Five Final Thoughts About Music in Church

Music 29

I have chosen to end this series with a few final thoughts. They sum up what I believe is the proper approach to music in church. They are largely drawn from all that has gone before. As always, I hope they are helpful.

First, we must make sure that the lyrics to any music that is sung or played in church are scriptural lyrics. In specific reference to music in the church Paul said, Let the word of Christ dwell in you richly. (Colossians 3.16) The safest way to do this is to sing songs that are composed of actual Scripture such as psalms, etc. But it is also true that Paul said in Colossians 3 that other types of lyrics are permissible assuming they are scriptural in their content.

If the song is a doctrinal song is it fundamentally orthodox? Does it line up with our distinctives? Is it Baptistic? Is it correct in its proclamation of eschatology, ecclesiology, etc.? If the song is speaking about God is it a scriptural concept of God, or is it JIMBY (Jesus-is-my-boyfriend) music? Does it present a God high, and holy, and lifted up? Is it loyal to the Word of God? Is its emotional content rooted in Scripture?

Second, the instrumental accompaniment should contain flowing melodies and harmonies versus those that emphasize a driving rhythm. I have already spent much time here in this blog series so I will not belabor the point. I do realize that sometimes it can be hard to draw the line here. In my opinion, we ought to be charitable toward others choices in this area, and seek to err on the side of safety in our own choices.

Third, we must avoid emotional manipulation. And when he is come, he will reprove the world of sin, and of righteousness, and of judgment. (John 16.8) It is the Holy Spirit's job – not the music's – to bring about a change in people's minds and actions. Granted, there is a fine line here for the Holy Spirit can certainly use the scriptural content of church music to speak, and music is an emotional language so in this context His voice will have emotional overtones. But we must avoid striving to purposely evoke a certain mental or emotional reaction solely through the use of music. Remember, we are not simply trying to change their emotional state temporarily; we are trying to edify them. Edification often includes emotion but it always includes more than that. And in any case, we should not seek to manipulate anybody into a spiritual frame of mind or into a spiritual decision.

Fourth, we must do everything possible to prevent the message being eclipsed by the messenger. In a different context but with some valid application to all of the Christian life, John said, He must increase, but I must decrease. (John 3.30) We must not value performance but rather value content. Passionate people put themselves fully and emotionally into the music they perform, and there is nothing wrong with that. (Ecclesiastes 9.10) But there is a line that is crossed when the musical gift we exercise becomes a display of ourselves rather than of the Holy Spirit. (I Corinthians 12.7) Some churches do this by refusing to allow singers to hold microphones. Other churches prefer groups of singers rather than solos. But however you choose to apply this or to draw the line the point is that there must be a line drawn here. It cannot be about me; I am just the way the music gets heard. (This entire paragraph is just as applicable to the preaching, too, by the way.)

Lastly, let us take care to emphasize music without letting it replace the primacy of preaching. It is preaching which is the power of God; it is preaching that God uses to save those that believe. (I Corinthians 1.18-21) To this end there are some churches that refuse to have any service that does not include a lengthy sermon. I do not go that far in my mind but I can appreciate their point. I have worked hard to expand the emphasis on music in our church services without at the same time de-emphasizing preaching because I believe this is right. The danger in over-emphasizing music is that music often makes people feel good while preaching often makes them feel bad. But if our people do not feel bad when they should feel bad then they will not act right when they should act right. By and large, music edifies, but preaching is the tool that produces real and lasting change in a congregation.


Well, it has been quite a journey, hasn't it? From the first post on music last November to the concluding post of this series today it has been interesting. I appreciate each of you who have read, commented, questioned, criticized, complained, shared, and amened me along the way. I hope somewhere in these 42,000 words you have come across something that has caused you to examine your own position on music in order to ensure that it is loyal to Scripture.

Someday, brother in Christ, we will stand together in that vast assemblage of millions on the glassy sea around the Throne in Heaven. And we will sing the greatest song that has ever been sung. I look forward to joining you there. Until that great day may the Lord lead us to use Heaven's music as well as we know how down here.

