How Musical Is God?

Abstract

In 1973, British musician, social anthropologist, and ethnomusicologist John Blacking published his seminal work, How Musical is Man? In this book, Blacking describes his 1950s ethnographic study of the Venda people in South Africa, which explores how humans develop and interact with music. For this transcendent autoethnography, I transform Blacking’s book title into a transcendent research question and ask, “How musical is God?” Springboarding off four of Blacking’s principles, I answer this question from the perspective of a Christian and music educator who believes the Bible is the foundation of truth. I explore the mystery of God, humans, and music by referring to the account of the creation in Genesis 1 and 2 and other related verses in the Bible. The exploration encompasses the sonic order wisely created by God, the cognitive system that reflects humans as God’s image bearers, how music is structured reality for things unseen and necessary for faith, and beauty as a God-ordained component for rest. I conclude the paper by answering, “How musical is God?” by reconciling my response to biblical truth in the Christian tradition.

1. Introduction

I returned my instruments, both Western and non-Western, to the shelf after presenting workshops on global music for children. I have been a music educator in the United States for over 35 years, and I love the profession, especially exploring and teaching the topic of the psychology of music. While returning the instruments, I noticed something I had not seen for years—John Blacking’s 1973 book, How Musical is Man? Blacking was a British musician, social anthropologist, and ethnomusicologist (Rogers 2012; van Niekerk 2016). How Musical is Man? is a seminal work in ethnomusicology (the study of music within culture) where he discusses his 1950s ethnographic study of the South African Venda people to determine how humans use music and how culture influences musical development (Radocy and Boyle 2012). After I noticed the book, I chuckled and thought, “The question I want to ask now is, ‘How musical is God?’” Astounded by my question, I thought again, “Well, how musical is God?”

Books and papers published in the field of music education have focused on defining and explaining the relationship between spirituality (both religious and non-religious) and music education (Boyce-Tillman 2017; Berger 2024; Van der Merwe and Habron 2015). Many papers have also explored spiritual music (music specifically designed to foster a relationship with a higher power or concept) for therapy, well-being, and music education (Moss 2018; Quindag 2022; Tsiris 2016; Tuasela 2024). Other papers on music education relate to contemporary issues, ethics, and spirituality (Dowd 2019; Hall 2024; Heuser 2019). However, I could not recall any papers focusing on the simple but sublime topic of how musical God is. I subsequently reread How Musical is Man? through my spiritual lens as a mature Christian from the Protestant tradition, a music educator, and a stringed instrumentalist.

Call it serendipity or destiny—I found an intriguing research question.

1.1. Methodology and Interpretive Framework

To pursue the answer to the research question, “How musical is God?” I wanted to employ a research methodology that allows me to consider ideas discussed in Blacking’s book, along with my assumptions as a Christian from the Protestant tradition and my knowledge of music education. Therefore, I decided to employ autoethnography—a methodology by which researchers scrutinize their own lived experience to pursue the answer to a research question or purpose and document it (Adams et al. 2015; Ellis et al. 2011). Reflexivity, the process of interrogating one’s thoughts and ideas, is essential for autoethnographic researchers to experience epiphanies and draw conclusions. (Keleş 2022; Poulos 2021). Unlike other qualitative research methods, there are several approaches to conducting autoethnography (Adams 2017; Keleş 2022). Some autoethnographers use traditional elements of qualitative research (research questions, theoretical frameworks, and thematic development for analyzing data). Others minimize or eliminate the use of conventional elements and depend on their personal narrative to evoke an emotional response from readers (Bochner and Ellis 2016; Poulos 2010). Yet, some use their lived experience to create a performative work of art such as music, photography, or poetry (Adams 2017; Keleş 2022).

For this paper, I use transcendent autoethnography—a personal narrative to answer a research question that is metaphysical, spiritual, or religious to understand, reconcile, or refute an existing premise (Chang 2011; Quindag 2022). For this paper, I will describe and establish my spiritual interpretive framework. I then present four of Blacking’s (1973) principles from How Musical is Man? that include sonic order, the cognitive system, reality, and functionality versus beauty. I springboard off of Blacking’s principles for reflexivity and consider biblical and musical ideas based on my lived experience. My goal is not to confirm nor refute Blacking’s principles, but to ponder upon them as a Christian and music educator. I conclude by offering a reconciliation with insights regarding God and music and provide my answer to “How musical is God?” Artifacts that I use along with Blacking’s book include the Bible, music, reviewing other research, and my lecture notes from teaching music education courses.

