I was going to reply to a comment left this afternoon, but I thought it would be better to put it up front. A reader posted the following to my earlier music post:
D.A. Carson makes a point that while the present-day church is making more articulate, better written, better performed, more theologically accurate (CCM) music, the focus - at least in America - is on special music (or what the more cynical refer to as “performance” music - music for a soloist). A start to changing the church’s music would be a renewed emphasis on hymnody. This is already beginning but needs to be developed more. Our congregations will continue to sing “In my heart there rings a melody” until someone replaces it with something that is theologically rich and biblically based but culturally relevant.
The Reformation had many battle cries; one of them was, “Let the people sing!” Here is another example of how the church of this century is quite different from historic Christianity. Some background…
In the “dark ages” (10:18a, April 12, 1002 - 3:46p, March 19, 1489), the Catholic church dominated the religious scene. Through no real fault of their own (not at first), the people gradually lost the ability to read their Bibles, since they gradually stopped learning to read Latin. The Church could have stepped in and translated the Bible into the vernacular, but for some reason they didn’t. Could have been a power issue - after all, you could tell the people that the Bible said anything you wanted it to say, and they’d have to believe you. This is what happened, and the Church, possibly redeemable at that time, forever slipped into the state it is in today - lip service to the Scriptures but no real adherance, especially not when it contradicts whatever the standing pope of the time wants to do. Anyway, I digress. Along comes John Huss (from Czechoslovakia, of all places…though it was called Bohemia at the time; much easier to spell, back then, too). He comes up with the crazy idea (you’re going to love this) of The Priesthood of the Believer. It’s not complicated. It’s simply an extension of I Timothy 2:5, which says that Christ is the only One between me and God. (You can back this up in Rev. 1:4-6, where we find that we are indeed priests as far as God is concerned.) So, we’re priests, capable of filling the OT role of a priest: going to God on behalf of ourselves and others. Translation: we can pray to God in our own words. Well, if singing is a prayer (St. Augustine said, “He who sings prays twice.”), and if we can pray to God in our own words, then shouldn’t we be allowed to sing to God in our own words? Boom - congregational singing was born, and hymnology students the world over groaned.
Somewhere along the line, the church drifted into this “must have special music” mode. It started out innocently enough - those who were a little more gifted in music had more opportunities to use their talents to God’s glory by giving testimony in song of what God has done for them or in their lives. But when it became a need rather than a cool extra, the music in the church as a whole suffered. Now, instead of giving the people more chances to sing to God from their own hearts, they have more chances to sit idly by and wonder about the pot roast while absently watching someone else give testimony (hopefully; even that isn’t assured anymore).
CCM comes into this loop, because it started out as a performance venue. But as the second generation of CCM artists moves onto the scene (anyone know what happened to Petra or Amy Grant?), the focus is shifting from whole groups and bands to individuals, which is opening the door for more creativity with the music. Now a person can sing a solo in church or sing that same song as a congregational song. And, as people realize that perhaps not the bulk, but at least a good share of CCM music being written is far more scriptural than some of the stuff in Soul-Stirring Songs and Hymns - after all, much of CCM lyrics are taken word-for-word from Scripture, and one can’t get any more accurate than that! - they’re going to start switching over because there’s a void in their souls.
The response can be one of three things…or perhaps any combination thereof. Choice “A” is going back to the old hymnody (which, BTW, is a great idea), the stuff that’s been around for 300 years and is jam-packed with theology. Choice “B” is to write new hymns in the fine-art style of the old hymns, with the same depth of feeling and insight (essentially creating a neo-reformation hymnody). Choice “C” is to go with the new stuff that’s both appealing and deep. I know of churches that are using a combination of all three in their services, and the results are amazing. Folks, the people at those churches actually are worshipping! Gasp! And in a worship service, too…of all the places! I also know of churches who go with “A” and “B” but not “C”, and things are working out great there, too.
In short, I don’t believe that a wholesale endorsement of CCM is a good thing. Frankly, I find very little (though I have found some) of that genre that is suitable for a church service. But, while not necessary, it can be beneficial, if handled correctly. I’ll leave it to the reader to determine the expedient ways of treating CCM.
(I shouldn’t put this in here, but I’m going to anyway. Please note that I have only spoken about church music, not personal standards. I leave that statement hanging, because I’ll certainly offend readers if I go either direction on that one. Suffice to say, double standards aren’t always bad things. I also remind you that you’re reading my thought process, which may or may not be accurate or a reflection upon anyone or any institution in my life. There, I think I’ve covered all my bases.)













