EllenWithWhite

&
Music
Special Attention to the
Music of the Indiana Camp Meetings of 1900*
Andr Reis

llen G. White (1827-1915) had much to say

about the role of music in the life of the Christian.
This article will address the issue in two sections.
The first section deals with what she wrote about
sacred music and music in general, considering the
musical and religious context of the nineteenth and early
twentieth century. The second section is more extensive
and examines in particular the statement: There will
be shouting with drums, music and dancing1 which
applies to what transpired in worship in Adventist
churches and camp meetings in Indiana from 1899-1901.
The goal is to apply reasonable principles of
interpretation, both to the general statements of Ellen White
about music and in particular to the case of Indiana, in order to
draw lessons and principles for Adventist worship music today.
Historical Background
When Ellen White was born, the United States was going
through a period of strong religious interest.2 The camp meeting
was the preferred medium for the dissemination of this trend, the
most popular being the Methodist camp meetings. These were
characterized by great enthusiasm and spontaneity, where shouts
of Glory and Hallelujah and hymns sung with fervor, either
a cappella or with the organ reinforced the preachers strong calls
to conversion and holiness.3 Ellen White became a Methodist in
1840 in the midst of this profound spiritual revival. At this time the
Holiness Movement was in expansion in the United States, spurred
on by the charismatic meetings of the Salvation Army.
It was also during this period that many of the beloved
traditional Protestant hymns such as Blessed Assurance, Shall
We Gather at the River, I Need Thee Every Hour and many
others were born. In the Adventist movement composers James
White, Uriah and Annie Smith wrote hymns that reflected the
vibrant sacred musical style of their time4 and emphasized the hope
of the soon return of Jesus.
In 1849 the first Adventist hymnal was published, with 53
hymns about the Second Coming. Adventist hymnody turned
worship into a time of great enthusiasm and fervor, marked by the
same shouts of Glory! and Hallelujah! and similar expressions

used in the evangelical camp meetings. James White liked to sing

hymns vibrantly, beating their rhythm on his Bible and criticized
those who did not shout in church as lukewarm, deceived and
hardened.5 In this period of formation of the Adventist Church,
music played a vital role in uniting the members around the great
hope of the Second Coming.
Indeed more could be said about this important period in the
history of American Protestantism, and how music influenced
the Advent movement, but for the purposes of this paper, this
brief overview is sufficient to place Mrs. White in the religious and
musical context of her time.
Below are various concepts found in her writings having to do
with music. The analysis that follows is not exhaustive, it only seeks
to show the general trend of her writings on the subject music.6
For those interested, all of Ellen Whites references to music can be
looked up using the search engine at www.ellenwhite.com.
Ellen White and Sacred Music
We can divide Ellen Whites statements on sacred music in two
categories: devotional music and congregational music.
1. Devotional music. Ellen White considered music a
precious gift of God, designed to uplift the thoughts to high and
noble themes, to inspire and elevate the soul.7 Coupled with
the Scriptures, music is an effective way for fixing His words in
the memory and to subdue rude and uncultivated natures.8
She compared the song to a weapon that we can always use
against discouragement9 and to open the springs of penitence

____________________________________

*A version of this article appeared in Spanish in the book En Espritu y en Verdad (Pacific Press, 2013), 34-50. This paper was
presented at the Andrews University Worship Conference on Feb 27, 2015.

and faith.10 A hymn of praise that rises from a heart filled with
gratitude and thanksgiving is more pleasing to God than any
musical instrument.11 She writes that vocal music is one of Gods
gifts to men, an instrument that cannot be surpassed or equalled.12
She often sang praises when she was alone at home. Her favorite
hymns were Jesus, Lover of My Soul, Rock of Ages, I Will
Follow Thee, My Savior, and When I Survey the Wondrous
Cross.13 The family worship at the Whites home was a moment of
enthusiastic praise.
2. Congregational music. To Ellen White, music in worship
needs to impact the worshiper by three elements: Beauty, pathos
and power.14 She recommends that music in worship be of the
highest quality possible, approaching the harmony of the heavenly
choirs15, and described the music of heaven as rich, perfect16
melodious, perfect, enchanting17 and expressed as a songs of
victory18 in praise and honor and glory to the Lamb forever.19 She
describes the music of the Bible in similar terms.20
Although Ellen White expected music of good quality in the
worship service, she cautioned that music should not be made into
a theatrical display21 or just to charm the senses.22 She preferred
singing that involved the whole congregation,23 and led by a welltrained group.24 On several occasions she asked the congregation
to sing her favorite song, Jesus Lover of My Soul25 and Almost
Persuaded.26
Early in her ministry, Ellen White spoke against cold formality
and stiffness27 in worship and saw great necessity for more energy
in the meetings.28 The service should be holy and joyful and
the music not in funeral notes, but cheerful, yet reverent.29 At one
occasion, she stopped the congregation in the middle of a hymn
because they were singing in disinterested manner. She asked them
to start again, because the angels sing with reverence, feeling and
expression.30
While singing in worship should have energy and expression,
she disliked the long-drawn-out notes and the peculiar sounds
common in operatic singing. 31 This statement seems to put her
against proper vocal technique as expressed in opera; however,
the faux operatic style described here was nothing more than
a distortion of proper vocal technique. Her letter to a brother
Stockings seems to shed light on the root of her criticism. She
described his singing as so loud, so harsh that the softer and more
silvery strains, more like angel music, could not be heard.31 She
clearly preferred soft and melodious singing.
Ellen White appreciated the use of musical instruments in
worship. In the General Conference Session of 1905 she spoke
positively of the musical instruments present there and promoted
the use of musical instruments in the song service, for singing must
be accompanied with musical instruments skillfully handled.32
The above are some of the general concepts of sacred music
reflected in the writings of Ellen G. White. We will discuss other
matters of music and worship in the section about the music of the
Indiana camp meetings in 1900.
2