Sing forth the honour of his name: Make his praise glorious. (Psalm 66.2)

Five Steps to Improve Your Church Music

Music 28

 
I have been clear that I do not believe a church needs to embrace CCM in order to sing well. (In fact, I think it eventually makes them sing worse, but that is another discussion altogether.) The churches that have swallowed the rationale that contemporary music will liven up what is otherwise a dead service are taking a spiritual shortcut. Enthusiastic, skillful, scriptural church music is within the realm of possibility for every church provided we embrace five scriptural concepts related to singing.

First and foremost, we must emphasize participation. Everybody ought to join in with the congregational singing. I realize not every person is musically gifted, but a lack of musical ability does not justify any person sitting there like a bump on a log during corporate singing. The psalmist said, All the earth shall worship thee, and shall sing unto thee; they shall sing to thy name. (Psalm 66.4) Elsewhere David sang, All the earth shall worship, and shall sing unto thee. (I Chronicles 16.23) I realize these are Old Testament passages and so do not reflect directly on the New Testament church service but I think there is a principle established here that carries through: all of us owe God praise, thanks, and worship so all of us should sing. Additionally, it could be argued that the two primary passages regarding music in the church (Ephesians 5.19 and Colossians 3.16) are broad instructions clearly aimed at the entire church. In other words, no one is exempt from singing in church any more than they are exempt from other instructions given in these epistles.

Having established this the practical question that then follows is how do you do this? How do you emphasize wide participation in corporate singing in a culture that increasingly wants to watch music being performed but does little corporate singing at all anymore? Part of the answer has to be that you need to sing out boldly yourself. Doing so put others around you more at ease about singing. Sunday School teachers can get their entire class to sit together periodically in the main service and then give a prize to the child who sings the best. Song leaders, rather than paying attention to giftedness, can and should emphasize widespread participation. Parents can actually require it of their children once they reach a certain age. Shy individuals can be encouraged to sit with someone who is not shy about singing out. The choir special can be moved to the beginning of the service so that choir members can then go sit among the crowd for the balance of the service and so encourage participation around them.

When I moved to our church thirteen years ago the congregational singing was not, well, what should I say here… It was not inspiring. I have done all of these things and others, and over time our church has come to embrace corporate singing with enthusiasm.

Second, let us emphasize singing with joy. Let us lead people to sing with genuine emotion. I realize some hymns are solemn or reflective, but most are not, and even in those that are there is a deep inner joy therein if you are close to Him.

This is how God Himself sings. The Lord thy God in the midst of thee is mighty; he will save, he will rejoice over thee with joy; he will rest in his love, he will joy over thee with singing. (Zephaniah 3.17) This is how we will all sing in the Millennium. Therefore the redeemed of the Lord shall return, and come with singing unto Zion; and everlasting joy shall be upon their head; they shall obtain gladness and joy; and sorrow and mourning shall flee away. (Isaiah 51.11) Indeed, we see the importance of singing with a genuine and deep emotional joy all through the Psalms. (Psalm 9.2, 43.4, 71.23, 81.1, 95.1, 95.2, 98.6, 100.1, 100.2)

Each Wednesday night I open the service by bringing our Patch Club children to the platform and singing along with them. Often, as they ascend the steps I will put a big grin on my face and issue them one instruction, "Big smiles, everybody." It is my considered opinion that people sing better when they physically form their mouth into a smile. And even if that emotion of joy is only attempted at the beginning before a person gets to the second verse they will find their attitude genuinely changing.

Third, we should emphasize volume. The Levites sang with a loud voice. (II Chronicles 20.19) The priests sang with loud instruments unto the Lord. (II Chronicles 30.21) The services Nehemiah led included singers who sang loud. (Nehemiah 12.42) Isaiah called for people to lift up their voice as they sing to the Lord, to cry aloud. (Isaiah 24.14) Not to be outdone the psalmist paid his respects to the importance of volume in singing numerous times. (Psalm 51.14, 59.16, 98.4, 149.5, 150.5)

When I sing during a church service I belt it out. The level of volume is not my attempt to impress people with a performance any more than volume in preaching is. It is simply the result of genuine joy accompanied with a desire to share that joy with others. When the pastor sings this way, and the deacons sing this way, and the Sunday School teachers sing this way, and the choir members sing this way while they are interspersed with the crowd it becomes infectious. The entire church begins to sing louder. And that is a wonderful thing.

