1Ellen 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 MusicWe 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

Ellen White & Music With Special Attention to the

Music of the Indiana Camp Meetings of 1900*Andr Reis

____________________________________ *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.

2and 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 well-trained 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.

Ellen White and Secular MusicEllen 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

An early 20th century Adventist camp meeting.__________________________________________________________

3and 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 non-Adventist hymnal.61

3. Resistance to the use of musical instruments. The Adventist camp meeting was a remarkable event for the small town of

4Muncie, Indiana event in 1900. The newspaper Muncie Daily Herald of September 17, 1900 reports that the camp meeting began on Thursday with 900 participants, and on Sunday there were already 3,500 people while the main tent they could only hold 1,500 people!

The Muncie Star of September 21 reports that this was the first time that musical instruments were used in an Adventist country, except the organ. The writer states that a number of Adventists objected, declaring them an innovation not sanctioned in the Bible. The Conference president argued that only instruments allowed in the Bible were being used and this seems to have calmed the participants. Stephen and Hattie Haskell list the instruments at the Muncie camp meeting: a big bass drum, two tambourines, a string bass, two or three violins, two flutes, two trumpets, an organ (and a few voices).62

The negative reaction to the instruments by the members as well as the GC officials seems to reflect the Adventist practice at that time of doing worship music a cappella or at the most accompanied by the organ.63

The initial rejection of the instruments in the camp meeting of Muncie by members is an important piece of information because it shows decisively that the percussion or other musical instruments did not originate the emotional worship that had already been occurring for some time in Indiana. The use of musical instruments was an innovation at the camp meeting. Noisy worship and the occasional physical frenzy definitely did not depend on the music.

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

the camp meeting.66 In the camp meeting in Lafayette, president Donnells daughter, Nellie, played the tambourine during the song service.67 The choir director in Lafayette was also P. G. Stanley, who

did efficient work according to a local reporter.68

Based on the details above, we can draw some important conclusions about the music in Indiana. At first glance, it seems that there was no distortion of the music in the camp meetings in order to create frenzy. Haskell says the musicians in Muncie were much trained in their musical line69 and local journalists say that the music was interesting and effective. This, however, does not mean that the music, albeit of good quality, was not used there for other purposes other simply supporting worship. Haskell objected to the fact that sometimes the instrumental music seemed to drown

out the singing of the congregation and that the singing often got mixed with the shrieks of

those who are half insane creating a chaotic atmosphere.70 In an effort to create a revival, preachers would make long altar calls at the sound of music and loud shouts71, which led many to the front.72

Thus, it is important to clarify the fact that the music was only part of the emotional revival. The music, the instruments and the singers were used to support and promote the emotional worship that had been occurring for some time without the use of instruments in some of the congregations in Indiana. Stephen Haskell writes that the camp meeting was a mixture of truth and error, with much excitement and music.73 For this reason Ellen White says that such music had become a snare74 because it was 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

The recent renewal in Adventist worship seen in many churches around the

world by the introduction of new instruments and praise

music has failed to bring about the often presaged

anarchy, emotionalism and apostasy.

5be demonstrated. There will be shouting, with drums, music, and dancing.76Based on this statement alone, some say that contemporary Adventist musicians using percussion are fulfilling the prophecy of Indiana, because what happened in Indiana would happen again in the future. They argue that the events in Indiana and the subsequent reference to them by Ellen White amount to a prohibition of drums and percussion in Adventist worship. According to proponents of this idea, drums are to blame for the emotional worship in Indiana.

The notion that drums and music caused the excesses of Indiana is untenable, because as we saw above, the emotional worship in Indiana started without the use of percussion or other musical instruments. The inescapable fact is that Ellen White did not condemn drumsalone in the music of Indiana, just as she did not permanently reject the use of violins and trumpets and the hymnal or the music used there. There is no categorical condemnation of a single musical instrument in her writings. It was in the context of noisy worship, where music, prayer, congregational singing and shouting were occurring simultaneously that Ellen White writes: Better never have the worship of God blended with music than to use musical instruments to do the work which last January was represented to me would be brought into our camp meetings... because the Holy Spirit never reveals itself in such methods, in such a bedlam of noise.77 This bedlam of noise was not caused by musical instruments or drums but by a combination of factors.

Ellen White says that the same music of Indiana, when used away from emotional manipulation, would be a praise and glory to God.78 The problem was that the music had been used in meetings where there was noise and confusion79 and a multitude of sounds so as to stun and confuse the senses of rational beings with loud shouts, anarchy and even fainting.80 Contrary to what participants in the emotional worship thought, mere noise and shouting are no evidence of sanctification, or of the descent of the Holy Spirit.81

In addition, for Ellen White, music does not become a snare only in emotional, noisy worship. She writes that therichnotes of the deep-tonedorgan, blending withthemelodyofmany voices as it swells throughthelofty domes are mere outward splendor,

pomp, and ceremony, that only mocks the longings of the sin-sick soul, is an evidence of inward corruption.82 This awesome music also becomes a snare because it is mixed with theological error.

It is a fact that not all charismatic or Pentecostal worship services use contemporary music and percussion. Theres the case of the Pentecostal church called the Christian Congregation of Brazil, where the noise of speaking in tongues and physical manifestations occur at the sound of traditional sacred music, with orchestra, violins and trumpets. Drums are in fact prohibited in their services. What causes the participants to achieve this condition is really not one specific style of music but rather the theological and psychological predisposition to ecstasy.

Some see the statement that these things would occur just before the close of probation as a specific prophecy against the use of drums or contemporary Adventist worship music today, because we are now much closer to the close of probation. But we must not overlook the fact that in 1889, that is, eleven years before the goings-on in Indiana, Ellen White was already proclaiming: The days of our probation are fast closing. The end is near.83 The old fanaticism resurfacing in Indiana in 1900 was in fact a sign to

Ellen White that the end was ever nearer. The necessary contextualization of the statement against the use

of shouting, drums, music and dancing to what was happening in Indiana in 1900 does not mean that its warnings against emotional worship do not apply today. If the church forgets its history, the same problems of emotional worship and music that occurred in the past will also be in the future.85 Ellen Whites advice is simply not to give encouragement to this kind of worship.86

More importantly, she also stated in the context of the Indiana debacle that fanaticism had the potential to reappear in different ways, which might not even include instrumental music at all, as was the case of the Mackins in 1908 who experienced ecstatic worship at the sound of a cappella music.84

Two observations about the statement on shouting, with drums, music and dancing are important. First, Ellen White did not repeat this statement in her address about Indiana to the representatives of the church gathered at the General Conference session, it remained in a personal letter to Stephen Haskell. If she

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 lay the

foundations of their theology on the same perfectionist tendencies that originated the fanaticism in

Indiana.

6had 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.

ConclusionIn 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

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.

_________________________ References 1 Selected Messages, vol. 2, 37. 2 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.

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.

73 See Western Christian Advocate, December 1848 for a description of one of those meetings. 4 See James R. Nix, Early Advent Singing (Hagerstown, Maryland: Review and Herald, 2000), 11-13. 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

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.