An early 20th century Adventist camp meeting.

__________________________________________________________

Ellen White and Secular Music

Ellen White criticized some popular songs of the time, calling
them frivolous, flippant33 low songs full of lewd gestures,
expressions, and attitudes34 which led to unholy mirth and
coarse laughter.35 Such songs, instead of inducing to holiness and
spirituality, have been the means of diverting their minds from the
truth.36 In her characteristic pragmatism, Ellen White complained
that young ladies dedicated time to play the piano but they can not
cook and frowned upon devoting to musical instruments time
which should be dedicated to prayer.37
Mrs. White enjoyed some good examples of vocal and
instrumental classical music of her time, whose musical language
speaks to the universal human longings and aspirations, and this
seemed acceptable to her. She called this a type of musical recreation
that is not harmful if done in a proper way.38 In 1876, she
heard a concert of splendid vocal music.39 In a public square in
Switzerland in 1886, she tells of the most beautiful instrumental
music40 probably in the Viennese Waltz style which was popular at
the time in Europe. Years later, on a boat trip in Australia, a group of
street musicians entertained the passengers with well selected and
well played music, which she called soft and grateful to the senses
because it was musical.41
This brief background on Ellen Whites attitude to both sacred
and secular music will help us understand her reaction to what was
happening in Indiana in 1900.
The Music of the Camp Meetings of Indiana in 1900
As we saw above, the Millerite worship of the 1840s was vibrant
and colorful, a style that influenced early Adventist worship. On
several occasions, however, during the formation of the church
(1845-1860),42 Ellen White had to deal with pockets of fanaticism
and unhealthy and unnecessary excitement,43 fanaticism ... false
excitement, false talking in tongues and noisy exercises because
some are not satisfied with attending a meeting unless they have a
happy and powerful experience.44
She was present at a meeting with much excitement, with noise

and confusion. One could not tell what was piped or what was
harped. Some appeared to be in vision, and fell to the floor. Others
were jumping, dancing, and shouting.45 Such excesses put a deep
a stain upon the cause of present truth.46
Ellen Whites criticism to the rambunctious worship style of
these revivals was a major shift from her former days as a shouting
Millerite. One can only surmise that after dealing with a few of these
revivals, she soon realized that things can quickly get out of hand
when too much importance is placed on emotions in worship. And
while these fanatic movements usually went away on their own,
emotionalism in worship continued to threaten Adventist worship
for much of the nineteenth and early twentieth century.
In the second part of the 1890s, the movement known as
Receive the Holy Spirit led by Adventist ministers and Alonzo T.
Jones and Albion F. Ballenger was shaking the Adventist church
in North America.47 This movement advocated a renewal in the
spiritual life through the power of the Holy Spirit. It culminated
in 1899, when a perfectionist movement developed in the state
of Indiana which came to be known locally as the cleansing
message48 and infamously described by external observers as the
holy flesh movement.49
The president and the leaders of the church in Indiana,
dissatisfied with the spiritual condition of legalism and spiritual
indifference of the membership of that time (1898-1900), began
preaching the Laodicean message (see Revelation 3:14-22).50
This message emphasized the need for genuine conversion and a
quest for holiness. However, such emphasis quickly derailed when
some members and local pastors began to spouse the notion that
conversion should lead to a state of absolute physical holiness and
sinlessness.
In order to achieve this, the most fanatical in some of the
churches in Indiana began promoting meetings with long periods
of singing, prayer, dancing in circles and shouting. The emotional
and physical arousal was so intense and prolonged that many
would fall down unconscious. The person who had fallen was then
surrounded by a group that sang, wept and prayed until the person
regained consciousness. Upon regaining consciousness, it was
believed that the person had gone through the garden experience.
Like Jesus, the believer was now without sin and had translation
faith.51
In the summer of 1900, the Indiana Conference organized
camp meetings in several cities of the state, where they would
preach the Laodicean message. In the Muncie camp meeting in
September, Stephen Haskell (and his wife) and A. J. Breed, two
officials of the Association General were present.52
Ellen White was informed by the Haskells about the
perfectionistic tendencies and the worship style in Indiana. Haskell
and others saw the meetings in Muncie as a copy of the Salvation
Army method,53 with strong revivalist tendencies, lively songs
and a lot of excitement,54 shouting, prayers, long calls to conversion
and instrumental and vocal music. There is great power that goes