1.2. Interpretive Framework and Defining “Musical”

My spiritual interpretive framework for this transcendent autoethnography is Christianity rooted in the Protestant tradition. Although there are myriads of Protestant Christian denominations (Lutheran, Baptist, Presbyterian) and variants within the denominations (Evangelical, Fundamentalism, Progressivism), I prefer to identify my interpretive framework with several fundamental doctrines of an Evangelical Christian who accepts biblicism (Dunlop 2025; Juzwik 2014; McFarlane 2020; Sproul 2014). As an Evangelical Christian biblicist, I believe that there is an eternal Triune God (Father, Son, and Holy Spirit) and that the Bible is His inerrant, inspired Word and the definitive source of truth. Consequently, I will refer to passages from the Bible (Thomas Nelson [1982] 2004) throughout this paper. Furthermore, I believe that God is the Creator of the universe and is omnipotent (all-powerful), omniscient (all-knowing), and omnipresent (present everywhere). He created the universe ex nihilo, that is, He created something out of nothing for His purpose, glory, and praise, as described in Psalm 104 and Psalm 148 (Blocher 1984; Lennox 2021; Ortlund 2021). Finally, I believe that because humans are separated from God due to transgressions, He loved us and came in human form as Jesus Christ to become the Savior of humanity for an eternal personal relationship by dying on the cross and resurrecting from the dead (Fretheim 2005; McFarlane 2020; Ortlund 2021). Each individual, however, must accept Jesus Christ as their personal Savior (Sproul 2014; McFarlane 2020).

For this study, I would like to define the term “musical.” Among music educators, “musical” generally refers to the talent or aptitude an individual has for music; it has been described cognitively, esthetically, behaviorally, and socially (Gordon 2007; Radocy and Boyle 2012; Reimer 1989). For this paper, I define “musical” as the magnitude of the human cognitive process and esthetic response to the perception of the physical properties of sound that is considered music within a culture or sub-culture. My definition, however, results in two conundrums with the research question, “How musical is God?” The first conundrum is if God is a spirit, as stated in John 4:24 of the Bible, why should the definition of “musical” be used since it refers to human cognition and emotions? In response to this first conundrum, the Bible is replete with references using anthropomorphism—the act and process of applying human attributes to God. An example is in Isaiah 59:1, “Behold, the LORD’s hand is not shortened, that it cannot save; nor His ear heavy, that it cannot hear.” The purpose of anthropomorphism is not necessarily to verify the existence of God but for us to comprehend the nature and works of God described in the Bible within our human limitations of knowledge and experience and to comprehend His relational nature (Korankye and Boaheng 2025; Howell 2014; Sproul 2014).

The second conundrum is if God is omniscient, why bother asking, “How musical is God?” since He knows everything, and there would be no need to consider His musicality? In response to this conundrum, the purpose of theological inquiry in Christianity is to understand the magnitude of the nature and acts of God (McFarlane 2020). In the Christian tradition, we are invited to “taste and see that the Lord is good” (Psalm 34:8). Therefore, the research question “How musical is God?” is an invitation to explore the extent to which we can comprehend the musicality of God. This study will have implications for music educators, church musicians, theologians, and anyone who loves music and is interested in exploring a spiritual perspective within Christianity.

So, how musical is God?

2. Sonic Order

In the first chapter of How Musical is Man?, Blacking (1973) discusses the necessity for individuals within cultures to have a means of organizing sound before it is considered music. This organization is based on internal (innate musicality) and extra-musical factors such as culture and other social influences. Furthermore, the organization does not necessarily require a complex music theoretical explanation (Radocy and Boyle 2012). Blacking refers to the organization of sound as sonic order. He states, “a perception of sonic order, whether it be innate or learned, or both, must be in the mind before it emerges as music” (p. 11). Thus, sound becomes music only after a listener within the culture can organize and define it as music. Then, the culture will influence whether a person’s sonic order is accepted.

