CHAPTER ONE

INTRODUCTION

1.1 HISTORICAL BACKGROUND AND MEANING

The conception of music has been demonstrated by many literature scholars in

places across the world. In ancient Greece, for example, notable playwrights

adopted it as an essential dramatic technique (Peter O. A., 2021). Here in Africa,

our custom forbids an occasion or gathering that is not supported by all the

paraphernalia of musical instruments, because of the additive emotional property

of music as a soothing muse. From the above, I hope we can now visualize the

perceptive potency that music, as a medium, plays when receiving revelation from

God.

Prophecy, on the other hand, is a way of foreshadowing that is propelled by a

divine being, to an individual, a community, a state, or a country. However, this

prophecy could be demonstrated in several ways; not only in oral predictions as

many would suppose. One can prophesy by merely moving the ailing member of

his body, in faith, without saying anything. Therefore, prophecy could be a

physical or abstract prediction of the future.

In general terms, prophecy is a process of communication between God and a

prophet. This process occur in sequential stages; starting from inspiration, to

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interpretation, and then revelation. What is meant here is that the prophet needs a

muse to inspire himself into the spiritual realm. Examples of muse can be fasting,

hot prayers and clapping, singing, etc. When his soul has ascended to the

supernatural (subliminal threshold), there will be interpretation of language

between the prophet and God. Then finally, the prophet will have a revelation of

the will of God.

The ability of a prophet to see beyond the natural is called clairvoyance or vision;

the ability to hear beyond natural is called clairaudience, and the ability to speak

preternaturally is called channeling. Apostle Paul, for example, spoke

preternaturally with Jesus on the road to Damascus (Act 9:22).

The typical importance of prophecy is to unravel mysteries. While the mystery of

the resurrection of our Lord Jesus Christ is a hidden wisdom that God predestined

before ages, saints, like David, prophesied it thousands of years prior to the first

advent of Christ. For example, the prophecy of his death by crucifixion came in the

book of Psalm 22:16-18 before the method of killing on stakes was invented, or

before such a method of scourging evolved.

Music and prophetic ministration are intertwined. From the biblical literature, the

reception of prophetic oracles sometimes was in a musical environment. Prophets,

like Isaiah, are messengers of God with a definite message for the people. They

have been called and commissioned by God to serve as intermediaries between

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God and the people. While the prophet is considered to be a man or a woman who

has the capability to enter into the realms of the spirit to receive divine messages,

music serves as the muse that transcends the unseen space between the prophet and

the realm.

1.2 RESEARCH PROBLEM

The reception of prophetic oracles is a concern of many people. This is because a

deeper study of prophetic literature revealed that there are different ways by which

the prophets received their oracles. Some of these ways include dreams, audible

voices, trance, visions, and intuition. Sometimes, the prophet receives an oracle

when music is being played. In essence, what galvanized the framework of this

research work is a compelling poise that music plays a higher role than other

mediums of communication (instruments of warfare) with God in the office of the

prophet.

1.3 SCOPE OF THE STUDY

When music became a critical part of prophetic ministration is not traceable in

history; that is, it is rather mysterious. Nevertheless, I will go back a long way into

antiquity to dig up some rationale behind it. In addition, questionnaires will be

issued to study participants to extract their views on the hierarchical position of

music in the office of the prophet. In Ephesians 4:11, the bible says “And he gave

some, apostles; and some, prophets; and some, evangelists; and some, pastors and

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teachers.” Our objective in this work is not to meddle with the various callings,

rather we are taking prophetic calling as our case study and see how the “prophetic

tools” like music, prayer, visions, etc. interact, with the aim of deciphering the

independent contributive quota of music in the prophetic ministrations.

However, to preserve the sanctity of this sacred literary work, the views of other

religious practitioners like Buddhists, Islamists, etc. are not considered. In his

second epistle to the Corinthians, the Apostle says, 'Don’t be unequally yoked with

unbelievers, for what fellowship does righteousness and iniquity have? Or what

fellowship does light have with darkness? 15 What agreement does Christ have

with Belial? Or what portion does a believer have with an unbeliever? 16 What

agreement does a temple of God have with idols? For you are a temple of the

living God. Even as God said, “I will dwell in them and walk in them. I will be

their God and they will be my people.”'

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 CHAPTER TWO

LITERATURE REVIEW

In this chapter, we will be looking into the work of other scholars in Christian

theology about their views on the idea of music in prophetic ministration.

2.1 MUSICAL GENRES IN CHRISTIANITY

2.1.1 Hymns

Hymns are also called Christian poetries and are powerful tools for exploring

mysteries in prophetic and evangelical ministrations. In the popular African

fictional novel, Things Fall Apart, we learn that Nwoye, who was a heathen, could

not be converted by expostulations in the bible; but by the poetry of the new

Christian religion.

A reformation approach, the normative principle of worship, produced a burst of

hymn writing and congregational singing. Martin Luther is notable not only as a

reformer, but as the author of hymns including "Ein feste Burg ist unser Gott" ("A

Mighty Fortress Is Our God"), "Gelobet seist du, Jesu Christ" ("Praise be to You,

Jesus Christ"), and many others. Luther and his followers often used their hymns,

or chorales, to teach tenets of the faith to worshipers. The first Protestant hymnal

was published in Bohemia in 1532 by the Unitas Fratrum. Mostly used by

Protestant churches, principally Lutheran, Methodist, and Hussite traditions, but in

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some areas also by Roman Catholic and Anabaptists. Some examples of famous

hymnals are:

 Ausbund, oldest Anabaptist hymnal

 Baptist Hymnal
 Evangelisches Kirchengesangbuch, the first hymnal in German speaking
churches
 Hymnbooks of the Church of Scotland
 Jistebnice hymn book, Czech hymnal from around 1430

2.1.2 Liturgical Music

One thing that characterizes liturgies is spontaneity; its outbursts are according to

the leading of the Holy Spirit, and should not be hindered. However, there have

been criticisms of this, especially in the Catholic mass, leading to stricter

regulations on it (Gerhard, 1911). Popular liturgical musicians are Dan Schutte, St.

Louis Jesuits, etc.

2.1.3 Classic Music

This music derived its epithet from the classical era, and its etymology is rooted in

the culture of ancient Greece and Rome which conquered the British Empire

before the 5th-century current era. Therefore, it is commonly called the art of the

Western world which is different from Western folk music. Sometimes, it is

distinguishingly called Western classical music as the term "classical music" also

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applies to music of ancient Greece and Rome, which is rooted in the patronage of

churches and royal courts in Western Europe (Owen, 2008).