with the movement, said Haskell because of the music that is

brought to play in the ceremony.55
The recent events in Indiana were similar to the ones Ellen
White and the pioneers had experienced at the beginning of the
Advent movement. One thing remained the same: the main
element of emotional worship in these Adventist revivals was not
music, but the perfectionistic ideas of the fanatics. Their impossible
ideals of holy flesh invariably led them to extreme emotionalism
and outward displays of piety that could facilitate the feeling of
holiness such as falling prostrate to the ground (or being struck
in the Spirit), walking around as infants, shouting, clapping and
dancing.
It is necessary, therefore, to clarify the role of music at the
Indiana camp meetings. Below are important observations based
on primary sources about what was happening in Indiana.
1. Noisy worship without musical instruments. Witnesses report
that the excesses in worship occurred during 1899 and 1900 in
some Adventist churches in Indiana. During these meetings, the
song service was probably a cappella or accompanied by the organ
or perhaps a trumpet; there were no other musical instruments
like drums. (See item 3 below). In at least one case (Indianapolis,
1900), the fanatics formed large circles in the basement of the
church where they sang, shouted and reached a climax of histeria.56
However, we have no evidence that these extreme practices
occurred in any of the camp meetings in Indiana in 1900. The
reports by the Haskells, Burton Wade, the local reporters and other
witnesses do not describe this. This detail is important, because, just
as the absence of musical instruments did not stop the frenzy in
worship in some churches, the music of the camp meetings did not
lead inevitably to such excesses.
2. The hymnals of the camp meetings. According to Sister
Haskell, during the camp meeting in Muncie, the Adventist hymnal
Hymns and Tunes57 and the Evangelical hymnal Garden of Spices
(a collection of gospel hymns published in 1899) were used.58The
choice of this hymnal may have to do with the garden experience
being promoted by the leaders of the movement.
Hattie Haskell complains that the hymnal Garden of Spices
contained dance tunes to sacred words. 59 However, a comparison
of the songs contained in all the hymnals used in the camp meetings
reveals that they shared many hymns and the musical style was
identical, much like the hymns of the current Adventist Hymnal.
The only difference is that a band accompanied the song service in
the camp meetings, which was a novelty to Adventist worship at
that time.60
The information that the Adventist hymnal was used in the
camp meeting only when the officials of the General Conference
preached might also indicate their disapproval of the use of a nonAdventist hymnal.61
3. Resistance to the use of musical instruments. The Adventist
camp meeting was a remarkable event for the small town of
3