Fourth, we should seek to develop skill in our church music program. Sing unto him a new song; play skillfully with a loud noise. (Psalm 33.3) There is a gigantic place in church music for everybody to participate regardless of skill level. There is also a place reserved for those who have talent, and who have sought to develop that talent with diligence. This would be those who are leading, those who sing apart from the entire congregation, and those who accompany instrumentally. Like any other gift, such people should not attempt to skate by on talent. They should be encouraged and helped to actively and diligently and painstakingly develop that talent. They should be taught not to bristle at practice, but to embrace it. There ought to be in the area of music as in all other areas a ceaseless striving for excellence.

Lastly, there should be an emphasis among us on teaching music to the younger generation. And Chenaniah, chief of the Levites, was for song: he instructed about the song, because he was skilful. (I Chronicles 15.22) So the number of them, with their brethren that were instructed in the songs of the Lord, even all that were cunning, was two hundred fourscore and eight. (I Chronicles 25.7)

The average musically inclined person in American Christianity leading, performing, or ministering with music received their musical instruction from the world. These worldly influences (musicians, styles, modes of performance) show up far too often in the American church. The solution to this is to ensure that those who lead, perform, or minister with music in the church are influenced as much as possible by those with great experience in church music.

One way to do this is to enroll in music classes at a Bible college but that is not feasible for most people. Thus, in reality, the responsibility for teaching the philosophies necessary for church music fall squarely on those who lead in a musical capacity in the local church. You do not have to be arrogant to accomplish this. You do not have to step into someone else's area. You do not have to go beyond your expertise. But you do need to teach somebody else what you know about church music.

With this approach there is no reason for a church to ever be without an instrumentalist, without a song leader, or without a choir that knows how to sing four part harmony. There is no reason a church should have to hire intermittent music help, or embrace a carnal, worldly Christian man or woman simply because they are desperate for musical talent. The musically gifted people your church has now ought to be constantly teaching other people music, and doing so specifically as it relates to church.

Participate. With Joy. With volume. With skill. And if you lead teach somebody else how to replace you. Emphasize those five things and over time your church's music will blossom.

Three Things I Like About Contemporary Music

Music 27

For the past two months I have been unsparing in my attack on CCM. I do not apologize for that a whit. It is hollowing out the core of the modern American church, weakening it just as the storm clouds of persecution begin to gather on the far horizon. Having said that, it is also worth noting that I do not believe that my brethren in Christ who genuinely preach Jesus are entirely wrong. Such a position is held by some I know but I find such total rejection to be undiscerning, uncharitable, needlessly harsh, and arrogant. In due course, I feel it is necessary to publicly say that I do find some redeeming value in the contemporary American Christian music scene, specifically in three areas.

First, I have a great appreciation for the genuine emotional passion that so many CCM artists bring to their music. For the life of me I do not understand how a person can sing about the grace of God, about Jesus, about Calvary, about Heaven, or any of a myriad of other scriptural themes with all the enthusiasm of a cigar store Indian. Music is an emotional language. I am a Baptist not a charismatic. But just because I will not allow emotions to rule me does not mean I think emoting during a church service is wrong. No, beloved, I believe there is everything right with it. God made us in His own image. He made us emotional creatures because He is an emotional God. He rejoices; so should we. He weeps; so should we. He loves fiercely and passionately; so should we. Fraudulent emotion while singing in church is ever inappropriate, but so is no emotion. Blank faces, monotone mumblings, bored body language – I have seen them all far too often in the thousands of church services I have attended. Some of our people would do well to take a page from CCM's approach in this department. Billy Sunday used to say that if you are saved you should tell your face. I also think you should tell your voice. The great themes of Scripture and the great God Who is therein revealed are worth being passionate about in a church service setting. Sing aloud unto God our strength: Make a joyful noise unto the God of Jacob. (Psalm 81.1)

Second, I commend modern American Christianity for its desire to write new music. I confess I like old music best. By that I mean both my taste and my heart are drawn to songs that have meant something to me for a long time. There is a sweetness in such old music. There is a sense of place, of stability, of a precious solidity. But having said that I am bound to admit that Scripture clearly encourages God's people to sing unto him a new song, which phrase is repeated almost word for word nine times in the Bible. I have heard some on my side of the aisle say that "new" here means "different." In other words, God's people should embrace a new kind of music after salvation, different than their old kind of music. I obviously agree with that but I do not think this is the proper interpretation of those scriptural admonitions. Revelation twice points out that new songs are sung in Heaven constantly and the context certainly is not of a lost man becoming saved, rather it is of new music as in newly written and composed music. New songs should be written for each generation just like new sermons should be preached for each generation. Our religion needs to be fresh. Contemporary Christianity is constantly writing new music, and its churches and musicians welcome such songs readily. Assuming such songs are scriptural in their content I think that is a genuine strength, and one our side could do well to learn from.