This music is ingrained with formality and complexity in its musical form and

harmonic organization. It is less spontaneous and more mechanical than liturgical

music. In the shorter but pivotal Classical period (1730–1820) composers such as

Wolfgang Amadeus Mozart, Joseph Haydn, and Ludwig van Beethoven created

widely admired representatives of absolute music, including symphonies, string

quartets, and concertos (Schulenberg, 2000).

2.1.4 Symphony and Orchestra

A symphony is an orchestra’s large-scale musical composition, usually requiring

50-80 instruments. Symphonies refer to the music, not the musicians performing it,

and similar to stage plays, they may have several movements or acts of, often

complex, elaborate classical music (Colorado Symphony, 2022). Thus, symphonies

simulate classical music and expand it to an elaborate form. In MFM programs like

Water Manna, Power Must Change Hand, etc., symphonies are often played by the

choir.

Orchestra, on the other hand, refers to the complex arrangement of musical

instruments that could be played independently of symphonies, or sometimes with

them. The director of the orchestra is a conductor, who stands before the band

bearing the instruments.

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2.1.5 Gospel Music

Genre of American Protestant music, rooted in the religious revivals of the 19th

century, which developed in different directions within the white (European

American) and Black (African American) communities of the United States. Over

the decades both the white and Black traditions have been disseminated through

song publishing, concerts, recordings, and radio and television broadcasts of

religious services. In the later 20th century gospel music developed into a popular

commercial genre, with artists touring worldwide (Gorlinski V., 2024).

2.1.6 Metrical Psalters

A metrical psalter is a kind of Bible translation: a book containing a metrical

translation of all or part of the Book of Psalms in vernacular poetry, meant to be

sung as hymns in a church. Some metrical psalters include melodies or even

harmonization. The composition of metrical psalters was a large enterprise of the

Protestant Reformation, especially in its Calvinist manifestation.

Mostly used in reformed churches, and anabaptists. Some examples of psalters are:

 Genevan Psalter
 German Psalter "des Königlichen Propheten David"
 Dutch Psalter
 Scottish Metrical Psalter (1650)

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2.1.7 Contemporary Christian music

From the latter half of the 20th century to the present day in Western Christendom

—especially in the United States and in other countries with evangelical churches

—various genres of music originally often related to pop rock, have been created

under the label of Contemporary Christian Music ("CCM") for home-listening and

concert use. It can be divided into several genres and subgenres, although the

dividing lines and relationships between music genres are often subtle, sometimes

open to individual interpretation, and occasionally controversial. These genres

(sometimes referred to as "style") like other forms of music may be distinguished

by the techniques, the styles, the context and the themes, or geographical origin.

Specific subgenres of CCM may include (but are not limited to): Christian country

music, Christian pop, Christian rock, Christian metal, Christian hardcore, Christian

punk, Christian alternative rock, Christian R&B, Christian electronic dance

music and Christian hip hop.

2.2 Industry

Christian music is supported by a segment of the general music industry which

evolved as a parallel structure to the same. Beginning in the 1970s and developing

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out of the Jesus movement, the Christian music industry subsequently developed

into a near-billion dollar enterprise. By the 1990s the genre had eclipsed classical,

jazz, and new-age music, and artists began gaining acceptance in the general

market. There are several programs of schooling that have been created to create

new christian artists such as Hillsong College in Norwest, Australia, and Visible

Christian College in Memphis, TN U.S.A. Hillsong United is the band out of

Hillsong college and they took the worship music scene by storm in 2016 with the

song "What a Beautiful Name" which won the GMA Dove song of the year in

2017. Other famous artists include Chris Tomlin, Casting Crowns, Amy Grant,

and Skillet.

2.3 Concerts

Like any musical group or act, many Christian musical artists perform concerts in

concert halls, bars & clubs, or outdoor venues, as well as in church-related venues.

Sometimes it may be for pure entertainment, other times with the intention of

witnessing (evangelizing by bearing witness of one's faith), and other times may be

part worship as well.

2.4. MUSIC IN THE OLD TESTAMENT

The inventor of the musical instrument, like the first poet, and the first forger of

metal, was a descendant of Cain. We learn this from the passage which mentions

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Jubal in Genesis 4:21, "And his brother's name was Jubal: he was the father of all

such as handle the harp and organ." This man, therefore, invented the wind and

stringed instruments. Before him, there were probably only some percussion

instruments on which early ancestors may have beaten. It is from Jubal that we get

the word "jubilee." However, the ancients called musicians and singers "Kayne" or

the descendants of Cain.

The first mention of music after the deluge is the narrative

in Genesis where Laban asks Jacob in Genesis 31:27, "Wherefore didst thou flee

away secretly and steal away from me; and didst not tell me, that I might have sent

thee away with mirth, and with songs, with timbrel, and with harp?" This shows

that music played an important part in the festivities of the home. It also seems to

show that music was preserved by Noah and his family during the flood. No doubt

instruments of music were taken on board the ark, and Noah and his family were

able to cheer themselves during their year's sojourn in that monstrous boat. These

instruments in the hand of Laban show that the musical instruments had found their

way into the upland country of Syria.

In the Exodus, after the people of Israel had escaped from Egypt to the opposite

shores of the Red Sea, Moses and the people sang a victory song. Exodus 15:1, "1

Then sang Moses and the children of Israel this song unto the LORD, and spoke,

saying, I will sing unto the LORD, for he hath triumphed gloriously: the horse and

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his rider hath he thrown into the sea." Here, the purpose of singing is a prophetic

demonstration of the victory to come. The voices of thousands, in fact over a

million, singing this song of praise glorifying Jehovah, must have been

glorious. Miriam, the sister of Moses, celebrated this event with the women of the

camp. Exodus 15:20-21, "20 And Miriam the prophetess, the sister of Aaron, took

a timbrel in her hand; and all the women went out after her with timbrels and with

dances. 21 And Miriam answered them, Sing ye to the LORD, for he hath

triumphed gloriously; the horse and his rider hath he thrown into the sea." The

voice of the women and the instruments of music are combined in praise to God.

At Beer, God gave the people water and the people of Israel sang this

song. Numbers 21:17, "Then Israel sang this song, Spring up, O well; sing ye unto

it."