Muncie, Indiana event in 1900. The newspaper Muncie Daily

the camp meeting.66 In the camp meeting in Lafayette, president
Herald of September 17, 1900 reports that the camp meeting began Donnells daughter, Nellie, played the tambourine during the song
on Thursday with 900 participants, and on Sunday there were
service.67 The choir director in Lafayette was also P. G. Stanley, who
already 3,500 people while the main tent they
did efficient work according to a local reporter.68
could only hold 1,500 people!
Based on the details above, we can draw
The recent renewal
The Muncie Star of September 21
some important conclusions about the
reports that this was the first time that
in Adventist worship seen in music in Indiana. At first glance, it seems
musical instruments were used in an
there was no distortion of the music in
many churches around the that
Adventist country, except the organ. The
the camp meetings in order to create frenzy.
writer states that a number of Adventists
world by the introduction of Haskell says the musicians in Muncie69 were
objected, declaring them an innovation not
much trained in their musical line and
sanctioned in the Bible. The Conference
new instruments and praise local journalists say that the music was
president argued that only instruments
and effective. This, however,
music has failed to bring interesting
allowed in the Bible were being used and
does not mean that the music, albeit of
this seems to have calmed the participants.
about the often presaged good quality, was not used there for other
Stephen and Hattie Haskell list the
purposes other simply supporting worship.
anarchy, emotionalism and Haskell objected to the fact that sometimes
instruments at the Muncie camp meeting:
a big bass drum, two tambourines, a string
the instrumental music seemed to drown
apostasy.
bass, two or three violins, two flutes, two
out the singing of the congregation and that
trumpets, an organ (and a few voices).62
the singing often got mixed with the shrieks of
The negative reaction to the instruments by the members as
those who are half insane creating a chaotic atmosphere.70 In an
well as the GC officials seems to reflect the Adventist practice at that effort to create a revival, preachers would make long altar calls at the
time of doing worship music a cappella or at the most accompanied sound of music and loud shouts71, which led many to the front.72
by the organ.63
Thus, it is important to clarify the fact that the music was
The initial rejection of the instruments in the camp meeting of
only part of the emotional revival. The music, the instruments
Muncie by members is an important piece of information because
and the singers were used to support and promote the emotional
it shows decisively that the percussion or other musical instruments worship that had been occurring for some time without the use
did not originate the emotional worship that had already been
of instruments in some of the congregations in Indiana. Stephen
occurring for some time in Indiana. The use of musical instruments Haskell writes that the camp meeting was a mixture of truth and
was an innovation at the camp meeting. Noisy worship and the
error, with much excitement and music.73 For this reason Ellen
occasional physical frenzy definitely did not depend on the music.
White says that such music had become a snare74 because it was
4. The choir of the camp meetings. The Daily Herald brings
almost daily accounts of the camp meeting in Muncie with
summaries of sermons, description of the music and other details.
In the September 17 issue, the reporter writes that music was
accompanied by a choir of 25 voices.64 The choir director was one
of the Conference officials, P. G. Stanley; the choir and musicians
led the service of song before the sermon and during altar calls.
With regard to music, the reporter writes that the effect is
pleasing and seems to be acceptable to the crowd that gathers to
watch. In short, the music in the Muncie camp meeting was of
good quality and attractive to members and city visitors.
5. Music in the other camp meetings. Before the camp meeting
in Muncie, two others were held in the summer of 1900; in Sullivan
(July 19-29) and Lafayette (August 13-26). Eyewitness reports
collected by William H. Grotheer in the 1950-60s reveal important
details about the music of such events. About the camp meeting in
Sullivan, a local reporter writes that the music and song service is
a very interesting feature.65 In Lafayette, the Conference rented the
city tram system for the band, choir and field workers to promote
4

used to support emotional worship thus masking questionable

doctrinal views.
On the relationship between music and euphoria, Dr. Lilianne
Doukhan writes that the musical experience per se does not
have power over us to induce us to certain behaviors or actions.
The effect of music depends on how willfully we invest ourselves
personally into the listening experience, bringing with us our
imaginations and expectations.75
The beliefs of the fanatics creatred a predisposition to emotional
revival. Their worship style did not begin in isolation under the sole
influence of music, rather it went hand in hand with their beliefs
about attaining holy flesh. When Ellen White publicly opposed the
perfectionism, fanaticism and rowdy style of worship of Indiana
at the General Conference in April 1901, the Conference officials
resigned (except, surprisingly, the music leader P. G. Stanley) and
the false revival was over.
It was in her letter to the Haskells, a month after the events in
Indiana, where Ellen White wrote: The things you have described
as taking place in Indiana, the Lord has shown me would take
place just before the close of probation. Every uncouth thing will