Blacking’s (1973) term “sonic order” arrested me. I also believe that sonic order is necessary for music to emerge. After reading this passage, however, I asked myself whether God has sonic order and, if so, how would I know about it and what did He do with it? As I reflected on these questions, I thought of the process of teaching music. For music educators to know how students organize musical information, we listen to and observe what the students perform and create (Gordon 2007; Radocy and Boyle 2012). Then we may know their sonic order and offer instruction. Similarly, I read biblical passages and considered what God had created and realized that He created the universe engulfed with sonic order (Begbie 2007; Sproul 2014).

As an Evangelical Christian biblicist and creationist, I always assumed that if God created the “heavens and the earth,” as stated in Genesis 1:1 of the Bible, He also created music in the heavens and the Earth for our use. As a music educator, however, I had not considered scrutinizing the biblical account of creation to determine how music came about. Most scientists and theologians who are Christians analyze and dissect the Book of Genesis from a scientific and theological perspective to support creationism over the theory of evolution or the multiverse theory (Ham et al. 2017; Lennox 2021; Ortlund 2021). However, after rereading Blacking’s book, I found new insight into God’s intentionality with music; God having sonic order before creating the universe resulted in the infusion of sonic order in creation that includes music (Begbie 2007; Sproul 2014).

2.1. Genesis and the Creation of Music

In the Christian and Jewish traditions, it is believed that the Book of Genesis was inspired by God and written by the prophet Moses to refute various mythologies of his day regarding the formation of the universe (Blocher 1984; Imes 2023; Ross 1998). It is considered a historical book and a literary book in structure and rhythm. It is a historical book because it outlines the beginning of the universe, which was created in a sequence referred to by days—six days for creating, with a special seventh day. The Book of Genesis is literary because there is symmetry in the historical presentation and rhythm due to recurring phrases (Blocher 1984; Hughes 2004; Imes 2023).

For decades, I read the creation account in Genesis 1 and 2 as it is presented in a simple linear sequence. Upon considering sonic order, I found that many Bible scholars describe this passage in a literary symmetrical form that creates parallelism to the chronological development of creation (Blocher 1984; Hughes 2004; Imes 2023; Lennox 2021). Using this symmetry, Day 1 of creation corresponds with Day 4, Day 2 with Day 5, and Day 3 with Day 6. After considering the literary symmetry of Genesis 1 and 2, the sonic order created by God became vivid and purposeful. Borrowing from Imes’s (2023), Being in God’s Image, I developed

Table 1. The Creation of Sonic Order.

Setting the Stage	Placing the Players	Sonic Order
Day 1 God creates light and divides the light from darkness “God saw the light, that it was good.” (Genesis 1:3–5)	Day 4 God creates the sun, moon, and stars. “and it was so.” “God saw that it was good.” (Genesis 1:14–19)	Rhythmic properties Physical properties: frequency, intensity, and waveform
Day 2 God creates the sky (firmament) that is separated from water. “and it was so.” (Genesis 1:6–8)	Day 5 God creates the birds and the fish. “God saw that it was good.” (Genesis 1:20–23)	Audible sounds throughout the Earth and in the sea
Day 3 God creates vegetation. “and it was so.” “God saw that it was good.” (Genesis 1:9–13)	Day 6 God creates land animals and human. “and it was so.” “God saw that it was good.” “indeed, it was very good.” (Genesis 1:24–31	Raw materials for instruments Humans: Both male and female to enjoy and engage in the sonic order
	Day 7 God Rests (Genesis 2:1–3)	Well-being and esthetic experience

Note. Adapted from Being God’s Image: Why Creation Still Matters (p. 15), by C. J. Imes, 2023, InterVarsity Press.

to illuminate the creation of sonic order.

Imes (2023) describes the first three days of creation as when God creates domains in the universe. I describe these days as God “Setting the Stage” for sonic order. Imes describes the next three days of creation as when God creates the residence for the domains, with each day coinciding with the first three days. I describe these days as “Placing the Players” of sonic order. Imes then describes the purpose for each pair of days. I, however, describe the elements or attributes of “Sonic Order” that came about through the six days of God’s creative process.