Moses gave instructions to Israel before he died. Some of these warnings were by

means of songs. Deuteronomy 31:30, "And Moses spake in the ears of all the

congregation of Israel the words of this song, until they were ended." Singing was

used for instructive purposes, and for admonishing the people of God. Just as the

majority of us learned our ABCs by song, so some of God's Word was taught by

song. Joshua used instruments of music, called trumpets of ram's horns, to bring

down the walls of Jericho. Joshua 6:4, "And seven priests shall bear before the

ark seven trumpets of rams' horns: and the seventh day ye shall compass the city

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seven times, and the priests shall blow with the trumpets." Deborah and

Barak celebrated their victory in war by songs in the time of the Judges. Judges

5:1-3, "1 Then sang Deborah and Barak the son of Abinoam on that day, saying, 2

Praise ye the LORD for the avenging of Israel, when the people willingly offered

themselves. 3 Hear, O ye kings; give ear, O ye princes; I, even I, will sing unto the

LORD; I will sing praise to the LORD God of Israel." Jephthah's daughter also

used instruments of music to run to greet her father. Judges 11:34, "And Jephthah

came to Mizpeh unto his house, and, behold, his daughter came out to meet him

with timbrels and with dances: and she was his only child; beside her he had

neither son nor daughter."

She used them to greet loved ones, rather than send them away, as Laban had

proposed to do for Jacob.

Saul was welcomed home from the battle of the Philistines by the women shouting

and playing instruments of music. I Samuel 18:6, "And it came to pass as they

came when David was returned from the slaughter of the Philistine, that the

women came out of all cities of Israel, singing and dancing, to meet king Saul,

with tabrets, with joy, and with instruments of music." David, who was very

cunning on the harp, often played his harp to comfort King Saul. I Samuel

16:23, "And it came to pass, when the evil spirit from God was upon Saul, that

David took a harp, and played with his hand: so Saul was refreshed, and was well,

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and the evil spirit departed from him." When King Saul was troubled by evil

spirits, David came to play to relieve his situation. 1Samuel 18:10, "And it came

to pass on the morrow, that the evil spirit from God came upon Saul, and he

prophesied in the midst of the house: and David played with his hand, as at other

times: and there was a javelin in Saul's hand."

We should pause here to note that up to this point in time, instruments of music

were not commanded by God. He did not institute instrumental music in

worship in the law of Moses. The only music used in the days of Moses was

spontaneous praise to God by the people. A ram's horn was blown to call the

assembly together.

Numbers 10:7-9, "7 But when the congregation is to be gathered together, ye shall

blow, but ye shall not sound an alarm. 8 And the sons of Aaron, the priests, shall

blow with the trumpets; and they shall be to you for an ordinance forever

throughout your generations. 9 And if ye go to war in your land against the enemy

that oppresseth you, then ye shall blow an alarm with the trumpets; and ye shall be

remembered before the LORD your God, and ye shall be saved from your

enemies."

But God never ordained instrumental music as a part of the law in the worship of

God.

2.5 DAVID AND THE GOLDEN AGE OF MUSIC

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It was during the days of David that instrumental music was commanded in the

worship by God. David was the one who was used by God to introduce music as a

systematic art among the Hebrews. The Scriptures state in II Chronicles

29:25, "And he set the Levites in the house of the LORD with cymbals, with

psalteries, and with harps, according to the commandment of David, and of Gad

the king's seer, and Nathan the prophet: for so was the commandment of the

LORD by his prophets."

The remaining verses of the chapter show instrumental and vocal music being used

in the worship of God, as God commanded.

Professional musicians became popular in both the palace and the temple.

Chenaniah was one of the first teachers of music. I Chronicles 15:22, "And

Chenaniah, chief of the Levites, was for song: he instructed about the song because

he was skillful."

David gathered musicians around him and used them in the service of God. They

played and sang and even gave prophecies by means of Psalms, as even David

himself did. Later, a king of Israel selected two hundred and eighty-eight men to

play their instruments in praise to God, while Jeduthun and others prophesied. I

Chronicles 25:1-3, "1 Moreover David and the captains of the host separated to

the service of the sons of Asaph, and of Heman, and of Jeduthun, who should

prophesy with harps, with psalteries, and with cymbals: and the number of the

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workmen according to their service was: 2 Of the sons of Asaph; Zaccur, and

Joseph, and Nethaniah, and Asarelah, the sons of Asaph under the hands of Asaph,

which prophesied according to the order of the king. 3 Of Jeduthun: the sons of

Jeduthun; Gedaliah, and Zeri, and Jeshaiah, Hashabiah, and Mattithiah, six, under

the hands of their father Jeduthun, who prophesied with a harp, to give thanks and

to praise the LORD. "

Instruments of music are even called: "Instruments of music of the Lord." II

Chronicles 7:6, "And the priests waited on their offices: the Levites also with

instruments of music of the LORD, which David the king had made to praise the

LORD, because his mercy endureth forever when David praised by their ministry;

and the priests sounded trumpets before them, and all Israel stood." At one time

4000 men were used to praise the Lord with these instruments. I Chronicles

23:5, "Moreover four thousand were porters, and four thousand praised the

LORD with the instruments which I made, said David, to praise therewith."

When Solomon dedicated the temple, we read that it was so well received by God

that His glory filled the house of God. The priests could not minister at the altar for

the cloud of His glory. II Chronicles 5:12-14, "12 Also the Levites which were the

singers, all of them of Asaph, of Heman, of Jeduthun, with their sons and their

brethren, being arrayed in white linen, having cymbals and psalteries and harps,

stood at the east end of the altar, and with them a hundred and twenty priests

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sounding with trumpets: 13 It came even to pass, as the trumpeters and singers

were as one, to make one sound to be heard in praising and thanking the

LORD; and when they lifted up (their) voice with the trumpets and cymbals

and instruments of music, and praised the LORD, saying, For he is good; for

his mercy endureth forever: that then the house was filled with a cloud, even the

house of the LORD. 14 So that the priests could not stand to minister by reason

of the cloud: for the glory of the LORD had filled the house of God."

Solomon had a many-voice, salaried choir with furnished houses, but years later

the choir and musicians seemed to fall into disuse due to idolatry. Then

in Hezekiah's day, the instruments and choir were brought back together again to

praise the Lord, as the prophets had commanded David. II Chronicles 29:25-

29, "25 And he set the Levites in the house of the LORD with cymbals, with

psalteries, and with harps, according to the commandment of David, and of Gad

the king's seer, and Nathan the prophet: for so was the commandment of the LORD

by his prophets. 26 And the Levites stood with the instruments of David and the

priests with the trumpets. 27 And Hezekiah commanded to offer the burnt offering

upon the altar. And when the burnt offering began, the song of the LORD began

also with the trumpets, and with the instruments ordained by David king of Israel.

28 And all the congregation worshipped, and the singers sang, and the trumpeters

sounded: and all this continued until the burnt offering was finished. 29 And when

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they had made an end of offering, the king and all that were present with him

bowed themselves, and worshipped." God again received the Jews because they

had returned to keeping His commands of the law of Moses, and of the ordinances

He had later revealed to His servant David.

During the captivity, the Jews hung their harps on the willows and wept. They had

been renowned for their music and the captors wanted them to play and sing their

songs.