Third, and most importantly, contemporary Christian music carries within its DNA a never failing emphasis on praising the Lord. This is true to such an extent that their own self-chosen moniker – praise and worship – includes this. To me, this is absolutely excellent. Praising the Lord is something that is emphasized hundreds of times in Scripture and yet far too often in our circles it is only paid lip service. Contemporary Christianity has more than its share of flaws but this is not one of them. Passionately, repeatedly, loudly, and often they sing their praise to the Lord that bought them. Our kind of churches, however, whether out of a fear of emotionalism or a lack of teaching, assumes a hasty "Praise the Lord" every now and again covers its responsibility. Nothing could be further from the truth. Praising the Lord is not a phrase you recite occasionally; it is rather detailed and emotional chunks of time set purposely aside to tell God how amazing He is in a large variety of ways.

Some will no doubt read today's post and misunderstand. They will shake their head and say, "If you like CCM so much why in the world have you skewered it so loudly and often in this series." The simple answer is that CCM needs skewered, for the most part. Does it have some good elements? Yes – and so do my alley trash cans but I would be unwise in the extreme to eat from them. Not only that, but these good elements in CCM that I have spoken of today can readily be incorporated in traditional church music without swallowing the massive amounts of damaging philosophy and practice that CCM thrives upon. We do not need a driving rock beat to passionately sing new music that praises the Lord. Neither do they, and I feel sorry for them that they do not see this.

Indeed, I hurt much for my generation of American Christianity. It has swallowed the hook of the world's system because that hook was covered in the lure of church growth. And then it reacts in puzzlement when the devil yanks it further and further away from the Word of God. Go ahead. Swallow that hook. Pat the traditional church on the head, and sigh over our thick-headed intransigence. We are glad that you preach Christ but know this: we have thought our position through. We have examined the Word of God. We have studied sociology, history, and music. We see where you are going even when you do not; we know we do not want to go there. We are where we are and not where you are for a whole bunch of very good reasons. And we plan to keep standing right here on the Word of God regardless of popularity, relevance, size, success or trends. Our audience is not the world; it is Him. He is the one we aim to please.

May God grant that He finds us faithful when He comes. In the meantime may we pray for and love our brethren in Christ who have been so deceived by the contemporary American music movement.

Music 26 - Contemporary Music’s Five Inept Justifications

In the last post we discussed the largest justification that pastors and worship leaders use to lead their churches away from traditional music, the amorality of instrumental music. However, there are others they routinely offer. In today's blog post I offer you five with a relatively quick deconstruction of each one.

First, they will say that CCM rescues church services from being dry, dull, and boring. Larry Norman, one of the early Christian rock pioneers, expressed this in his 1972 hit, "Why Should the Devil Have All the Good Music?":


I want the people to know that He saved my soul
But I still like to listen to the radio,
They say that "Rock 'n roll is wrong, give you one more chance"
I said "I Feel so good, I gotta get up and dance"
I know what's right, I know what's wrong, I don't confuse it
Well, all I'm really tryin' to say is
Why should the devil have all the good music?
They say to cut my hair, they're drivin' me insane
I grew it out long to make room for my brain
But sometimes people don't understand
What's a good boy doin' in a rock n' roll band
There's nothin' wrong with playin' blues licks
If you've got a reason, tell me to my face
Why should the devil have all the good music?
There's nothing wrong with what we play
'Cause Jesus is the rock and He rolled my blues away
I ain't knockin' the hymns, just give me a song that has a beat
I ain't knockin' the hymns, give me a song that moves my feet

Now I am the first one to admit that I've attended a whole bunch of boring church services. I will not admit, however, that the cure is a driving rock beat added to the music. The cure for a boring service is to develop a real and vital relationship with Jesus. If you do that it does not really matter what the service is like. To you, it will be the equivalent of a cool, refreshing drink after wandering around in the Sahara.

