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The Sabbath and Worship Music


by “Babylon,” “the beast and its image” (Rev 14:8-11), and on the other hand to “fear God and give him glory, for the hour of his judgment has come,” and to “worship him who made heaven and earth, the sea and the fountains of water” (Rev 14:7).

This solemn call to abandon the false worship of Babylon and to restore the true worship of God is presented in Revelation 14 as part of the preparation for “the harvest of the earth” (Rev 14:15), when the Lord shall come to gather the believers and punish the unbelievers. This preparation entails the abandon- ment of the false worship promoted by Babylon and the restoration of the true worship by God’s people.

The apocalyptic imagery of the false worship promoted by Babylon is derived from the historical chapter of Daniel 3, which describes an event of prophetic endtime significance. On the Plain of Dura, all the inhabitants of the Babylonian empire were called to worship the golden image of King Nebuchad- nezzar. A fiery furnace was prepared for those who refused to do homage to the golden image. Twice Daniel mentions that “every kind of music” (Dan 3:7,10) was used to cause all classes of people from all the provinces of the empire to corporately worship the golden image (Dan 3:10).

The eclectic music produced by “the sound of the horn, pipe, lyre, trigon, harp, bagpipe,” and other instruments, served to induce the people “to fall down and worship the image” (Dan 3:15). Could it be that, as with ancient Babylon, Satan is using today “every kind of music” to lead the world into the endtime false worship of the “beast and its image” (Rev 14:9)? Could it be that a Satanic stroke of genius will write gospel songs that will have the marking of every taste of music: folk music, jazz, rock, disco, country-western, rap, calypso, etc.? Could it be that many Christians will come to love this kind of gospel song because it sounds very much like the music of Babylon?

The summon of the Three Angels’Message to come out of spiritual Babylon, by rejecting its false worship, could also well include the rejection of the music of Babylon. Soon the whole world will be gathered for the final showdown in the antitypical, apocalyptic Plain of Dura and “every kind of music” will be played to lead the inhabitants of the earth to “worship the beast and its image” (Rev 14:9).

The Music of Babylon. The use of music to promote the end-time false worship is suggested by the description of the final overthrow of Babylon: “So shall Babylon the great city be thrown down with violence, and shall be no more; and the sound of harpers and minstrels, of flute players and trumpeters shall be heard no more” (Rev 18:21-22).

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