Martin Luther: The Musical Theologian
by Rachelle Shurtliff
November 27,2011
The people, politics and treatises of the Reformation are often considered but few give thought or mention to the remarkably important role that music played in fostering Reformation zeal, polemic, and theology. In the following, the musical contributions of perhaps the greatest of the Reformers, Martin Luther, will be explored and it will be argued that their widespread appeal was a critical aspect to the importance and appeal of Luther the Reformer.
In 1530 Martin Luther wrote;
“I am not ashamed to confess publicly that next to theology there is no art which is the equal of music, for she alone, after theology, can do what otherwise only theology can accomplish, namely, quiet and cheer up the soul of man, which is clear evidence that the devil, the originator of depressing worries and troubled thoughts, flees from the voice of music just as he flees from the words of theology. For this very reason the prophets cultivated no art so much as music in that they attached their theology not to geometry, but to music, speaking the truth through psalms and hymns.”[i]
Philosophy of music
It has been argued that the dualism present in Luther’s aesthetics theory parallels Plato’s “doctrine of ethos”.[ii] Under this theory, Plato and his disciples credited music with the ability to improve and affect character.[iii] Similarly, Luther believed that music has ability to influence man in powerful and positive ways. Music, Luther believed, shapes a person’s thoughts, attitudes, beliefs, and behaviors. Luther believed that this power came from God Himself.
Historian Joseph Tarry wrote, “[Luther] believed that to deny man’s senses the pleasures of musical sound was to deny the intrinsic goodness of God’s gift.”[iv] Luther held that music was a gift from the hand of God intended to be used for good. However, just as all of God’s gifts can be abused, it could also be used for evil.
Luther warned,
“Take care to shun perverted minds who prostitute the lovely gift of nature and of art with their erotic rantings; and be quite assured that none but the devil goads them on to defy their very nature which would and should praise God its Maker with this gift, so that these bastards purloin the gift of God and use it to worship the foe of God, the enemy of nature and of this lovely art.”[v]
Music as a tool for education
Luther understood the spiritual impact of songs but the practical aspects of spreading Luther’s message cannot be denied. In a largely oral society, the use of songs on Reformation helped spread the theological theme and ideas of Luther and his fellow reformers and also helped spread news and gossip throughout the towns and countryside. “Long a part of the popular culture,” writes Rebecca Oettinger, “songs soon began to play a role in transmitting the Reformation throughout the Holy Roman Empire and the rest of Europe.”[vi] The practice of influencing public opinion was not exactly new to the Reformation, music “became even more important during this period of religious conflict.”[vii]
For Luther, songs could provide several benefits to the listener. Luther, who struggled with his own bouts with melancholy, felt that music could “drive away Satan” from a overcast heart. Another benefit that Luther saw from spiritual music was that as a healthy alternative to some of the more immoral ballads that were popular among the youth of his day. Finally, as mentioned above, Luther saw education in the basic tenets of belief, such as the Ten Commandments, to be of the highest benefit.[viii]
Martin Luther received an education that would have fostered a love for music and an understanding as to the power of the art to educate and influence; he received musical training as part of his education.[ix] But Luther came to find music’s power to additionally aid in learning and memorization. Oettinger writes, “Music brought the Creed and the Lord’s Prayer to the uneducated, and the sensual pleasures of music brought people to religious faith.”[x]
Luther considered music to be only behind theology in its capacity to impact the human heart and draw it toward God. To take a catchy or popular tune an duse it to draw the unbeliever more closely to the word of God was something that Luther saw as a potent and powerful weapon in the fight to win and disciple souls.[xi]
Luther's Theology of Music [May move this to the beginning of the paper]
Creation theology
Luther’s theology of music was deeply connected to his theology of creation, and many parallels can be drawn between the two. Luther emphasized that God created humanity but because of the fall the whole man is infected by sin. Therefore, the whole man must be redeemed by God through Christ. Recognizing the fact that humanity was created to love music and enjoy catchy and interesting tunes, Luther sought to bring the redemption of Jesus Christ to those in need of a Savior by use of their created nature. This is an example of the many parallels may be drawn between Luther’s creation theology and his theology of music.[xii]
The Law and Freedom
Martin Luther’s unique contribution to the theology of the Reformation was his doctrine of justification by faith alone – sola fide. This doctrine was characterized by a radical distinguishing between law and of grace. For Luther, the law of the Old Testament and even the tenets of the New Testament could be placed in contrast to the free and unmerited grace that comes through faith in Jesus Christ alone. As a result of the grace of God, which Luther heavily contrasted with man’s good works. Luther emphasized the freedom that came from a life redeemed by grace. Though the Christian is still guided by the moral law and called upon to learn God’s laws and live by them, these good works do not contribute to his salvation, so man is then released from the bondage of using the law to earn salvation. (Reference needed-Luther biography)
Many parallels can be drawn between this central theme and with Luther’s idea of what could be deemed as good and pleasing music. He understood that although it was important for a musician/composer to be educated in music theory and follow the necessary rules, it was not enough. There had to be a certain freedom and creativity from composers and musicians.