be demonstrated. There will be shouting, with drums, music,

pomp, and ceremony, that only mocks the longings of the sin-sick
76
and dancing. Based on this statement alone, some say that
soul, is an evidence of inward corruption.82 This awesome music
contemporary Adventist musicians using percussion are fulfilling
also becomes a snare because it is mixed with theological error.
the prophecy of Indiana, because what
It is a fact that not all charismatic
happened in Indiana would happen
or Pentecostal worship services
We should reject the
again in the future. They argue that the
use contemporary music and
events in Indiana and the subsequent
percussion. Theres the case of the
strident, independent voices
reference to them by Ellen White
Pentecostal church called the Christian
which, in an effort to prevent Congregation of Brazil, where the noise
amount to a prohibition of drums
and percussion in Adventist worship.
the fulfillment of what is closer of speaking in tongues and physical
According to proponents of this idea,
manifestations occur at the sound
to
superstition
than
actual
drums are to blame for the emotional
of traditional sacred music, with
worship in Indiana.
prophecy, insist on prohibiting orchestra, violins and trumpets. Drums
The notion that drums and music
are in fact prohibited in their services.
drums and contemporary music What causes the participants to achieve
caused the excesses of Indiana is
untenable, because as we saw above, the
this condition is really not one specific
in Adventist churches. Such
emotional worship in Indiana started
style of music but rather the theological
without the use of percussion or other
prohibitions have erroneously and psychological predisposition to
musical instruments. The inescapable
ecstasy.
turned
styles
of
music
and
drums
fact is that Ellen White did not condemn
Some see the statement that
drumsalone in the music of Indiana,
these
things would occur just before
into key points of Adventist
just as she did not permanently reject
the close of probation as a specific
eschatology, even as many
the use of violins and trumpets and the
prophecy against the use of drums
hymnal or the music used there. There is
or contemporary Adventist worship
of their supporters lay the
no categorical condemnation of a single
music today, because we are now much
foundations of their theology on closer to the close of probation. But
musical instrument in her writings. It
was in the context of noisy worship,
we must not overlook the fact that in
the
same
perfectionist
tendencies
where music, prayer, congregational
1889, that is, eleven years before the
singing and shouting were occurring
that originated the fanaticism in goings-on in Indiana, Ellen White was
simultaneously that Ellen White writes:
already proclaiming: The days of our
Indiana.
Better never have the worship of God
probation are fast closing. The end is
blended with music than to use musical
near.83 The old fanaticism resurfacing
instruments to do the work which last
in Indiana in 1900 was in fact a sign to
January was represented to me would be brought into our camp
Ellen White that the end was ever nearer.
meetings... because the Holy Spirit never reveals itself in such
The necessary contextualization of the statement against the use
77
methods, in such a bedlam of noise. This bedlam of noise was
of shouting, drums, music and dancing to what was happening in
not caused by musical instruments or drums but by a combination Indiana in 1900 does not mean that its warnings against emotional
of factors.
worship do not apply today. If the church forgets its history, the
Ellen White says that the same music of Indiana, when used
same problems of emotional worship and music that occurred in
away from emotional manipulation, would be a praise and glory
the past will also be in the future.85 Ellen Whites advice is simply
78
to God. The problem was that the music had been used in
not to give encouragement to this kind of worship.86
meetings where there was noise and confusion79 and a multitude
More importantly, she also stated in the context of the Indiana
of sounds so as to stun and confuse the senses of rational beings
debacle that fanaticism had the potential to reappear in different
with loud shouts, anarchy and even fainting.80 Contrary to what
ways, which might not even include instrumental music at all,
participants in the emotional worship thought, mere noise and
as was the case of the Mackins in 1908 who experienced ecstatic
shouting are no evidence of sanctification, or of the descent of the
worship at the sound of a cappella music.84
81
Holy Spirit.
Two observations about the statement on shouting, with
In addition, for Ellen White, music does not become a snare
drums, music and dancing are important. First, Ellen White
only in emotional, noisy worship. She writes that therichnotes of
did not repeat this statement in her address about Indiana to the
the deep-tonedorgan, blending withthemelodyofmany voices
representatives of the church gathered at the General Conference
as it swells throughthelofty domes are mere outward splendor,
session, it remained in a personal letter to Stephen Haskell. If she
5

had meant this as a prohibition on the use of drums in music,

the General Conference Session would have been the ideal
occasion to do so, but she did not repeat it. Second, when Ellen
White makes reference to the case of Indiana years later, again,
she makes no mention of the music, the drums or the worship
style, but reinforces her warning against the perfectionistic ideas
of the fanatics because it was around those ideas that the noisy
emotionalism of their meetings gravitated.87
As an implicit opposition to musical instruments in worship
after Indiana began to take root, it met an opponent in Ellen White
who warned shortly after the events in Indiana: We are not to
oppose the use of musical instruments in our work.88 Ellen Whites
very careful position about musical instruments is admirable since
their use in worship to the Lord are taken for granted in all of the
Psalms dealing with worship (Cf. Psalm 81; 149; 150).
From the point-of-view of the history of Adventist music and
worship practices, the now infamous camp meetings in Indiana
represent a missed opportunity. They could have marked the
beginning of a new era for music in Adventist worship at the turn
of the twentieth century as they introduced Adventists to the use
of a variety of musical instruments in worship. But instead, the
pendullum swung the other way as Adventists became wary of
certain elements in worship. It is safe to say that, despite the recent
advances made in the development of an Adventist theology of
worship, Indiana remains the most divisive episode in the history of
our worship practices.
Few would doubt that the warnings given by Ellen White
against the emotionalism of Indiana made an enduring impact
on Adventist worship. Today, more than one hundred years after
the events of Indiana, Adventist worship is still far from noisy
emotionalism, even after the introduction of drums, electric
bass, electric guitar, etc. Moreover, the recent, positive renewal in
Adventist worship seen in many churches throughout the world
by the introduction of new instruments and praise music has
failed to bring about the often presaged anarchy, emotionalism
and apostasy. These requires a theology of worship that includes
emotional manipulation, something that simply does not exist in
the Adventist theology of worship.
For this reason, we should reject the strident, independent
voices which, in an effort to prevent the fulfillment of what is closer
to superstition than actual prophecy, insist on prohibiting drums
and contemporary music in Adventist churches. Such prohibitions
have erroneously turned styles of music and drums into key
points of Adventist eschatology, even as many of their supporters
ironically lay the foundations of their theology on the same
perfectionistic tendencies that originated the fanaticism in Indiana.

