The gathered people of God—1 Corinthians 3:16–17; Ephesians 2:19–22 • The individual believer’s body—1 Corinthians 6:19 • Believers as living stones in a spiritual house—1 Peter 2:4–5 Adventists appropriately call a dedicated worship room “the sanctuary” and treat it reverently. Ellen White and the Church Manual use the word in this devotional and practical sense. Nevertheless, a modern church room is not identical to Israel’s temple and does not inherit the temple’s complete ceremonial legislation. The Church Manual places strong counsel about reverence beside positive counsel to use instrumental music, where practicable, as an acceptable offering to God. Reverence and instrumental accompaniment are therefore not treated as opposites. 3. Verse 2: Why Should God Be Praised? “Praise Him for His mighty acts; praise Him according to His excellent greatness!” The first reason for praise is God’s “mighty acts”: His work in creation, deliverance, covenant faithfulness, judgment, salvation, and care. The second is His “surpassing greatness.” God is praised not only for what He does but for who He is. This supplies an important test for church music: biblical praise directs attention toward God’s character and saving acts. Music must serve the truth being proclaimed. Emotion is not the enemy; the problem arises when musical excitement overwhelms understanding or is mistaken for the work of the Holy Spirit. Psalm 150 presents the proper order: 1. God reveals His greatness and mighty works. 2. Worshippers recognize and understand that truth. 3. Intelligent, grateful, and joyful praise responds to it. 4. Verses 3–5: By What Means Should God Be Praised? “Praise Him with the sound of the trumpet; praise Him with the lute and harp! Praise Him with the timbrel and dance; praise Him with stringed instruments and flutes! Praise Him with loud cymbals; praise Him with clashing cymbals!” The psalm names instruments from all three principal musical families. Exact identifications sometimes remain uncertain because ancient instruments do not correspond perfectly to modern ones. Wind instruments The “trumpet” is the Hebrew shofar, normally an animal horn rather than a modern brass trumpet. The ugav, translated “flute” or “pipe,” was probably a wind instrument or group of pipes. The older translation “organ” should not be confused with the modern keyboard instrument. Stringed instruments The nevel and kinnor were ancient stringed instruments, variously translated harp, lyre, or lute. Minnim appears to refer generally to strings or stringed instruments. An acoustic guitar and bass guitar are not identical to these instruments, but they belong to the same broad family. Psalm 150 supplies no basis for declaring ancient strings holy while treating modern strings as morally suspect simply because their shape or cultural history differs. Percussion instruments The tof, commonly translated “timbrel” or “tambourine,” was probably a handheld frame drum. It appears elsewhere in celebration and praise, including Exodus 15:20, Psalm 81:2, and Psalm 149:3. Verse 5 also mentions two descriptions of cymbals, probably indicating different sounds or manners of playing. The cajón is not specifically named in Scripture, just as the piano and pipe organ are not specifically named. It nevertheless belongs to the broad percussion family represented by frame drums and cymbals. Psalm 150 therefore prevents us from arguing that percussion is inherently incompatible with sacred worship. It does not teach that every possible use of percussion is wise. A permissible instrument can still be played in a dominating, manipulative, or disorderly manner. Dance or movement Most translations render the Hebrew machol as “dance,” although its exact sense has been discussed. Its inclusion is important. If Psalm 150 is treated as a literal order requiring every element in every Christian service, consistency would require not only trumpets, strings, drums, pipes, and cymbals, but also dancing. This confirms that the psalm is poetic summons rather than a complete new-covenant service manual. 5. Do “Loud Cymbals” Authorize Unlimited Volume? No. Verse 5 celebrates vigorous praise but does not abolish the rest of Scripture. New Testament worship must remain intelligible, edifying, self-controlled, and orderly: • “I will sing with the spirit, and I will also sing with the understanding.”—1 Corinthians 14:15 • “Let all things be done for edification.”—1 Corinthians 14:26 • “God is not the author of confusion but of peace.”—1 Corinthians 14:33 • “Let all things be done decently and in order.”—1 Corinthians 14:40 • Believers teach and admonish one another through psalms, hymns, and spiritual songs—Colossians 3:16 “Loud cymbals” cannot justify volume that causes pain, obscures the words, prevents congregational singing, confuses thought, or produces the “bedlam of noise” Ellen White condemned. Biblical exuberance and biblical order are not enemies. Scripture permits vigorous praise while requiring understanding, participation, and spiritual discernment. 