My father pastored for 38 years. I grew up listening to him drone on and on world without end. Something funny happened, though, as I got older. I got serious about the Lord and gradually those dry, boring sermons became mighty interesting. The same old hymns that had become background static to me came alive.

See, genuine Scriptural content is only boring to people similar to those Jesus described in Matthew 13.15. For this people’s heart is waxed gross, and their ears are dull of hearing, and their eyes they have closed; lest at any time they should see with their eyes, and hear with their ears, and should understand with their heart, and should be converted, and I should heal them.

The solution here is not to shake up the church service by turning it into the Christian equivalent of a nightclub. The solution is to build in the people a genuine hunger for God. You do that and nothing scriptural is ever boring again.

Second, CCM's proponents will say that their music gets a lot of people saved. They reason that their kind of atmosphere is more comfortable for the lost man, and that after drawing him in this way he is easier to lead to Christ.

My response to this is two-fold. First, there is zero indication given in the New Testament that corporate music is to be used as a tool to reach the lost. There are two specific passages that indicate the purpose of music in the church service and both of them say that it is given to edify God's people.

Second, I am not willing to concede that CCM types of churches actually do get more people saved. I think they get more people into a room but that is not nearly the same thing. Granger Community Church is a massive church based in Muncie, Indiana. It is fair to say it typifies the contemporary evangelical approach to church that I find so deeply troubling. Each week they gather a crowd of thousands but interestingly enough, by their own self-confessed account, most of them are not saved. In 2008 they surveyed an ordinary Sunday crowd and discovered to their horror that 47% did not believe in salvation by grace and that 56% did not believe Jesus is the only way to Heaven. I personally watched their pastor Mark Beeson roll those numbers out on their own church website during a discussion several years ago. Now I full well realize that even in my church each week there are a small percentage of unsaved people in attendance. But half? More than half? See, I am just not convinced at all that the modern contemporary movement is reaching people for Jesus. Not at all. They are reaching people, all right, but not to Jesus.

Next, CCM advocates will defend their use of such music by asserting it is their personal preference. They are simply exercising Christian liberty. They do not mind if I prefer to sing the old hymns, and they ask that I honor their preference to do the opposite.
Such a position assumes that music in the Christian's life and in the church service is simply a matter of personal preference and style. It assumes that God does not give us any musically related principles in the Scripture. Such an assumption is wildly incorrect. In other words, this justification rests on the premise that God does not express His thoughts about good and bad music in the Bible, and that is a faulty premise. Men and women have been using the concept of Christian liberty to shield their fleshly desires for millennia. (Galatians 5.13) Just because you label your choice such in no way removes from me the responsibility to express biblical truth regarding your inept justification.

Fourth, they will say loudly and often that CCM is just a new method, and that all methods used in church were new at some point. "Hey, fundamentalist Bible thumper man, you used a microphone in your church yesterday, didn't ya'? You had electric lights didn't ya?" Such a position seeks to paint the conservative as hypocritical in using things in church that were once contemporary themselves.

Agreed. Guilty as charged. Yet… a PA system simply increases the volume; it does not change the fabric of the church service. Electric lights simply let you see what you used to need candles to see; they do not change the character of the church service, let alone the underlying philosophical approach of a church entirely. And this is why CCM is entirely different. It is not just a new method; it dramatically alters the philosophy and practice of the church entire. I am not being hypocritical. You are comparing tangelos to elephants.

Lastly, CCM points to the Bible and says that the instruments it chooses to use are nowhere forbidden in Scripture. They are correct. Scripture mentions in a positive sense string, brass, wind, and percussion instruments being used in God's service. Which changes nothing. The problem I and so many other conservative Christians have with CCM is not the instruments themselves; it is with how those instruments are played. In fact, in addition to a piano and organ we use a guitar for musical accompaniment in every church service. But is certainly is not played in a rock style. To me, scriptural teaching is clear: an over emphasis on rhythm in music produces bad effects in both the musician and the listener. In other words, it is not the instruments of CCM themselves that are wrong; it is the manner in which they are played that is wrong.

Next week, believe it or not, I am going to discuss three things I like about contemporary music. My opponents and supporters may find themselves switching sides for a week. Stay tuned…

Music 25 - Music is Amoral... Really?