common sense. Circumstances alter the conditions. Circumstances

change the relation of things. In worship, common sense is an
excellent thing.89
Although Ellen White made many recommendations about
music, she did not try to establish a style of purely Adventist
music. In addition, she never condemned any specific musical
instrument or any style of music. Her writings draw general
principles of music that promote spiritual growth of the believers
and facilitate rational, uplifting and transforming worship.
When Ellen White dealt with the music in the Indiana camp
meetings, she condemned the theology of the movement which led
to emotional worship. We cannot reverse the order of the events
without drawing false conclusions: first came the perfectionistic
fanaticism, which then led to emotionalism and noisy worship and
finally, came the music and the instruments. Music is clearly not to
blame for the holy flesh movement.
There is currently a positive awakening in Adventist music
and worship. Contemporary worship music that is relevant to a
new generation of worshipers is crucial to this movement. There
is little doubt that Ellen White would support a positive renewal of
Adventist music and worship, as she did throughout her ministry.
In this promising time for Adventist music, musicians and
leaders would do well to remember the history of the Advent
movement and its experience with an exaggerated emphasis on
emotion in worship. As we incorporate new musical styles and
their instruments in our services, lets not leave behind the precious
heritage of the great Protestant hymns. As we strive for worship
renewal, lets avoid bringing in the new for the sake of the new. And
as we look to safeguard our precious traditions, lets not alienate
those who would like to keep rational, God-centered worship
artistically relevant. Such equilibrium between our past experience
and our present needs will help us avoid extremes in music and
worship.

Andr Reis has a B.A. in Theology

and a Master in Music. He is currently
pursuing a PhD in New Testament at
Avondale College. He and his wife are
involved in the music ministry at the
Florida Hospital Church in Orlando
as directors of the adult and childrens
choirs. He enjoys making music with
his three daughters.
_________________________

References

Selected Messages, vol. 2, 37.

Such revivalist trends came to be known as the Second Great Awakening. The first great
awakening had started in the 1740s. See Jonathan Butler, When America Was Christian, in The
World of Ellen White, Gary Land, ed. (Washington, D.C.: Review and Herald, 1987), 97-110;
George R. Knight, Millennial Fever and the End of the World: A Study of Millerite Adventism
(Nampa, Idaho: Pacific Press, 1993); James R. Goff Jr., Close Harmony: A History of Southern
Gospel (University of North Carolina Press, 2002), 16.
1

Conclusion
In sum we can say that with respect to music, Ellen White
promoted and practiced the fundamental principle that God
wants us all to have common sense, and he wants us to reason from
6