Psalms 137:3b, "For there they that carried us away captive required of us a song;

and they that wasted us required of us mirth, saying, sing us one of the songs

of Zion." But they could not. The golden age of music was over. They would not

return to their music until Jerusalem was again theirs.

2.6 MUSIC AFTER CAPTIVITY

When Josephus wrote, he informs us that the music of David was sung in several

sorts of meter. Some were trimeters, and some dentameters. He says that Moses'

song was a hexameter (Antiquites, 7;12:3). He also informs us that after the

captivity the foreign king gave them instruments to use in the worship of God

(Antiquites 11:3;8). He shows them returning to Jerusalem with instruments of

music in great joy. (Antiquites 11:3;9). Ezra 2:41, "The singers: the children of

Asaph, a hundred twenty and eight." Nehemiah 7:44, "The singers: the children of

Asaph, a hundred forty and eight."

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In Jesus' day the temple still resounded with joy, as they sang to the

accompaniment of all kinds of instruments, for we are told by one, Jesus, the son

of Sirach, "The singers sang praises with their voice, with variety of sounds was

there made sweet melody." Ecclesiasticus 1:18.

The above brief survey of music in the Old Testament helps us see the growing

use of music. From starting with a worldly descendant of Cain, it progressed into

the very worship of God in His holy temple, by His command. The instruments are

found right in the temple where Jesus went to worship. After Jesus died, the

apostles still went to worship in the temple. Acts 2:46, "And they, continuing daily

with one accord in the temple, and breaking bread from house to house, did eat

their meat with gladness and singleness of heart." Acts 3:1, "Now Peter and John

went up together into the temple at the hour of prayer, being the ninth hour." Acts

24:11, "Because that thou mayest understand, that there are yet but twelve days

since I went up to Jerusalem for to worship."

However, after the destruction of the temple in 70 A.D., the Jews forbade the use

of instruments in worship. "As long as the Judaeo-Christians remained one of the

Jewish sects, they continued the musical tradition of their forefathers." Again,

"How far Judaism's prohibition of all instrumental music used shortly after the

destruction of the temple had influenced the cause of events, is hard to determine.

It seems, though, that up to the third century, Judaeo-Christians' opinions were still

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heeded by the Church" (Grove's Dictionary of Music and Musicians, Vol. II,

p.283 and 285). Thus the Jews hung their harps again on the willows and would

sing no more the songs of praise to God. That the Church temporarily joined this

practice is a sad commentary on their understanding of the destruction of

Jerusalem. But that is not the subject of this paper.

2.7. RECEPTION OF PROPHETIC ORACLES

Prophetic oracles are words spoken by the Prophets on behalf of the unseen deity

to the people in a given situation. Oracles are not ordinary but super-ordinary

words sent by God to address a particular situation in the life of a person(s).

Prophets are the medium through which God sent his oracles to the people.

Prophetic oracles are therefore, the words of Yahweh in the Old Testament sent

through a Prophet. According to Hornby (2005: 1027) [3]. Oracles in ancient

Greece were places where people could go to ask the gods for advice or

information about the future; the priest or the priestess through whom the gods

were thought to give their message, were the oracles. In the Old Testament, oracles

were requested from the Prophets by people from all walks of life. For instance,

oracles were requested by those who desire to know the whereabouts of lost

property (1 Sam 9: 3-10), the outcome of an illness (2 Kings. 1: 2; 8: 7-15), the

results of a forthcoming military engagement (1 Kings. 22: 6), deity (1 Chron. 2:

18-19). Prophets were consulted by monarchs before going to wars to know the

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mind of Yahweh concerning it (1 Kings. 22: 5-6; 2 Kings 22: 13; Isa. 30: 2; Zeph.

1: 6). Studies in prophetic ministry in ancient Israel revealed that the advice of the

Prophets are sought and obtained before religious, political, military, economic and

social activities were carried out. However, other channels of ascertaining the mind

of Yahweh on issues were through Urim and Thummin but prophecy was preferred

(Awojobi, 2018: 121) [4].

2.8 THE PLACE OF MUSIC IN PROPHECY IN 1 KINGS 3: 15-16

For a good understanding of this segment of the study, it is important we consider

the time in which Prophet Elisha lived. Elisha’s ministry became popular because

of his encounter with the political and religious leaders of his time. The Prophets in

his time were in groups or guilds. Two types of prophetic groups could be

identified at this time. They are the central (Operated within the seat of power) and

the peripheral (Distant themselves from those in the corridor of power). The central

had access to social power, wealth, and prestige, but the peripherals were

powerless, poor, and mostly social outcasts. (Lewis 1989: 15-90) [5]. A close study

of prophetic tradition in the Old Testament revealed that Elisha was a peripheral

Prophet. This is because he operated a prophetic ministry that is at the margins of

the social, political, and religious center of his days. Also, Elisha was always at

loggerheads with the religious and political powers of his time. This appears to be

the reason for his attempt to influence the socio-political and religious space

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through prophecy (Dada, 2018: 183) [6]. It should be noted that after the division

of the kingdom, the prophetic ministry went into a coma but was later revived in

the ninth century. During this time, the Prophets challenged the activities of the

reigning monarchs and the religious establishment, especially in the northern

kingdom. The prominent Prophets at this time are Elijah and Elisha. These

Prophets championed the return to Yahweh campaign. Their intention was to bring

the nation back to the worship of Yahweh which they have abandoned for a long

time (Dada, 2018: 187) [7]. It would be recalled that Elijah and Elisha were

Prophets in the reign of Omri who founded the Omri dynasty in the northern

kingdom and reigned from 876-869 B.C. This dynasty initiated policies that

brought the prosperity of Israel back to an enviable position among the

surrounding nations. This dynasty was sustained up to the third generation (Bright,

2000: 240) [8]. However, despite the political and economic stability witnessed at

this time, there was abuse of power and injustice especially in the time of Ahab the

son of Omri. Ahab was a dictator, who oppressed the weak and the downtrodden (1

Kgs. 21). At this juncture, it is crucial to give a little background about Elisha. His

name means God is a savior. Elisha was the son of Shaphat of Abel- Meholah, of

the tribe of Issachar, the companion and successor of Elijah (1 Kgs. 19: 16-19; 2

Kgs. 2-13). Elisha left a peaceful and lucrative occupation to become a Prophet.

Elisha’s character is marked by mercy (2 Kgs. 2: 21), disinterestedness (2 Kgs. 5),

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and toleration (2 Kgs. 5: 19). He was a loyal servant of Elijah. He had doubled the

power of Elijah (2 Kgs. 2:8-15). (Lockyer, 1965: 105-106) [9]. Elisha was a force

of righteousness in a nation that never served or worshiped the true God. His

ministry was characterized by miraculous provisions of sustenance and life.