6. Verse 6: Who Should Praise God? “Let everything that has breath praise the Lord. Praise the Lord!” The Hebrew neshamah means breath or the breath of life and recalls God giving humanity the breath of life in Genesis 2:7. The psalm begins in God’s sanctuary or heavenly dwelling and concludes with every breathing creature. Praise expands outward until nothing living is excluded. The final emphasis is not, “Let every instrument make a sound,” but, “Let everything that has breath praise the Lord.” Instruments serve the praise of living worshippers; they must not displace the congregation or reduce its members to spectators. Accompaniment should normally strengthen the congregation’s voice rather than overpower it. 7. Reading Psalm 150 under the New Covenant Error one: dismissing Psalm 150 because it is Old Testament Christians cannot treat the Old Testament as spiritually irrelevant. Jesus and the apostles received the Psalms as Scripture, and Paul instructed believers to use psalms, hymns, and spiritual songs. Psalm 150 continues to reveal: • God’s worthiness to be praised • The goodness of embodied and artistic praise • The moral acceptability of instrumental music • The appropriateness of variety and skilled expression • The goal of directing every capacity toward God Error two: transferring every temple detail directly into the church Some Old Testament worship practices were connected with priests, Levites, sacrifices, festivals, and the earthly sanctuary. Hebrews 8–10 teaches that the sanctuary system pointed forward to Christ and His superior heavenly ministry. Psalm 150 demonstrates that instruments are acceptable means of praise, but it does not automatically transfer the complete Levitical musical organization into every congregation. The new covenant retains the theological principle while applying it under Christ’s lordship and the apostles’ instructions concerning truth, love, edification, intelligibility, congregational participation, and order. 8. What Psalm 150 Establishes • Musical instruments are not inherently secular, unholy, or morally corrupt. • Wind, stringed, and percussion instruments were all capable of serving sacred praise. • Percussion cannot be rejected merely because it emphasizes rhythm. • Stringed instruments cannot be rejected merely because similar instruments are used in secular settings. • Praise can be joyful, vigorous, varied, and embodied. • The content and object of praise must remain God—His acts and His greatness. • A modern worship room cannot be made instrument-free by appeal to the word “sanctuary” in Psalm 150. • Instruments should serve living worshippers rather than overwhelm or replace them. 9. What Psalm 150 Does Not Establish • That every church must use instruments • That every instrument must be used in every service • That every musical style is suitable for worship • That loudness is inherently more spiritual • That emotional excitement demonstrates the Holy Spirit’s presence • That artistic excellence excuses theatricality • That musicians may overpower the congregation • That personal enjoyment is the final test of sacred music • That every modern instrument has exactly the same cultural meaning • That pastoral leaders have no responsibility to regulate worship wisely 10. Application to the Present Question The proper question is not simply, “May a cajón, bass guitar, or acoustic guitar enter the sanctuary?” Psalm 150 gives no instrument-based reason to prohibit them. Better questions include: • Is the instrument being played with restraint and skill? • Does it support or overpower congregational singing? • Are the words clearly heard and understood? • Does the rhythm complement the melody and message? • Does the music direct attention toward God or toward the performers? • Is emotional response grounded in biblical truth? • Does the arrangement preserve reverence, thoughtfulness, and spiritual discernment? • Can sensitive members be taught and included without allowing individual preference to become universal law? • Does the overall result exhibit the fruit of the Spirit? • Would an informed visitor recognize worship rather than entertainment? Balanced Exegetical Conclusion Psalm 150 is a positive biblical witness to instrumental praise, including strings and percussion. It does not classify the cajón, acoustic guitar, or bass guitar as profane, nor does it teach that instruments belong outside but not inside the sanctuary. Nevertheless, the psalm should not be isolated from the new covenant or treated as permission for every manner of musical performance. Its governing center is God: His sanctuary, His mighty acts, His surpassing greatness, and His praise. Psalm 150 permits and celebrates a broad range of instruments in praise to God, but the New Testament governs their use through the principles of truth, understanding, edification, love, self-control, congregational participation, and order. Instruments should be evaluated by how they are used and what spiritual function they serve—not condemned or approved merely by their names. Selected Sources for Further Study • “Praise beyond Words”: Psalm 150 as Grand Finale of the Crescendo in the Psalter • A Seventh-day Adventist Philosophy of Music—General Conference • Seventh-day Adventist Church Manual • Ellen G. White materials on the 1900 Indiana camp meeting • Ellen G. White Estate: Principles for Correct Interpretation

This article was written in defense of a worship group using drums, bass guitar as percussion and overwhelmingly loud volume in the sacred setting.

Considering the biblical antitypical day of atonement should we be concerned with the author of this article's defense of the use of instruments?