On Day 1, God sets the stage by creating light and separating it from the darkness; on Day 4, He creates the sun, moon, and stars as players. The sonic order results are music’s rhythmic and physical properties, including frequency, intensity, and waveform. The rhythmic property of music is based on time; it is universal, external, and objective. Musicians learn to perform by measuring and keeping time through beats per minute. Minutes are a subset of hours, hours are a subset of days, and days are created by the rotation of the Earth around the sun that God has established (Lennox 2021). It is what allows musicians to perform together and allowed Blacking (1973) to notate and preserve the music of the Venda people. Some of the basic rhythmic elements of music beyond the steady beat include rhythmic patterns, tempo, meter, and accents. There are also nuanced elements of rhythm in music, such as rubato (expressively pulling rhythm), stringendo (slowing down), accelerando (speeding up), and the agogic beat (Radocy and Boyle 2012).

The physical properties that form the sound of music, frequency, intensity, and waveform, are based on vibrations through ambient pressure. Although unobservable yet measurable, these vibrations are caused by particles colliding forward and backward with each other and returning to a steady state. Frequency occurs when the particles collide repeatedly and eventually return to a steady state. We perceive frequency as pitch, which can change according to the speed of the colliding particles. Intensity occurs through the amplitude or height of the colliding particles and is perceived as loudness (dynamics). Waveform occurs through the variations in vibrations that are perceived as timbre (Alexander 2016; Radocy and Boyle 2012). When the rhythmic and physical properties are combined, a varied and infinite amount of music can be created, performed, and heard on Earth within cultures and subcultures (Begbie 2007).

On Day 2, God sets the stage by creating the sky that is separated from the water; on Day 5, God creates the birds in the air and the fish in the sea as players. The sonic order results are audible sounds throughout the Earth and the sea. Although there are various sounds from the birds and even the fish, they are limited in creativity and range. However, they are musically vital because they provide a model of sound that humans may imitate to develop and create music (Radocy and Boyle 2012). In a minuscule way, they also provide some raw materials for the creation of musical instruments.

On Day 3, God sets the stage by creating vegetation, and on Day 6, He creates the animals and, finally, humans—male and female in His image. Day 6 is the fulfillment of God’s creative process and sonic order. The vegetation and animals are the primary source of raw materials for musical instruments (Listya 2022; Magnusson 2017). Humans, having dominion over the Earth, are to be good stewards of God’s creation and are given the freedom to create music (Fretheim 2005; Lennox 2021; Smith and Scales 2013). Because of His love and grace, God oversees creation for His sovereign will (Begbie 2007; Sproul 2014).

The Bible states that God rests on Day 7. It is an extraordinary day that I will discuss later. In addition to the symmetry of the days, several recurring phrases create the rhythm of Genesis 1 and 2. One such phrase is, “God saw that it was good.” I will also discuss this later.

2.2. Reflecting on Instruments

Because I am a violinist and violist (and amateur classical guitarist), I am fascinated by trees. Without trees, there would be no wood, and I would not have my violin, viola, guitar, ukulele, and other instruments. Some forms of wood are robust enough to form the foundation of the greatest cathedrals and concert halls where music resonates. However, other forms of wood are malleable enough for a violin to support vibrations so that the sweetest tones are produced. Trees may be identified by species, but no two trees are alike. Consequently, wood from trees varies in usage and even minuscule responses. A master luthier understands this when constructing or repairing a musical instrument. It is part of God’s sonic order that the various natural materials can be used as instruments for an innumerable and inexhaustible array of sounds and that humans created in God’s image can create music from sonic order.

To summarize, the omniscient eternal God has always had sonic order, even before creating the universe (Blocher 1984; Fretheim 2005; Imes 2023; Lennox 2021). His sonic order was purposely and wisely integrated throughout the heavens and Earth as succinctly stated in Proverbs 3:19–20, “The Lord by wisdom founded the earth; By understanding He established the heavens; By His knowledge the depths were broken up, and clouds drop down the dew.”

God is the Lord of sonic order, and all that He creates exists to glorify Him through what they can do with the various physical properties of sound (Alexander 2016; Begbie 2007; Fretheim 2005; Lennox 2021). However, there is only one of God’s creations that is made in His image, that is given stewardship to bring about variations in sound for music—the human.