(Wilkinson & Boa, 1983: 92) [10]. In 2 Kings 3: 15-19, Prophet Elisha attempted

to resolve a socio-political issue. Joram King of Israel and Jehoshaphat King of

Judah were going on a military expedition against the Moabites. These Kings

consulted Prophet Elisha to know the outcome of the battle. Elisha requested a

musician, “and when the minstrel played, the spirit of Yahweh came upon him”

and he prophesied. The question is: What is the role of music in prophecy? Elisha

as a member of the divine council must have perceived that playing music at that

time would serve as a catalyst to the release of the expected oracle from God. One

of the main functions of music is that it enhances the dissemination of messages

due to its dual nature of providing entertainment and education. In other words,

music is a medium of entertainment and education. Most of the time people think

that music is only for entertainment purposes. The educational role of music is

important as well. In the text under review, the educational aspect of music came

to the fore. The Prophet is not interested in entertainment but in disseminating

information. Elisha through the instrumentality of music was able to connect to the

realms of the spirit to know the mind of God on the issue brought before him. The

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Prophet in this context is an educator. Under the influence of the divine spirit, the

body was sometimes stimulated to hyperactivity, as in the case of Elijah who ran

before the King’s chariot with superhuman energy (1 Kings. 18: 46). This type of

Prophets had their living quarters referred to as Naioth, meaning pasturage, abode,

residence (19: 18-22). Characteristics of their behavior were their exuberance and

enthusiasm. According to 1 Sam. 10 their prophetic activities were accompanied

by musical instruments, which were especially fit for enhancing rhythmical

movements (cf. 18:10; Exod. 15:20; 2 Kgs. 3: 15; for contrast, see 1 Sam. 19). The

Hebrew word for music is ‫ )ָהיִנְגנ‬Music). This word is also used for song, taunt

song. This noun refers to pleasant songs in Psa 77:6 and joyful music in ‫)ָהיִנְגנ‬

Music) Lam 5: 14. The verb ‫ )ַןָגנ‬Player) used in 2 Kings 3: 15 occurs in

conjunction with “song” or “singers” in Psa 33:3; 68:25, 26, and Isa 23:16. The

verb may refer to playing in praise of Yahweh for deliverance. Hezekiah

anticipated that songs would be played at the temple to give thanks for his healing

(Isa 38:20). In Psa 33:3 the psalmist wanted to play skillfully and shout for joy as

he praised the Lord. Psalm 68 seems to differentiate between the singers and the

musicians with the tambourine-playing maidens. The harp is the instrument being

played in 1Sam 16:16, Psa 33:2-3, and Isa 23:16. Psalm 33:2 also mentions the ten-

stringed lyre. David played the harp before Saul to help soothe the king when an

evil spirit came upon him, but his efforts were sometimes unsuccessful (1Sam

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16:16, 18, 23; 1Sam 18:10 through 1Sam 19:9). Elisha asked for a minstrel to play

for him, so the hand of the Lord would come upon him (2 Kgss 3:15). The Hebrew

word ‫ )ָֽהָ הְוד־ַיי‬Yahweh’s hand) “The hand of the Lord on” the prophets is the Holy

Spirit’s extraordinary and powerful impulse, His felt impression inspiring them (1

Kings 18:46; 2 Kings 3:15; Ezra 1:3; 3:14). These expressions have their origin in

prophetical tradition. (VanGemeren, 1997: 403) [11]. His “good hand upon” His

people means His gracious help (Neh. 2:8; Luke 1:66). It should be noted that the

hand of God came upon Elisha when the music was on. This suggests that music

enhances the reception of prophetic oracles. Yahweh delights in the praise of his

children. In Acts 16: 25 -26, Paul and Silas prayed and sang praises to God and

God descended and rescued them. This is an indication that praise moves God to

act. Music serves as a catalyst to prophecy. The hand of God was also on Jeremiah

to distinguish him from his contemporaries (Jer 15:17). Furthermore, to Ezekiel the

hands of God means a special experience of God’s power, which is similar to the

actions of God’s spirit upon certain Judges of Israel (Ezek1: 3; 8:1; 37:1; 40:1).

God’s irresistible call not only reaches the Prophet but also during his lifetime

seizes him on special occasions. In 2 Kings 3:15 and Spirit is Exchangeable.

(VanGemeren, 1997: 404) [12].

2.9 PSEUDO-PROPHETIC MINISTRATIONS:

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The Bible says, in Phil 4:8, “Finally, brethren, whatsoever things are true,

whatsoever things are honest, whatsoever things are just, whatsoever things are

pure, whatsoever things are lovely, whatsoever things are of good report; if there

be any virtue, and if there be any praise, think on these things.” Similarly, in John

4:1, it is written that “Beloved, believe not every spirit, but try the spirits whether

they are of God: because many false prophets are gone out into the world.

Music, like any virtue, can be corrupted. In the Cherubim and Seraphim Ministry,

for example, Fatokun (2018) claimed that prophets and prophecies are highly

revered based on their ability to see beyond the ordinary and predict the future.

This is a deception because the ability to prophesy is not unique to some specific

group. Our ability to foresee depends on how close we are, to God. For example,

considering the ministry of our Lord Jesus Christ during his time on earth, we can

infer that he performed all his miracles under four basic perceptive influencers:

holy water, anointing oil, mantle, fasting, and prayer. When He prophesied to

Peter, in Matt 26:34, that “before the cock crow, thou shalt deny me thrice”, it was

not indicated that he used any forbidding foreign substrates like candles, rosaries,

alcohol, sacred food (Aseje in Yoruba), etc. What the Lord was imparting to us is

that faith is the most important element in the Christian ministry, and there is no

magic or secrecy attached to Christianity. Therefore, no one is peculiar or unique

as a prophet, but we can all develop ourselves to acquire this gift.

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Apart from the apostolic churches in Nigeria, almost all other Christian ministries

are guilty of this act. And, as a result, have designed a complex web of

charlatanism that is smearing the entire Christian world with images of perversion

and ignobility. In essence, the nitty-gritty of this writing is to pontificate that

music, if not guided in the prophetic use, can serve as a daughter of Jezebel.

That is why our Father in the Lord, Dr. D.K. Olukoya, forbids instruments that can

degenerate music into an object of perversity in the church.

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 CHAPTER THREE
BIBLICAL PERSPECTIVE
The ability to decode the view of the Holy Scripture on music is dainty; however,

efforts will be made to wring out what the Scripture assumes as the pithy essence

of music in Christology. The Hebrew Bible came down to us through the

scrupulous care of ancient scribes who preserved the texts and their lyrical

qualities, as it was rendered by the prophets. Therefore, Christians should adhere

faithfully to the lyrics of the idioms and other texts found in the Bible. The

devotional quality of the scriptures is apparent in the poetic and prophetic books,

as well as the epistles.