See Western Christian Advocate, December 1848 for a description of one of those meetings.
See James R. Nix, Early Advent Singing (Hagerstown, Maryland: Review and Herald, 2000), 1113.
5
See James White, Life Incidents (Battle Creek, Michigan: Steam Press of the Seventh-Day
Adventist Publishing Association, 1868), 94; James White, The Immediate Coming of Christ,
Review and Herald, Jan. 20, 1853, 140; Ron Graybill, Glory! Glory! Glory! When Adventists
Shouted for Joy, Adventist Review (October 1, 1987): 12, 13; Ibid., Enthusiasm in Early Adventist
Worship, Ministry (October, 1991), 10-12.
6
See the compilation Music on www.ellenwhite.com.
7
Education, 167.
8
Ibid.
9
The Ministry of Healing, 254.
10
Evangelism, 500.
11
The General Conference Daily Bulletin, January 28, 1893.
12
Manuscript 5, 1874.
13
See Arthur White, Ellen G. White: The Progressive Years: 1861 -1876, vol. 2 (Hagerstown,
Maryland: Review and Herald, 1986), 292; An Appeal to the Youth, 22, 23.
14
Evangelism, 505.
15
Patriarchs and Prophets, 594.
16
Counsels to the Church, 172.
17
Review and Herald, Feb 27, 1866, 98.
18
Review and Herald, April 18, 1870, par. 18.
19
Historical Sketches of the Foreign Mission of Seventh-Day Adventists, 145.
20
For a description of the music in ancient Israel, see Patriarchs and Prophets, 320; The Desire of
Ages, 448.
21
Manuscript 123, 1899; Manuscript Releases, vol. 2, 236; Evangelism, 501.
22
Testimonies to the Church, vol. 9, 142.
23
Ibid., 144.
24
Review and Herald, July 24, 1883; Evangelism 506.
25
Manuscript 80, 1903; Manuscript 27, 1906.
26
Letter 137, 1904.
27
Review and Herald, May 30, 1871.
28
Manuscript 3, 1853.
29
Evangelism, 508.
30
Arthur White, Ellen G. White: The Lonely Years: 1876-1891, vol. 3, 384.
31
Evangelism, 510. See Manuscript 5, 1874 for Brother Stockings letter; Evangelism, 372.
32
Gospel Workers, 357; Review and Herald, June 16, 1905. Ellen White promoted varied methods
of evangelism because not all minds are reached by the same methods. (Testimonies to the
Church, vol. 6, 116). We can safely include music here since not all like the same style of music!
33
Fundamentals of Christian Education, 97.
34
Testimonies to the Church, vol. 4, 645.
35
Counsels to Teachers, 339.
36
Testimonies to the Church, vol. 1, 497.
37
Life and Health, July 1, 1905; Testimonies to the Church, vol. 1, 497.
38
Letter 6a, 1890.
39
Letter 8, 1876.
40
Manuscript 33, 1886.
41
Letter 6b, 1893.
42
Several of these movements surfaced between 1845-1854 in Maine, led by Israel Dammon,
Samuel C. Hancock and Gilbert Cranmer (See Spiritual Gifts, vol. 2, 39, 40, Testimonies to the
Church, vol. 1, 412; Andr Reis, The Old Spirit of Blind Sammy Hancock: Meeting a Colorful
Early Adventist Preacher, www.spectrummagazine.org, 07/29/2013), and in 1860 in Wisconsin
(See Testimonies to the Church, vol. 1, 229, Selected Messages, vol. 2, 38). James White describes a
camp meeting in Maine in 1844: These were irregular, very lengthy, frequently extending into
hours of intermission and rest, continuing nearly all night, and attended with great excitement,
and noise of shouting and clapping of hands, and singular gestures and exercises. Some shouted so
loud and incessantly as to become hoarse, and silent, simply because they could no longer shout,
while others literally blistered their hands striking them together. (James White, Life Incidents,
157).
43
Manuscript 11, 1850.
44
Testimonies to the Church, vol. 1, 412.
45
Selected Messages, vol. 2, 34.
46
Testimonies to the Church, vol. 1, 327.
47
The Receive Ye the Holy Ghost movement of the late 1890s led by Jones and Albion F.
Ballenger saw itself as an extension of the 1888 message because it emphasized baptism by the
Holy Spirit and other Holiness themes as the means by which obedience of the law would occur.
See Gary Land, Historical Dictionary of Seventh-Day Adventists (Lanham, Maryland: The
Scarecrow Press, 2005), 280.
48
Letter from Stephen N. Haskell to Ellen G. White, September 25, 1900. The sermon on
September 15, 1900 in the Muncie Camp meeting titled The Cleansing Message was preached
by R. S. Donnell (see Muncie Morning Star, September 16, 1900).
49
Ibid. It is important to notice that none of the members of the Indiana leadership called their
revival the holy flesh movement. This expression had been used in the past by Ellen White in
describing other fanatical movements in the 1850s.
50
R. S. Donnell, Indiana, Review and Herald, Oct 23, 1900, 686, 687. In his invitation to the camp
meetings in the Review, Donnell makes reference to a recent article by Ellen G. White in the
Review and Herald in which she called the Adventist people to true conversion. (Review and
Herald, February 27, 1900, 129). The Laodicean condition of the churches in Indiana in this period
is described by Joseph M. Davis as a concern only with Sabbath keeping for salvation. (Letter to
William H. Grotheer, February 20, 1959, Center for Adventist Research, William H. Grotheer
3
4