[Insert quotes from Luther about creation and music and also freedom and the law]
Analysis of "A Mighty Fortress”
[May move this entire section so that it directly follows Music as a tool for education]
Perhaps the best known hymn composed by Martin Luther is “A Mighty Fortress is Our God.” An Analysis of the text of this hymn will show that there are at least five major theological concepts found within the text of this great Reformation hymn.
The following text is the most widely used English translation of “A Mighty Fortress”.
A mighty fortress is our God, a bulwark never failing;
Our helper He, amid the flood of mortal ills prevailing:
For still our ancient foe doth seek to work us woe;
His craft and power are great, and, armed with cruel hate,
On earth is not his equal.
Did we in our own strength confide, our striving would be losing;
Were not the right Man on our side, the Man of God’s own choosing:
Dost ask who that may be? Christ Jesus, it is He;
Lord Sabaoth, His Name, from age to age the same,
And He must win the battle.
And though this world, with devils filled, should threaten to undo us,
We will not fear, for God hath willed His truth to triumph through us:
The Prince of Darkness grim, we tremble not for him;
His rage we can endure, for lo, his doom is sure,
One little word shall fell him.
That word above all earthly powers, no thanks to them, abideth;
The Spirit and the gifts are ours through Him Who with us sideth:
Let goods and kindred go, this mortal life also;
The body they may kill: God’s truth abideth still,
His kingdom is forever.
God’s Omnipotence
In the very first verse of this hymn and eve the title itself, Luther uses strong, powerful metaphors. God is referred to as a “mighty fortress” and a “bulwark” that never fails in the very first verse. His power is expressed by His triumph over evil and over Satan himself. He is referred to as “our helper amidst the flood of mortal ills”, again in the very first first verses. The last phrase in the second verse exclaims “He must win the battle”, and in the third verse it states that “God hath willed his triumph through us”. The last line of the fourth verse states that “His kingdom is forever.”[xiii]
Christological focus
In the second verse Christ is referred to as “the right man on our side, the man of God’s own choosing” and Christ himself is referred to as “Lord Sabaoth” which means “Lord of hosts” This is an Old Testament name for God and Luther’s use of this name referring to Jesus Christ is clearly a reference to the divinity of Christ. Immediately following this powerful reference are the words, “From age to age the same”, still referring to Jesus Christ. This is clearly stressing the eternal nature of Christ which again points to His divinity, as only God is eternal.[xiv]
Inability of man to save himself
This is perhaps the most important theological concept found in the text because at the time of the Reformation, the nature of God and the divinity of Christ were not major items of contention. However, the means of salvation, and specifically man’s role in his own salvation, was the subject of great controversy. [xv]
It can be said that the primary theme of the Reformation was the concept of salvation through faith, by God’s grace, not through the merits or righteousness of man. Luther went even beyond salvation and showed through Scripture that man can accomplish nothing apart from God, a concept that was not fully understood by most in his day. This concept is evinced in the words “our helper amid the flood” in the first verse of the hymn. The second verse begins with the question “Did we in our own strength confide?” and then answers “Our striving would be useless, were not the right man on our side, the man of God’s own choosing”. The verse then clarifies that this man is Christ Jesus himself. This is a clear illustration that man can do nothing without the help of God through Jesus Christ. In the last verse this of the hymn we see the words; “the Spirit and the gifts are ours through Him who with us sideth.” These words even further illustrate the concept of man’s inability to accomplish anything without the gifts and the help of the Holy Spirit.[xvi]
Reality of Satan
We know from his writings that Luther was convinced that Satan was not a metaphor, but was a living and active being bent on the destruction of man and opposed to everything good. Satan and his forces are referenced throughout the text of this hymn. In the first verse he referred to as “our ancient foe who seeks to work us woe.” The verse goes on to say that “His craft and power are great” and that he is “armed with cruel hate”. The third verse starts with the phrase, “And though this world with devils filled, should threaten to undo us.” It is clear that Luther saw Satan and his forces as real and powerful and seeking to harm the Christian.[xvii]
Trinitarian References
Throughout the hymn there are references to the Trinity. In fact we can see each person of the Trinity recognized and described with unique attributes. In the very first verse God is referred to as a mighty fortress. Christ Jesus is shown as a warrior and a conqueror in the battle with Satan and evil. The Holy Spirit is shown as the one who abides with the Christian and endows us with gifts. [xviii]
In this one hymn we see that Luther was able to pack it full of profound theological concepts and references and was able to pass these concepts on to worshippers through the use of congregational singing. [xix]
[Conclusion still needed]
Endnotes
[i] Reference needed
[ii] Tarry 358
[iii] Running head: Roots and Theories of the Doctrine of Ethos Autumn Gurgel (see Rachelle’s Music Folder on Desktop)
[iv] Tarry 357
[v] Tarry 358
[vi] (songs as polemics 46)
[vii] Songs as polemics 46
[viii] Songs as polemics 46
[ix] (songs as polemics 46)
[x] Songs of polemics 52
[xii] (Sooy) 18
[xiii] Sooy
[xiv] Sooy
[xv] Sooy
[xvi] Sooy
[xvii] Sooy
[xviii] Sooy
