The Devil's Party

Upon reading the book The Rebirth of Music by Lamar Boschman, an evangelist of some note, one cannot help but be impressed by the sheer audacity of his theories. Boschman avers, in a somewhat roundabout way, that all secular music, and rock music in particular, can make one an active member of the Devil’s party.  While the reader can appreciate the unique views that Boschman puts forth in the book—a quote directly taken from the back cover—one cannot agree with the somewhat medieval opinions about music that Boschman puts forth here.  The problems one encounters with the book are myriad and this mars any validity of the book.  First, Boschman often does not quote the sources for his sometimes outlandish stories.  He also seems to be using his book as a tirade against the evils of rock music without giving an authoritative counterargument about the sanctity of creativity.   Finally, he dismisses all music as secular in nature unless it is used for its “true” purpose—that of worship. 

            In the first few chapters, Boschman avers that lucifer—always in the lower case—was built as an angel with musical instruments built into his body.  After studying the Bible, one found no mention of this anywhere.  He gives Biblical references and quotes throughout the work to prove his points, but this allusion seems vague.  He only says that “some theologians” and “some scholars” believe that lucifer was the father of music.  Thus once he fell, music fell with him.  Boschman’s main argument here is that music’s sole purpose is that of worshipping God.  While this is certainly a great opinion there is no proof, Biblical or otherwise, to back up this claim. 

            As far as his arguments about rock music being the work of the devil, one finds them subjective and emotional.  He seems to blame all human excess on rock music, stating that, “Lucifer has influenced people to sing and dance before him as he hides behind the groups and uses them to receive his worship” (Boschman 11).  In other words, the devil is behind all rock music. He fails to see that alcoholism, drug abuse, and sexual excess are problems in their own right.  These issues are certainly not the exclusive domain of rock musicians, nor are “true” Christians immune to them.  He claims that there is a direct link between rock music and immoral behavior, yet he fails to substantiate this claim with any scientific or even Scriptural proof.

 Boschman also states that music should solely be used to minister to God—again, there is nothing in Scripture to back up this claim.  If Boschman uses music in this manner as a part of his personal belief system, he is certainly more than welcome to do so.  However, he states that the purpose of music is only for spiritual gain and implies that it is a violation of God’s law to use music in any other manner. It is true that the Bible lists worship as one of the uses of music, but nowhere in Scripture does it state that this is the only use for music.  Boschman also fails to see music as a creative force and to acknowledge that this creative force has been what has driven man to greatness.  Just as God created man, so we create new works to revere his name.  Thus the very act of creation is a form of worship. “Blessed is the man who finds wisdom,
the man who gains understanding, by wisdom the Lord laid the earth’s foundations, by understanding he set the heavens in place” (Prov. 3:13, 19).

While the book was not a valid argument against the evils of rock music, one can definitely claim that it was an interesting read.  It certainly will inspire the reader to study the Scriptures more closely.  As a persuasive treatise, the book failed; however, as a learning tool describing music as both the tool and the means of worship, Boschman’s book serves the reader well.