IDOLATRY IN MUSIC
(c) 2008 by Michael Riversong
Idolatry exists in many forms. Bowing
before strange statues is only one. Whenever something takes over a
person's mind and excludes any concept of the One who created the
universe, the definition of idolatry is fulfilled. Many things in
this world have this effect on varying numbers of people. One of
those things is music.
It is possible for music to completely
dominate one's mind, to the exclusion of everything else. It happens
to both musicians and fans. Given the beauty, diversity, and
intricacy available within music, it's easy to see how this could
happen. Throughout the history of this world, this has been observed
to varying degrees. Some cultures, such as ancient Rome and 19th
century China, have included large numbers of people who were in this
condition.
Contemporary America, and to some
degree Western Europe, have seen a similar thing happen. Giant music
companies have been aware of this, and have cultivated it
systematically for many years now. Purposes and functions of music
have thus become grossly distorted in our society. Several phenomena
have contributed, including the development of recording technology,
the influence of criminal elements in some boardrooms of the music
industry, sophisticated marketing techniques used by recording
companies, and huge differences in income levels among musicians
worldwide.
Adoration of musical personalities,
which has for many years been actively fostered by recording
companies as a marketing tool, creates an atmosphere of idolatry:
feelings of religious worship directed at ordinary humans. Aside
from causing unnatural personality distortions in both musicians and
fans, the consequences of making people into gods can be clearly seen
to be negative on entire cultures. The most tragic consequence is
that many in such an idol-focused culture have little opportunity to
form healthy focus on a central concept of one true God.
A consequence of the worship of musical
personalities is that, thinking it necessary to be totally dedicated
to nothing but music in order to attain success, many working
musicians have adopted a "front" over their personalities.
Striving for that success crowds out all other concerns, including
godliness, family, morality, and interacting with members of the
audience. Musicians can become extremely arrogant, cold, impersonal,
driven, and generally not within reach of normal citizens. If they
actually attain success while posing in this manner, of course the
distortion of personality gets worse, as anyone who has been around
Aspen or Hollywood for very long can attest.
Another form of idolatry that infests
the ranks of both professional and aspiring musicians is a tendency
to make music itself into a matter of ultimate concern, of more value
than anything else in life. Even some Christian musicians have done
this. The process is insidious, often taking place gradually over
many years until ultimately a musician has to decide between music
and other areas of life such as family.
There is an alternative to this
madness.
First, musicians and listeners need to
back away from this tendency toward idolatry by recognizing certain
patterns. This is especially important with children. They must be
reminded at every appropriate opportunity, and in concrete ways, that
musicians are just plain folk dependent on an awesome god, like the
rest of us.
We can look back into history before
the recording industry captured so many consumers. Music was,
at most times and places, just another part of life. It was often
performed casually for whoever happened to be around, including
ordinary family members and friends. Anyone who has some musical
ability should be willing to share that at any time, even if one does
not sound like some major star. Music-making among amateurs must
become as normal and enjoyable as dinner parties or meeting at the
playground.
If it is only nervousness about your
ability that prevents you from making music with friends, consider
this: Young gypsy and Irish children are often given real
instruments and allowed to play with a group of a dozen or more
mature musicmakers, with little or no training beforehand. At first they sound
awful, but because of the other musicians, nobody notices.
Eventually, they improve, without direct instruction, to the point
where they are one of the good musicmakers drowning out
incompetent children.
You may also notice how some major music
stars, if you stand back and listen objectively, really aren't all
that good anyway. People are buying the atmosphere created by
marketing as much as they buy the work of an artist in these cases.
It is sadly true that many people who are not recognized as artists
can perform much better than major stars.
Many people personally know musicians
who have not become successful. Work with these folks! They are
the vast majority of musicians in our world, due to economic factors
driving the recording industry. Recording companies long ago learned
that keeping a minimum number of artists on their rosters would do
much to increase profits and cut promotional expenses. Instead of
feeding into this sick game, any of us can invite the musicians we
know over to our homes or to events and allow them to simply provide
pleasant music. It is amazing how much even mediocre live music can
add to any occasion. Getting in the habit of informally cultivating
live performances can do much to go against the unhealthy musical
trends that dominate our society.
Another way to work with live local
musicians is to create a musicmakers circle. Invite one or two good
musicians and friends who are interested in learning to create song
at home for casual enjoyment. Anyone can ask questions, you can jam
and improvise together, and you'll be able to overcome any
fear of performing in a safe and instructive environment. Just once
a month will make a huge difference to local culture. Make it clear
it is not a group for musicians, but just for people who enjoy
playing with song in their homes.
Musicians may need to change.
Constantly pursuing fame and fortune can wear a person down to the
extent that he or she is of no value to a community or even one's own
family. It's a shame to waste your time and talent on that when
most of us will never see the ink on a recording contract. Even if
such a contract is offered, it may contain terms that will severely
limit one's career in the long run. Rather, a musician should focus on
the people around him/her, who may not be able to provide the sort of
cash apparently enjoyed by major artists, but are still people who
need and deserve live music. Help them to bring the arts back down
from the stars. Learn to make your music local and interactive.
For many of us that means being willing to do background music in a
home or church rather than in a bar, or choosing to be on a street
corner rather than being the focal point of a stage show. Once a
musician does these things, it is surprising how much service can be
provided, and how enjoyable it can be.
Bards can serve in many ways to enhance
this movement. A broad outlook that includes health and history
provides both inspiration and practical methods to make music a vital
part of any community.
-- Michael Riversong
Written 2001, revised 2008
Michael Riversong Gateway Page