3. The Cognitive System

Related to sonic order, Blacking (1973) argues that composers within a culture have a cognitive system that primarily determines how they hear the music to be composed. He states,

Every composer has a basic cognitive system that sets its stamp on his [sic] major works regardless of the ensembles in which they were written. This cognitive system includes all the cerebral activity involved in his motor coordination, feelings, and cultural experiences, as well as his social, intellectual, and musical activities… A composer’s cognitive system will, therefore, provide the most fundamental and powerful explanation of the patterns that his [sic] music takes.

(p. 24)

After reading that excerpt, I immediately thought of Psalm 139:13–16, where David describes the knowledge and control God had when designing him and declares that he is “fearfully and wonderfully made.” Generalizing this truth, we are all fearfully and wonderfully made because we are created in God’s image (Lennox 2021; Swindoll 2012). Consequently, we have His attributes, such as intelligence, a sense of morality, emotions, and the capacity to create (Imes 2023; Lennox 2021). However, as stated in John 4:24, “God is a spirit,” and humans are part of a material world. In God’s wisdom, He gave each of us a unique cognitive system with one of its purposes to process and engage in the sonic order of music (Brand and Yancey 2019; Ortlund 2021).

3.1. The Intricacies of Music Listening

One example of the intricacies of our cognitive system designed by God is evident when we listen to music. The listening process begins with the ears when they react to the physical vibrations of frequency, intensity, and waveform identified as music. These vibrations are mechanical energy that travels through the outer ear and into the middle ear. The ossicles in the middle ear (malleus, incus, and stapes) oscillate. Then, the fluids in the inner ear (perilymph and endolymph) are set in motion. The mechanical energy caused by the physical vibrations is converted to electrochemical energy and enters through the afferent pathways to the auditory cortex of the brain, which processes sound. The auditory cortex communicates with other parts of the left and right hemispheres, which permits the perception of sound. Then, information is sent through the efferent pathways away from the auditory cortex. Once the energy is processed, we can listen to music for an esthetic experience or analysis, or perform it through singing or playing an instrument. Although highly complex, we process music instantaneously (Radocy and Boyle 2012).

3.2. Music Education and Audiation

In the late 20th century, music educator Edwin Gordon (2007) sought to determine the nature of musical ability and intelligence, as well as their relationship to the cognitive process of music learning. He eventually coined the term audiation—the process of hearing music when it is not physically present. I consider audiation as a minuscule process that reflects God’s ability to create ex nihilo. Although we cannot truly create something out of nothing as God did, when individuals audiate, no music, “nothing,” is present, and yet they can hear and make music, “something.” I contend that this is another indication that all humans are created in God’s image and manifest His attributes. Incidentally, I found that talented individuals in their respective fields can create in their cognitive system when nothing is present.

Considering creation, on Day 6, God creates humans in His image, as described in Genesis 1:26–27. In the Christian tradition, although all humanity has fallen and is imperfect, the image of God is still maintained (Imes 2023; Lennox 2021; Sproul 2014). There are multifaceted reasons why God created humans in His image. However, I affirm that we were created to have an eternal relationship with the Creator God; therefore, He created us to have His attributes (Fretheim 2005; Lennox 2021). Humans reflect God’s attributes, including creativity, will, dominion, and intellect, which depend on the cognitive system. Logically, if God fearfully and wonderfully designed a cognitive system that allows humans to engage in music, and if humans are in God’s image, then God is musical and musical to perfection.

4. Reality

In How Musical is Man? Blacking (1973) discusses the use of music to represent reality. He contends that for the Venda people, music helps individuals integrate into the reality of their community. He writes,

… the Venda say: “Man [sic] is man because of his associations with other men.” Venda music is not an escape from reality; it is an adventure into reality, the reality of the world of the spirit. It is an experience of becoming, in which individual consciousness is nurtured with the collective consciousness of the community and hence becomes the source of richer cultural forms.