When it comes to my stand against CCM I full well realize I am in the minority. An ever increasing number of American (and foreign) churches use this kind of music. They do so for a variety of reasons and with a variety of justifications. I do not think it is intellectually honest to ignore the other guy's supporting positions in a debate, nor to wave them away as being somehow unimportant. Clearly they are important. They are important enough to have driven thousands and thousands of churches from traditional music to CCM in the last twenty years.

To the best of my ability I have researched those reasons. I have read the few books advocating CCM. I have entered in countless discussions online with people who defend its use. I have read about a zillion blog posts and magazine articles written by various worship leaders, etc. I think I have a decent, if basic understanding of CCM's justifications.

For the next few weeks on this blog I am going to explore those justifications. If you are a proponent of CCM I doubt I will convince you to change back to traditional music. I might, but in all honesty that is not my goal. My goal is to explain to God's people that there are good reasons to maintain a traditional approach to the church service, and that some of those good reasons include the fact that CCM's justifications are largely faulty. So I am going to walk you through those justifications and give my considered perspective on them.

The main and by far the largest justification used for a switch from traditional music to CCM is that music is amoral. In other words, CCM's position is that all styles of instrumental music are morally neutral until lyrics are added to them. For instance, they will assert, "There is no such thing as rock music, only rock lyrics." The logical extension of this is that any kind of musical style must be deemed appropriate for a church service. The only bar, then, is the personal taste of the main demographic group in your service. Ergo, we have found our way to the rationale of a various church service venues based on personal music taste that I have mentioned earlier in this series.

Such a position ignores the established fact that music is an emotional language. You may recall I began this series with an entire blog post dedicated to establishing that as a working definition of music. Some of my opponents were smart enough to recognize immediately how important that definition was and have challenged me on it stridently. They are not right in their challenge but they are right in their realization of the importance of such a definition. Music, alone, apart from lyrics is inherently emotional. It is how feelings sound. Well, are all emotions morally neutral? Some are. Anger is an emotion, for instance. In some contexts it is inappropriate; in others it is appropriate. Pride, on the other hand, while certainly an emotion, is never appropriate. These are only illustrations pointing to the fact. If music alone – without lyrics – conveys emotion and some emotions are sinful for the child of God then some music is sinful too.

In and of itself, however, such an argument as I have just made is relatively weak. I can hear it now. "What? Ok, Mr. Music Big Shot, just exactly what kind of music inspires pride? Huh?" Beats me, so let's move on to something a bit more weighty, shall we? =) Declaring music to be amoral ignores the educated judgment of music experts and serious thinkers going back thousands of years.

At this point I could probably choke you with dozens of quotes, but you can google as well as I can. I will content myself with just a couple. For instance, Plato (who is often misquoted in these debates) clearly expresses his opinion that there are good and bad rhythms entirely apart from lyrics in his Republic. Ancius Boethius, a sixth century philosopher said in his work, Fundamentals of Music, "No path to the mind is as open for instruction as the sense of hearing. Thus, when rhythms and modes reach an intellect through the ears, they doubtless affect and reshape that mind according to their particular character." In other words, various musical styles have an inherent moral character. Indeed, the only historical reference prior to the rise of CCM that says music is amoral I can find anywhere is one relatively obscure nineteenth century German philosopher. On the other hand, quotes about the morality or immorality of various musics abound as far back in recorded history as we can find. Though in and of itself this is not conclusive it should give the CCM proponent pause. Essentially, the amorality of music is a justification largely invented whole cloth by the CCM movement. It is almost entirely new in human history. And that should bother anybody.

But let us not rest upon these two. They are both fairly controversial and their authenticity is vigorously disputed by the CCM apologist. (To be intellectually honest, I can see their disagreement with the first. I cannot for the life of me see their rejection of the second. It is just too proven in the historical record.) Let's move along, for there are other reasons the amorality of music is an inept justification.

Third, the amorality of music position forces hypocritical judgments. I can only find two entire books defending the use of CCM. One was written by the Presbyterian John Frame. In it, after asserting that music is amoral, he follows it up with this little gem: "This is not to say that every popular music style with Christian words is suitable for worship." This is pure nonsense. Either all music is appropriate or some music is flat out wrong. You cannot maintain that music is amoral and then turn around and say that some of it is inappropriate even after being paired with Christian lyrics. Go ahead, my friend. You loudly proclaim the amorality of musical style. At your next communion observance play some death metal with a Scripture verse thrown in every now and again and then get back to me. But you will not for your cannot. Even in the currently regressed condition of American Christianity they will not go that far. But they should. After all, their position says there is nothing wrong with any style.