According to the “Dedication” of the New King James Version (2012) by Bible

Society, it is written that God is the divine Author of the written oracles called the

Bible. This implies that God is the ultimate prophet, and delivers his prophecies in

lyrical tones. Our God is not mundane; he is the most blessed architect of artistry.

When he passed down the oracle of the temple to Moses, it was laden with

specifications, to demonstrate His sanguinity and chivalry.

3.1 LOOKING UNTO JESUS ALONE

In suffering, the Bible expects us to look unto Jesus the author and finisher of our

faith; who for the joy that was set before him endured the cross, despising the

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shame, and is set down at the right hand of the throne of God (Hebrew 12:2). Jesus,

who is the head of the church, epitomizes resurrection by “despising the shame for

the joy before him.” Paul, similarly, demonstrated this by singing praises when he

was shackled in prison. Instead of considering his suffering and the menace of the

jailer, he considered the joy that was set before him. What Paul did is not a

personality trait; it is assuming the mantle of faith in the love of resurrection. Our

flesh will always demand retribution for the offenses of others, but when we are

renewed by the power of resurrection, we begin to look beyond sulking and

hysterical outbursts. We see joy in reconciling with our most ardent enemy for the

joy of resurrection on the last day. All the lavish settings like the Silicon Valley in

California and Gaylord Resort are temporary, opulent aberrations in the Christian

life when juxtaposed with the New Jerusalem that is set before us.

3.2 LOVE OF HUMAN RACE

Misogynism in whatever guise, is not supported by the Bible. The poetic Songs of

Solomon portrays this assertion through its sublime revelation that romance,

passion, and sexuality, within God’s ordinances, are beautiful and holy.

3.3 TAMING THE FLESH

In addition, musical lyrics, according to the Bible, are excellent mediums for

admonishing brethren in the church. Solomon, again, uses the Ecclesiastes to

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forewarn the church on the vainness of this world. He related his experience first-

hand on a lifestyle marked by indulgence and pride.

3.4 EDIFICATION OF OUR SOULS

The bible also lyrically set itself as a soothing balm for a confused mind, in a time

of folly and uncertainty. Proverbs, as a treasury of God’s wisdom, dig deep on this.

King David was a prolific psalmist who penned down lyrical anodynes for the

edification of the bereaved and the broken-hearted.

3.5 BELIEVING IN UNSEEN AND DIVINITY

Telepathy, an essential characteristic of prophets, is demonstrated in the elegiac

book of Job; while on earth, Bible readers sit on the edge to imaginatively view

battles in the spiritual realm. In 2 Corinthians 10:4, the bible made us understand

that our weapons are not carnal. Music, therefore, is a supernatural spiritual

warfare that works the work of the spirit that our carnal body cannot undertake.

3.6 PROPHETS ARE GOD’S DIVINE ORACLES

While music serves as a medium to tap into God’s realm, the prophet embodies the

ancient scroll from whom the oracles are copied. The prophetic books in the Bible

made us realize that, within Christianity, there could be puzzles that remained

unbridled by the Bible. In instances like this, we can consult the prophets to seek

the heart of God on it. However, I am not saying we should visit white-garment

30
churches where all sorts of spirits are used to tap into the spiritual. Nevertheless,

we can visit prophets, like Dr. D.K. Olukoya, who pray within the doctrine of the

early Apostles. Prophet Habakkuk, for example, asks some questions that people

are puzzled by.

3.7 COLLECTIVE WORSHIP

In the biblical times (Old Testament era), a careful reader of this section of the

bible should discern a need for music in collective worship. In Exodus 15 and

Chronicle 16, national events were celebrated with music. In Joshua 6:20,

infantries were ordered based on the sound of the trumpets. Similarly, in the book

of Psalms, collective worship in temples cannot be instituted without songs and

praises. Metaphorically, infantry actions in troops often connote camaraderie or the

spirit of togetherness. Here, what the bible is imparting to us is that music is

essential to fellowship with the Godhead, which is symbolic of holiness. Without

music or hymns, our fellowship with the Father is incomplete, just like the

essentiality of the sacrament.

3.8 EVERYDAY AFFAIRS

Apart from the use of music in collective worship, the bible also enjoins us to use it

in everyday life affairs, be it secular or divine. We see this in the life of Hannah (1

Samuel 2) and Mary (Luke 1:46-55). David also poetically lamented the death of

31
Jonathan (2 Samuel 1). Songs were used to celebrate secular feasts In Isaiah 5:12;

social events in Luke 15:25 at the return of the prodigal son; when people

harvested their crops (Isaiah 16:10); and the expression of love (Psalms 45:1-17).

Therefore, in any situation, we should always give thanks through our pious

melodic ejaculation to Christ.

The Ark of the Covenant was brought to Jerusalem with great joy and singing. As

Christians, whenever we are instituting a new idea, building a new church, or

spreading the name of Christ where it has not been known, we should adopt the

voice of mirth. In 1 Chronicles 13:8, "And David and all Israel played before God

with all their might, and with singing, and with harps, and with psalteries, and with

timbrels, and with cymbals, and with trumpets." I Chronicles 15:16-28, "16 And

David spoke to the chief of the Levites to appoint their brethren to be the singers

with instruments of music, psalteries and harps and cymbals, sounding, by lifting

the voice with joy. 17 So the Levites appointed Heman the son of Joel; and of his

brethren, Asaph the son of Berechiah; and of the sons of Merari their brethren,

Ethan the son of Kushaiah; 18 And with them their brethren of the second degree,

Zechariah, Ben, and Jaaziel, and Shemiramoth, and Jehiel, and Unni, Eliab, and

Benaiah, and Maaseiah, and Mattithiah, and Elipheleh, and Mikneiah, and

Obededom, and Jeiel, the porters. 19 So the singers, Heman, Asaph, and Ethan,

were appointed to sound with cymbals of brass; 20 And Zechariah, and Aziel, and

32
Shemiramoth, and Jehiel, and Unni, and Eliab, and Maaseiah, and Benaiah, with

psalteries on Alamoth; 21 And Mattithiah, and Elipheleh, and Mikneiah, and

Obededom, and Jeiel, and Azaziah, with harps on the Sheminith to excel. 22 And

Chenaniah, chief of the Levites, was for song: he instructed about the song because

he was skillful. 23 And Berechiah and Elkanah were doorkeepers for the ark. 24

And Shebaniah, and Jehoshaphat, and Nethaneel, and Amasai, and Zechariah, and

Benaiah, and Eliezer, the priests, did blow with the trumpets before the ark of God:

and Obededom and Jehiah were doorkeepers for the ark. 25 So David, and the

elders of Israel, and the captains over thousands, went to bring up the ark of the

covenant of the LORD out of the house of Obededom with joy. 26 And it came to

pass, when God helped the Levites that bare the ark of the covenant of the LORD,

that they offered seven bullocks and seven rams. 27 And David was clothed with a

robe of fine linen, and all the Levites that bare the ark, and the singers, and

Chenaniah the master of the song with the singers: David also had upon him an

ephod of linen. 28 Thus all Israel brought up the ark of the covenant of the LORD

with shouting, and with the sound of the cornet, and with trumpets, and with

cymbals, making a noise with psalteries and harps."