(p. 28)

In Christianity, music is also used to integrate individuals into the reality of relationships within a group, congregation, or church; it is referred to as “the body” (McFarlane 2020). Within the body, music can be a powerful force that integrates Christians into a spiritual collective to celebrate and confirm their beliefs while having an individual, profound relationship with God. From Blacking’s passage, I further reflected on the word “reality” and what music can do.

4.1. Music as Structured Reality of Faith

Evangelical Christians who are biblicists believe there is a reality beyond what is observable in culture or individual human experiences; it is highly desirable yet, at times, unseen. This theological reality must be accepted by faith, as stated in Hebrews 11:1 of the New Testament of the Bible, “Now faith is the substance of things hoped for, the evidence of things not seen.” Some of these unseen realities include the love of God, purpose and comfort during suffering, and heaven. One of my favorite realities of faith is salvation through grace—God’s riches that are given to humans who are unworthy, as described in Ephesians 2:8, “For by grace you have been saved through faith, and that not of yourselves; it is the gift of God.” In addition to the Bible, Christians use music to present and represent the unseen reality of what is accepted by faith. Through music, the most profound biblical realities can be presented in a concise, memorable, and esthetically pleasing format. I contend that music that is spiritual and brings us into a relationship with God, whether vocal or instrumental, is structured reality of faith.

According to architectural traditions, for a structure to be realized and lasting, it must have firmness or strength, commodity or usefulness, and delight or beauty (Kieckhefer 2004). Similarly, in Christianity, spiritual music that is structured reality for faith has form, purpose, and beauty. Form is the organized elements of music that make it tangible to the senses, primarily through listening. Purpose is the reason and justification why spiritual music exists and may include doctrine, theology, and transcendent concepts based on the truth found in the Bible. The purpose can be communicated through the text of a song or through the composition’s musical elements that symbolically and referentially represent the meaning within a culture (Langer 1957; Quindag 2022; Reimer 1989). Beauty is the attractiveness that results in feelingful responses to spiritual music, such that the purpose is highlighted to engage individuals, especially when seeking a profound transformation (Begbie 2007; Reimer 1989). The ultimate test of spiritual music serving as a structured reality of faith is whether it brings individuals into a relationship with God and others (Fretheim 2005; Quindag 2022).

4.2. Example of Structured Reality

As I considered spiritual music that serves as structured reality of the attributes of God, I thought of numerous works, including Mendelssohn’s (2019) Symphony No. 5, “The Reformation,” and Winan’s (2021) recording of The Goodness of God. However, one of my favorite musical works that exemplifies the structured reality of an attribute of God is the 1923 American gospel song, Great is Thy Faithfulness. The text comes from a poem by Thomas O. Chisolm and was later set to music by William M. Runyan (Rhodes 2014). The following is the first verse and refrain:

(Verse 1)

Great is thy faithfulness, O God, my Father,

There is no shadow of turning with thee;

Thou changest not, thy compassions, they fail not;

As Thou hast been, Thou forever wilt be.

(Refrain)

Great is thy faithfulness

Great is thy faithfulness

Morning by morning, new mercies I see;

All I have needed, Thy hand hath provided,

Great is thy faithfulness, Lord, unto me.

(Smith 1974, p. 403)

When considering structured reality, the form is based on poetry and song. The metric poem (11.10.11.10) that creates the text is based on Lamentations 3:22–23 from the Bible, “Through the Lord’s mercies we are not consumed, because His compassions fail not. They are new every morning; Great is Your faithfulness.” The musical form includes the strophic song form with a refrain, a meter in 3–4, and the major scale with a simple harmonic progression that includes shifts into closely related keys. The melody is simple, but it has a rise and fall of the line compared to the traditional strophic hymns of the 1700s.

Chisholm wrote poems and texts such as Great is thy Faithfulness, to quote or paraphrase Bible passages and expound on their meaning. The purpose of this gospel song is to highlight and emphasize the faithfulness of God—He is reliable and can be trusted in whatever He says (McKaughan 2017; Rhodes 2014). Through the text, individuals are directed to be aware of His unconditional love, mercy, and compassion for developing a profound and lasting relationship (Fretheim 2005; McKaughan 2017).