Collection, Box 5, FLD 23). Haskell describes the members as sincere but not very well read
(Stephen N. Haskell to Ellen White, September 25, 1900).
51
G. A. Roberts, The Holy Flesh Movement, June 11, 1923 (White Estate D. F. #190).
52
Burton Wade described what occurred there in a letter to Arthur L. White (January 12 , 1962).
The visit of the General Conference ministers may have been called for due to strange things that
happened in the Alexandria camp meeting of 1899 as reported by the same A. J. Breed, although
we do not have records of what occurred. See Review and Herald, August 20, 1899, 560-561.
53
Arthur L. White, Ellen G. White: The Early Elmshaven Years: 1891-1900, vol. 5, 102.
54
Burton Wade, ibid.
55
Arthur L. White, Ellen G. White: The Early Elmshaven Years: 1891-1900, vol. 5, 102.
56
See G. A. Roberts, The Holy Flesh Movement.
57
See Hattie H. Haskell, letter to Sara McEnterfer, September 17, 1900. The hymnal Hymns and
Tunes can be seen here: http://www.adventistar- chives.org/doc_info.asp?DocID=31248
58
Viola Hopper, the daughter of Conferences evangelist who was in Muncie added hymnals
Christ in Song (Review and Herald, 1900) and Gospel in Song (published in 1886, non-Adventist).
See letter to William Grotheer, 1965. Center for Adventist Research, William H.Grotheer
Collection, Box 5, FLD 23. The hymnal Garden of Spices is available here: http://archive.org/
details/gardenofspice99nels; Christ in Song is available here: http://archive.org/stream/
christinsonghym00beldgoog#page/ n6/mode/2up, and Gospel in Song, here: http://www.hymnary.
org/hymnal/GS1884a.
59
Hattie H. Haskell, letter to Sara McEnterfer, September 17, 1900.
60
Burton Wade says that the music was faster, which may mean, more energetic. Burton
Wade to William H. Grotheer, February 3, 1965. Center for Adventist Research, William H.
Grotheer Collection, Box 5, FLD 23.
61
Hattie H. Haskell, ibid.
62
Ibid. A local reporter also adds that there were also cymbals.
63
In 1877, James White and John Loughborough faced resistance when they tried to include the
organ in a meeting in California. Loughborough read Psalm 150 and added organ to the list of
instruments. Despite the initial caution, all noticed that the singing improved dramatically! (Gary
Land, Historical Dictionary of Seventh-Day Adventists [Lanham, Maryland: The Scarecrow Press,
2005], 205).
64
The issue of this day published the incorrect number of singers as 225 voices; but the platform of
the choir was only for 25 people, according to the same September 17 issue. Hattie Haskell
confirms there were only a few voices Hattie Haskell, letter to Sara McEnterfer, September 17,
1900.
65
The Sullivan Democrat, July 25, 1900.
66
Irvin Metzger, letter to William H. Grotheer, August 4, 1965. Center for Adventist Research,
William H.Grotheer Collection, Box 5, FLD 23.
67
Viola Hopper, letter to William Grotheer, 1965. Center for Adventist Research, William H.
Grotheer Collection, Box 5, FLD 23.
68
Lafayette Daily Courier, September 22, 1900.
69
Arthur L. White, Ellen G. White: The Early Elmshaven Years: 1891-1900, vol. 5 (Hagerstown,
Maryland: Review and Herald, 1981), 102.
70
Letter from Stephen N. Haskell to Ellen White, September 25, 1900. The worship with frequent
shouts of Amen!, Glory to God was described by sister Haskell as painful to the soul. Hattie
H. Haskell, letter to Sara McEnterfer, Muncie, Indiana, September 17, 1900. One witness writes
that at the time of the altar calls, people became so enthused over these calls that some would
collapse at the altar. (Irving Metzger, letter to William H. Grotheer, August 4, 1965. Center for
Adventist Research, William H.Grotheer Collection, Box 5, FLD 23).
71
Stephen Haskell, ibid.
72
In one of the morning altar calls, almost the whole congregation came forward. Muncie Morning
Star, September 15, 1900.
73
Stephen Haskell, ibid.
74
Selected Messages, vol. 2, 43.
75
Lilianne Doukhan, In Tune With God (agerstown, Maryland: Review and Herald, 2010), 59.
76
Letter 132, October 1900.
77
Selected Messages, vol. 2, 41, 42.
78
Ibid., 43.
79
Ibid.
80
Ibid., 41.
81
Ibid., 39.
82
The Great Controversy, 566.
83
Christs Object Lessons, 319. A search for the expression the end is near in the writings of Ellen
White brings up 186 results.
84
Selected Messages, vol. 2, 44; vol. 3, 363-375.
85
Selected Messages, vol. 2, 37.
86
Ibid., 37.
87
Manuscript 39, 1907; Evangelism, 507.
88
Evangelism, 507.
89
Selected Messages, vol. 3, 217; Evangelism, 505.