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3.9 MUSIC FORESHADOWS THE IMPENDING ERA

The Bible also considered music as a medium of prophecy, especially for

Christians. When we look at the style of music in the books of Moses, we see that

it is more spontaneous without a prescribed harmony. As time progressed to the era

of the imperialism of the house of Judah during the reign of David, the musical

cadence among Christians became more systematic and harmonious, auguring the

era of grace to come in the time of Christ. In ancient times, the Jews were only

guarded by the destructive law of Moses (2 Corinthian 3:7, Hebrew 7: 28), and

their worships were marked with disorderliness or whims. That was an era when

believers worshiped God in diverse ways; they offered daily doses of all sorts of

animals to God for appeasement. But when David and his descendants assumed the

throne of Judah, the advent of Christ and His grace became perceptive through the

mutation of erratic musical tones to distinct chords of harmony (II Chronicles

29:25). At this time, the grace of Christ was felt because singers were relieved of

the hurdles of whims.

3.10 MUSIC DEPICTS THE TASTE OF GOD

We also learn, through music, that the Lord is a God of choice and prescription. He

admonished them to “praise him with the sounding of the trumpet, praise him with

34
the harp and lyre, praise him with timbrel and dancing, praise him with the strings

and pipe, praise him with the clash of cymbals, and praise him with resounding

cymbals. Let everything that has a breath praise the LORD.” (Psalm 150:1–6

NIV11). Music, like any element of worship, should be to a prescribed standard. In

the church, folk or secular music, and its instruments, should not be tolerated. This

explains why drums used by folk musicians are not tolerated in MFM services.

However, the conception of the scripture is that the prescribed, or permissible,

music should be laden with financial resources, to grab the intrinsic beauty of

divine revelation. In 1 Chronicles 16:41, over 288 musicians were chosen to

conduct religious ceremonies with the priest. Similarly, to discipline the talent of

Gospel singers in the church, support, in the form of scholarships, should be

available for them to render well-chosen English words of the old Elizabethan and

current era, as well as a graceful, musical arrangement of language, which has

stirred the hearts of Bible readers through the years.

Further, three main words were used in the early Hebrew translation of the

bible: halal, zamar, and yada. In contemporary perspective, halal is primarily

making noise for God (Habakkuk 3:3; Psalm 35:28; 66:1-2); Zamar is primarily

connected with singing or playing music (Psalm 18:49; 147:1, 7; 108:1-3; 47:6-9,

and Yada is more connected with moving the body (Psalm 63:3-4; 134:2; 2

Chronicles 7:3; Psalm 138:1-2; Psalm 47:1; 149:3; 33:1-3.). While present-day

35
ecclesiastical Christians are now being correlated with “rigor mortis” syndrome,

efforts should be made to keep to the prescription of not indulging in the praises

that will degenerate the holy fellowship into a sonorous song of perversion.

3.11 MUSIC REFLECTS THE UNITY OF CHRISTIANITY

One can also observe that musical worship is ubiquitous in the bible. Though the

pattern of singing and mode of worship mutated throughout the scriptures, musical

worship remains a unique, penetrating factor that links Christians together in the

bible. It blends the formal worship of the David era and the spontaneous worship

of the earlier Jews; supporting Hebrew 13:8 that Christ is one. In 1 Thess. 2:13,

readers are encouraged to approach the Bible “not as the word of men, but, as it is

in truth, the word of God, which also effectively work in you who believe.” The

same Holy Spirit who originated the Scriptures must also make them clear to the

reader, for the truth they contain are spiritually discerned” (1 Cor. 2:14).

3.12 MUSIC SHOWS THE VIVACITY OF GOD

Music also embodies the image of God. It opens our hearts to understand that,

though God is the Lord of host, there is a dramatic aspect in His personality. When

He instructed Joshua to form a siege around Jericho, He also told him to equip the

priests with trumpets (Joshua 6:1-27). Similarly, perhaps much to the surprise of

36
Jehoshaphat in 2 Chronicles 20, the Lord set ambushes against the men of Ammon,

Moab, and Mount Seir as the children of Israel began to clap and praise the Lord.

Despite verified accounts about the spontaneity and harmoniousness of music in

the Old and New Testaments, we have no hints about the genres of music of that

era. That open blank represents God’s expectation of us to be innovative. We are

kept aloof to trigger our innovative instinct on how to propel the art of music.

3.13 THE DUALIZED NATURE OF MUSIC

It is also pertinent to note that music, according to the biblical perspective, can be

bait. Prostitutes used it to advertise their wares and to entrap men (Isaiah 23:15). In

the case of Saul when he was possessed by evil spirits, David’s musical muses

soothed him until he was delivered of that (1 Samuel 16:23). The biblical

perspective here is that what we sing determines the spirits that dwell in us. While

sacerdotal gospel hymns protect us from attacks, perverse secular songs expose us

to sonorous chants of whoredom.

The school of the prophets seemed to encourage music throughout Israel. I Samuel

10:5, "After that thou shalt come to the hill of God, where is the garrison of the

Philistines: and it shall come to pass, when thou art come thither to the city, that

thou shalt meet a company of prophets coming down from the high place with a

37
psaltery, and a tabret, and a pipe, and a harp, before them; and they shall

prophesy." Therefore, music can emancipate and demonize a soul.

CHAPTER FOUR
PRESENTATION AND DISCUSSION OF FINDINGS
4.1 DISCUSSION OF FINDINGS

The object of this finding among participants is to rank the place of music in a

Christian’s instruments of warfare. As it was noted earlier, Christ perform His

miracles using just fasting, prayer, anointing oil, faith, mantles, praises, and

nothing more. Therefore, in this study, efforts were made to see the closeness of

these instruments of biblical warfare, using correlation analysis.

Questionnaires were distributed weekly, for a full month. The number of

participants supporting a controlled viewpoint, each week, varies. However, upon

analyzing their views on a scatter plot, it was found that, despite their varied

weekly population, their combined opinion reveals that music is as expeditious as

faith in the life of a prophet because the correlation coefficient on the scatter plot

hits an exact value of unity.