Various aspects of beauty can be found throughout Great Is Thy Faithfulness. However, what impresses me most is how the melody and the harmonies highlight the text, specifically the word “faithfulness.” One such place is the climax in the third-to-last measure of the refrain, where the word “faith” is at the highest point of the melody. I have heard many singers hold that note to emphasize the word “faith.” Furthermore, this simple gospel song has a time-tested universal message. Although it is over 100 years old and uses old English words such as “thou,” “faileth,” and “Thee”, which are rarely heard in contemporary Christian music, it is still culturally relevant among Christians and has been arranged in various ways by changing instrumentation, using complex harmonies, and embellishing the melodic line. Even contemporary Christian musicians still perform this gospel song to highlight the beauty of its eternal verity (McKaughan 2017).

One of my favorite contemporary renditions of Great Is Thy Faithfulness is sung by Carrie Underwood and CeCe Winan and can be found on YouTube (Underwood 2021). The singers recorded this gospel song in the historic Ryman’s Auditorium during the 2020–2021 COVID-19 pandemic—a stressful and discouraging time for many individuals. The orchestration and clarity of Underwood and Winan’s vocalization create a heartfelt experience. At the end of the song, they beautifully repeated the words, “Great is thy faithfulness” three times to emphasize the reality of its biblical truth.

I had viewed Underwood and Winan’s video many times; however, I recently noticed 77,000 “likes” of the video and 3361 comments. Among the comments are sincere testimonies of how Great Is Thy Faithfulness has been meaningful for worship and comfort during difficult times. One distinct comment is by an individual who attempted suicide through an overdose. When trying to make a phone call after swallowing drugs, this individual heard this recording of Great Is Thy Faithfulness and eventually survived and transformed. This individual’s testimony demonstrates the power of spiritual music as structured reality of faith.

5. Beauty

After rereading How Musical Is Man? I thought Blacking (1973) addresses the concept of beauty. He discusses many essential ideas regarding music, such as simplicity versus complexity, creativity, symbolism, and, of course, the functions of music in society; however, he does not mention beauty. It is possible that Blacking believed beauty was a difficult concept to define and did not want to impose Western standards on a non-Western culture. Perhaps Blacking restricted himself to determining how music functions in culture; he states that “the functions of music in society may be the decisive factors promoting or inhibiting latent musical ability, as well as affecting the choice of cultural concepts and materials with which to compose music” (p. 35).

As I reflected on why Blacking did not discuss beauty, I returned to creation and the role of beauty in sonic order. God created a finely tuned functioning universe; however, He included something that does not inhibit the function of music but enhances it. Throughout creation, a recurring phrase provides rhythm to Genesis 1: “God saw that it was good.” On Day 6, God enhances the term “good” when creating humans and declares that “it was very good.” Bible scholars agree that the word “good” refers to the quality of creation, its craftsmanship, and function as perfectly free from flaws (Hughes 2004; Lennox 2021; Ross 1998). Another meaning of the word “good” extends to the esthetic quality of creation. The term “good” in the original Hebrew language is tôb, meaning “beautiful.” Furthermore, because the term “good” appears repeatedly throughout the creative process, it is appropriate and more accurate to translate the phrase to “God saw that it was beautiful” (Barščevski 2003; King 2018). Therefore, on the final day of creation, Day 6, God saw that it was very beautiful and delighted in His creation (Barščevski 2003; King 2018; Lennox 2021).

Genesis 2:2 states that on Day 7 of creation, God rests. Theologians agree that in the Christian and even Jewish tradition, a seventh day is set aside as a day of rest, or the Sabbath, where little to no work is performed (Hughes 2004; Ross 1998). However, considering the translation of the word “good,” I would like to offer another aspect of rest, which includes beauty (Barščevski 2003; King 2018). I contend that when God rested on Day 7, He not only rested from creating because he created functional perfection, but most importantly, He enjoyed the splendor of the beauty of His creation and found it good and restful (Barščevski 2003; King 2018; Lennox 2021; Ortlund 2021).

