A vital church must discerningly blend some of the new as well as the old into its musical mainstream.
Contemporary music is always a citizen of its own time. Its creators tend to think of it as the music of the future, yet it is always transitory and, if it survives at all, it inevitably becomes part of the “traditional” music of the past.
Throughout music history, composers repeatedly have adopted such terms as “new,” “modern,” or “contemporary” in an attempt to claim originality for their work. For example, Johannes Ciconia, an early fifteenth-century Italian, called his style nova musica. Two centuries later, in 1602, Giulio Caccini titled his own collection of madrigals and canzonets Le nuove musiche (the new music). In 1605, Claudio Monteverdi designated Caccini’s style the seconda prattica musicale (second musical practice); Ciconia now represented the older prima prattica.
There was “neoclassicism” in the 1920s, and certain avant-garde jazz styles of the 1940s and 1950s were labeled “progressive,” “modern,” and “creative.”
What we know as “contemporary” Christian music began in the latter 1960s and exploded in the 1970s. It now dominates the Christian record and publishing industries, and thereby much of Christian broadcasting and evangelical church music. “Contemporary” is a vaguely defined, broad category of gospel music that is more closely identified with commercial than “traditional” or “middle-of-the-road” styles. It includes several elements that are disquieting to many thoughtful Christian leaders. Under the general nomenclature of “contemporary,” such current commercial terms as “heavy metal,” “new wave” (“punk rock” renamed) and “power pop” increasingly are finding their way into the Christian music vocabulary.
Contemporary Christian music can make genuine contributions to the music ministry. One frequently is excited by true creativity in lyrics, melody, and harmonic and orchestral arrangements. There is a sincere concern to reach people, an awareness that broad communication requires broad appeal, a refreshing honesty about the spiritual life, an exciting enthusiasm, and an emphasis on true Christian love. There also is strong interest in using new technological developments to enhance the quality of performances and recording of sacred music.
Nonetheless, it must be admitted that there has been considerable divisiveness over contemporary Chrisitan music, and there are areas of tension we must determine to try honestly to resolve. New styles historically have met resistance—but the objections sometimes have merit.
One basic difficulty is the simplistic approach to Scripture evident in many contemporary lyrics. Too often, experience is the norm, resulting in an interpretation of Scripture that evidences what Don Wyrtzen aptly calls “theological thinness (CT, Aug. 6).” Many pastors understandably get apprehensive when a guest artist’s speech reveals a shallow biblical comprehension. For instance, many artists’ view of worship is often more personal and subcultural than biblical. One artist’s manager recently expressed his belief that the qualifications for his job were the same as those for an elder in the church. The view that the end justifies an “anything goes” approach is commonly clothed in the garb of “being all things to all men.” Such usage lacks an understanding of the apostle Paul’s intent: his goals were always the glory of God, the edification of the church, and the evangelization of the world. Never were they entertainment or self-gratification. Never did he compromise the gospel.
Contemporary lyrics sometimes suffer not only from weak and naïve theology, but also from anemic English. Many writers simply lack command of the language. New, trite expressions have entered the contemporary music lexicon. Songwriters need to give greater attention to the craft of composing their texts, and use greater care in expressing theology, avoiding whimsical and idiosyncratic interpretations of Scripture. The words of Christian music demand a solid biblical foundation. All song texts must be rigorously screened through the fine grid of biblical truth.
Confusion of identity is another problem. Album cover styles, special visual effects in concerts, and performance styles may parallel the commercial world so closely that, as the December 1981 issue of Contemporary Christian Music magazine (CCM) commented about a new recording, “The music industry still can’t seem to figure out whether (it] was a gospel or a pop album.” The message is too diluted when the world cannot tell whether or not it is Christian. The same issue of CCM refers to a contemporary group as “the heaviest, raunchiest, new wave Christian music yet.” When did “raunchy” become an appropriate modifier of “Christian”? While there are many admirable aspects of quality performance from which we can learn, it is little wonder that many people believe the negative aspects of commercial music have unduly influenced today’s Chrisitan music. We must not sacrifice truth on the altar of popular acceptance.
Another area of tension is the widespread public perception that many individuals are on an ego trip. Advertising often sounds more like Madison Avenue than the Calvary road. At a recent Christian music seminar there seemed to be more interest in how to get into Christian recording than in how to be a faithful and effective minister of the Word of God through music. We must see ourselves in proper biblical and historical perspective—as servants, not as stars.
Some contemporary music advocates display a snobbish attitude toward the more “traditional,” classical expressions of faith, sometimes publicly dismissing non-contemporary music as “heavy” and “dull—which may create one of the greatest obstacles to a wider acceptance of contemporary music.” These same people are quick to put down any criticism of contemporary music as “being negative.” And the fact is, there is a great deal of it that is decidedly mediocre, frightfully trivial, and boring—both textually and musically. True professionals have always been concerned for excellence and professional quality. Unfortunately, some mediocre church musicians, intemperate educators, and undisciplined artists have encouraged a popular image of great music as routine and uninteresting.
“We have the opportunity to blow some people’s minds,” said one enthusiast, speaking as if a new contemporary Christian radio station would bring gospel music to Chicago for the first time, even though Moody Bible Institute’s WMBI the pioneer in gospel radio, has ministered there effectively for over half a century. Such expressions exhibit a spirit of arrogance coupled with ignorance and intolerance. Many contemporary musicians desperately need to study seriously the hymns of the church and develop an appreciation of the deepest and most profound expressions of our faith in the best traditional music. Further, we must have an open, loving attitude toward each other, resisting intolerance, and be faithful in praying for one another.
There are other significant issues, including the formidable assault on the human hearing and nervous systems in many contemporary musical presentations. Unfortunately, a host of church organists suffer this malady as well.
Some individuals are now trying to sound a note of moderation. John Styll, editor/publisher of CCM, has written several cautionary editorials. One stressed the need to balance the admitted interweaving of entertainment and spiritual considerations. He has also written that the purpose of CCM was “to help those who write [contemporary gospel music], sing it, play it, sell it, or listen to it, make the best use of it for Christian purposes.”
New music has always been essential to a vital, growing Christian musical experience and heritage. Isaac Watts recognized this, and the new hymns he wrote in the early eighteenth century now have become a permanent part of our congregational repertoire. D. L. Moody said in 1879, “If you want to wake up fresh interest in your churches, have some new hymns, new music.” Lest anyone misinterpret him, Moody cited “Crown Him with Many Crowns,” written 28 years earlier, as an example of what he meant by “new.” Contemporary music must not replace what has gone before, but it can be a valuable and exciting addition.
We must treasure, preserve, and lovingly transmit our heritage, maintaining a carefully conceived balance of the best of both traditional and contemporary music. Incorporating contemporary Christian music responsibly into the mainstream of church music requires great discernment in selecting from the mass of available material those relatively few works that are worthy of retention. It is too early to predict what will endure. As Arnold Schoenberg said in 1941, “Contemporaries are not final judges, but are generally overruled by history.”
There is also a growing sense of need for national leadership that can help guide concerned musicians through these difficult decisions. Mature Christian leaders can help today’s “contemporary” Christian musicians make their best contributions to the ongoing ministry of music, and, perhaps, become part of the “traditional” repertoire of future generations.
Mr. Dinwiddie is music director and conductor of The Chicago Master Chorale and visiting professor of church music at Trinity Evangelical Divinity School, Deerfield, Illinois.