The data distribution on the bar chart (pie chart) was also considered. The average

number of study participants is 285 in a week, and their views, based on popular

votes, were deduced using the bar chart. It was discovered that fasting and prayer

38
 have the highest number of votes on prophetism; followed by faith, and then

praises, while alms-giving and anointing were not really voted.

4.2 DATA PRESENTATION

4.2.1 POPULATION OF STUDY PARTICIPANTS WEEKLY
TABLE 4.0

FIRST-QUARTER (Q1)

FULL MONTH (Q4)

39
4.2.2 CORRELATION ANALYSIS
TABLE 4.1

FIG. 4.0
TABLE 4.2

40
4.3 BAR CHART AND PIE CHART

FIG. 4.1

41
 FIG 4.2

CHAPTER FIVE
SUMMARY, CONCLUSION, AND RECOMMENDATION
5.1 SUMMARY
Essentially, the effects of music in a prophet’s ministry have been worked upon by

considering its synergistic relationship with other instruments of spiritual warfare,

which include fasting and prayer, anointing oil, and faith, that our Lord Jesus

Christ used before he was hung on the cross.

Some critics may be quick to point out a jaundiced viewpoint that there is simply

no evidence whatsoever in Scripture that music mediates direct encounters or

experiences with God (posted by Christianity Today). However, I am confident to

42
say that this piece of work is devoid of jingoistic dogma because it embodies the

qualitative views of saints in the church.

5.2 CONCLUSION
Music is a matrix blender that diffuses with both the spiritual and physical

ambience of a prophet during prognostication, to soothe the subliminal

consciousness of the prophet and the cathartic receptiveness of the audience or

subject. From biblical precedent, coming into the presence of God and receiving

illumination is a cogent functionality of music. In 2 Kings 3:13-15, we have: ‘And

Elisha said to the king of Israel, “What have I to do with you? Go to the prophets

of your father and to the prophets of your mother.” But the king of Israel said to

him, “No; it is the LORD who has called these three kings to give them into the

hand of Moab.” And Elisha said, “As the LORD of hosts lives, before whom I

stand, were it not that I have regard for Jehoshaphat the king of Judah, I would

neither look at you nor see you. But now bring me a musician.” And when the

musician played, the hand of the LORD came upon him.’ The context in that Bible

verse is that music serves as a substrate to have a direct encounter with the Spirit of

God.

What is more, music “plays” a significant role in spiritual warfare and the presence

of holiness. If not, why would a prophet, who parted water, made an axe head

float, and raised the dead, request a musician? To validate further, we should not

43
forget that David was said to relieve Saul’s demonic oppression with a musical lyre

(guitar) in chapter 3 of this work. Similarly, when David set up his administration,

he instituted the service of the sons of Asaph, Heman, and Jeduthun, to “prophesy

with lyres, harps, and cymbals” (1 Chron. 25:2); thereby, attaching prophetic

gifting, presence, and music. Finally, the OT book of Habakkuk is written by the

musical prophet, who supplies a song.

Therefore, music is more than mere words and should be utilized as a form of

“entering” into the greater worshipful presence of God’s Holy Spirit. Scripture is

clear that God does indeed employ music for intercession (Fretwell M., 2024).

One of my favorite verses, which I pronounce every time is from Matthew 26:30.

The setting is the night in which Christ will be betrayed; He knows that His soul

will be in anguish as He bears the sin of the world upon Himself. I have to think

their singing brought Him some peace. The verse states, “And when they had sung

a hymn, they went out to the Mount of Olives” (Mt 26:30). Andreas Kostenberger

believes that the hymn was Psalm 118:22-23, a Jewish traditional usage from the

Passover celebration:

“The stone that the builders rejected

has become the cornerstone.

This is the LORD’s doing;

44
it is marvelous in our eyes.”[1]

5.3 RECOMMENDATION
 To preserve the liturgy and its tradition such as prophetism, musical
interludes in the church are highly recommended
 On some occasions, it should be vivacious or lively as much as it is possible
 When we are observing sober mood in church, music should reflect the same
 The ordination of prophets in churches should attract certain musical
instruments as symbols of authority
 In schools of prophetism, music courses should be part of the modules for
the growth of the prophets-in-training
 Exchange programs that allow students in the school of prophet to study in
music schools for a short period, are highly recommended.
 Considering the growing sophistication of the current era, schools of
prophets should seek financial support from donor organizations to alleviate
the financial burdens on the students, so that they can utilize all the means of
the present-age pedagogy to meet the demands of the labor market.

45
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Achebe, C. (1992). Things Fall Apart. New York, Knopf.

Mountain of Fire and Miracles Ministries. (2023). The Power of the

Resurrection (Vol 1, No 19). Yaba: MFM Growing in Grace.

APPENDIX
QUESTIONNAIRE
Calvary Greetings!
Beloveth, one of our members, Bro. Adeyinka Adesoye, is a School of Prophets
student researching the Effects of Music on a Prophet and his Ministry. We hereby
implore your indulgence to fill this paper as avidly and honestly as you can.
1. How often do you sing (a) daily (b) weekly (c) occasionally (d) none
2. Which song do you sing (a) Christian songs (b) tribal folks (c) foreign
pops (d) none
3. As a Christian, which of the following do you think is most important for
a Christian, aiming the office of a prophet (a) Faith (b) Praises (c) Prayer and
fasting (d) anointing and mantle
4. Kindly tick one option from below, based on the potency of the
weapons of spiritual warfare in the life of a prophet:
Weapon Most Potent
Fasting and
prayer
Praises
Anointing
Faith
Giving alms

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5. What do you think music can do to a prophet (you can tick more than one box)
o Enhance a clearer vision
o Enable clearer hearing from God
o Increase the efficiency of the prophet
o Improve holiness
o Improve the understanding of the scriptures
6. Kindly tick the following appropriately:
 A prophet can attain all with singing alone (a) True (b) False
 All Christians are prophets (a) True (b) False
 When we do all that is required to be a prophet, anybody can be a
prophet (a) True (b) False
 Prophetism is inborn (a) True (b) False
 According to the Bible, all the twelve apostles are prophets (a)
True (b) False
 Mary, the mother of Jesus, was a prophetess (a) True (b) False
 From the above, we can infer that becoming a prophet is
tantamount to personal choice, provided we do the needful like
praying for it, going to schools of prophets, etc. (a) True (b) False
 Or can we say prophetism is by ordination; i.e. being chosen by
the Holy Spirit at any stage of one’s life (a) True (b) False
 Or becoming a prophet is undeterminable; i.e. it could come in
diverse ways whether we ask for it or not (a) True (b) False

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