The Importance of Beauty

Like most individuals, I love to have an esthetic experience through beautiful music. I can easily lose a sense of time and space while in the flow of either playing one of my instruments or listening. However, until this study, I did not consider that experiencing beauty is God-ordained and essential for rest and well-being. I argue that God values rest that engages the human senses with beauty so fundamental and essential that He established one day of the creative process for this. Considering the mathematical proportion of creation, finding rest with experiencing beauty is as essential as creating the sun, moon, and stars because both were appropriated one day (King 2018). It is no wonder that David, one of the most musically talented kings of Israel, composed psalms, including the well-known 23rd Psalm, to find rest in his poetry and music by singing, “The Lord is my shepherd; I shall not want. He makes me to lie down in green pastures; He leads me beside the still waters. He restores my soul; He leads me in the paths of righteousness For His name’s sake” (vs. 1–3).

The study of beauty and the broader philosophical study of esthetics is expansive and continual, even among music educators and definitely among Christians from various traditions (Begbie 2007; Ortlund 2021; Reimer 1989; Heuser 2019). Although every culture, sub-culture, and individual has different criteria of beauty, what I learned from considering the days of creation is that (1) beauty is important and necessary, (2) beauty should bring rest or repose, and (3) beauty should bring us to an awareness of the creation and the Creator. Ultimately, I hope everyone will engage in that which they consider beautiful.

6. Final Reflection on Music and the Bible

To answer the research question, “How musical is God?” I reflected on a hypothetical question: What would have been the results if God had not been musical? Reflecting on this question profoundly saddened and depressed me because it meant God would have created a universe with sonic order, void of music. The hypothetical consequences would be massive. I envisioned a mechanical world without aural beauty. I thought of an unpleasant, soulless environment with noise and cacophony. Cultures would not have music to integrate and unify individuals into their community. Nor would there be music to celebrate or commemorate significant events such as the harvest, weddings, or even death. There would be no epic film scores to accompany movies, TV shows, or even video games. Composers, musicians, singers, and music educators would not exist.

As I continued to reflect on the hypothetical question, I thought of the infants who would never hear their parents sing a lullaby as they bond and are rocked to sleep. I considered life without hearing awe-inspiring performances of great symphonic works such as Beethoven’s Ninth Symphony or Rachmaninoff’s Second Piano Concerto. Simple but meaningful gospel songs such as How Great Thou Art and Softly and Tenderly Jesus is Calling would never be sung by family and friends in a hospice room as they prepare their loved ones for eternity and comfort themselves by God’s grace. My saddest reflection is that if God had not been musical, I could not express my love and praise for Him through music, nor could others.

6.1. Reconciling the Answer to the Question with the Bible

To answer the research question, “How musical is God?” I found that there has always been and always will be music because there is a God who is so musical that by His omnipotence, omniscience, and omnipresence, He heard every note that would ever be sung or played, then wisely created a universe that is thoroughly steeped with music (Isaiah 44:23). Furthermore, He provided every detail required so that music can be performed from the beginning of time into eternity (Revelation 15:1–4). God is so musical that in His love and desire for a relationship with us, He created us in His image with a cognitive system to be co-creators of music along with His creation (I Chronicles 23:5; Psalm 33:1–5). God is so musical that He allows music to be structured reality for what we accept by faith so that we can quickly grasp fundamental truth for a profound transformation (Psalm 100; Colossians 3:16). God is so musical that He was not satisfied to merely create a finely tuned functioning universe but surrounded it with beauty that we might find rest and give Him the glory (Psalm 19; Psalm 23). Ultimately, God is so musical that He cannot be contained in or within any human criteria or definition of our term “musical” (Job 31; Psalm 145:3–5).

6.2. Conclusions

Based on this study, other research questions should be explored. How musical are other higher powers? How do evolutionists, multiverse theorists, or other religious traditions explain the development and purpose of music as compared to an Evangelical Christian biblicist? Is music really structured reality? Can the purpose of beauty presented in this paper be universal?

As for me and the results of my lived experience through reflecting on how musical God is in this transcendent autoethnography, I have deepened my devotion and gratitude for my musical God and am compelled to raise my voice and sing the 1715 hymn written by the English theologian Isaac Watts:

I sing the Almighty power of God that made the mountains rise,

That spread the flowing seas abroad, and built the lofty skies.

I sing the wisdom that ordained the sun to rule the day;

The moon shines full at His command, and all the stars obey.

(Psalms and Hymns Trust 1895, p. 18)