However, let us turn from these logical arguments and come back to the Word of God. The idea that music is amoral violates all the accumulated evidence of the deep connection between a beat heavy music and demonic presence. I am not going to wade through that all again, but those of you that are are new to this series will find much to profit from by so doing. I have written thousands of words about it, here, here, here, and again here. If I am right - and please do not take that "if" for anything other than courtesy on my part; I am sure I am right – then to use such music for distinctively Christian purposes is nauseous. This is essentially both the definition of CCM and the main root of my objection to it. I have read too much. I have watched too much. I have seen too much. The connection is blatant and appalling. Shame on God's people, and especially shame on their leaders, for ignoring it.

Lastly, this position ignores clear scriptural example to the contrary. In I Samuel 16 we find some interaction between a still young and relatively unknown David and King Saul. Saul in an agitated state due to demonic oppression finds solace in the simple, flowing, music of David's harp.

But the Spirit of the LORD departed from Saul, and an evil spirit from the LORD troubled him. And Saul’s servants said unto him, Behold now, an evil spirit from God troubleth thee. Let our lord now command thy servants, which are before thee, to seek out a man, who is a cunning player on an harp: and it shall come to pass, when the evil spirit from God is upon thee, that he shall play with his hand, and thou shalt be well. And Saul said unto his servants, Provide me now a man that can play well, and bring him to me. Then answered one of the servants, and said, Behold, I have seen a son of Jesse the Bethlehemite, that is cunning in playing, and a mighty valiant man, and a man of war, and prudent in matters, and a comely person, and the LORD is with him. Wherefore Saul sent messengers unto Jesse, and said, Send me David thy son, which is with the sheep. And Jesse took an ass laden with bread, and a bottle of wine, and a kid, and sent them by David his son unto Saul. And David came to Saul, and stood before him: and he loved him greatly; and he became his armourbearer. And Saul sent to Jesse, saying, Let David, I pray thee, stand before me; for he hath found favour in my sight. And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.

What was present? A demon. What literally drove it away? Instrumental music played in a flowing manner. A whole bunch of you do not like that but it is right there in black and white in your Bible. If all instrumental music is amoral will someone please tell me how come a demon was forced to run away from instrumental music alone?

Inept. Yep. That is the right word, all right. The amorality of music is nothing more than inept justification.

Music 24 - Contemporary Music’s Motive Problem

Whom is your church designed to please? The scriptural answer is, of course, God. But as we were allowed of God to be put in trust with the gospel, even so we speak; not as pleasing men, but God, which trieth our hearts. (I Thessalonians 2.4) The aim of any church is not to please humanity but to please God. Those leading each church should thus seek to mold their church in obedience to the precepts of Scripture for this was precisely what Jesus did. I do always those things that please him. (John 8.29)

Practically speaking, this means my aim as a pastor is to lead our church to be as scriptural and spiritually obedient as possible. My aim is not to have a big church; it is to have a Christ-like church. Would I like our church to grow? Yes, I would, for healthy things are growing things, but our focus is not on growth; it is on health. Growth is simply the by-product of spiritual health.

Contemporary American Christianity largely gets the cart of growth before the horse of obedience. CCM is embraced for precisely this reason. CCM continues – often in an established church over initial opposition – for precisely this reason. CCM is continually re-structured and reinvented for precisely this reason. The pragmatic philosophy underlying all of this is a church that aims itself squarely at the goal of attracting as many people as possible.

In order to do this such churches almost inevitably embrace a marketing approach. Research leads them to a desired demographic. The desired demographic is then studied to determine what they like and what they want in a church. The church staff goes to conferences and reads books and calls in consultants who will teach the church how to give the target demographic what they want.

…and if you cannot see anything wrong with that last paragraph you are a spiritual midget. A church does not have customers. The questions that should be asked are not what do the people want and how can we give it to them? The questions instead must be what does God want and how can we give it to Him?

Some of you reading this are thinking, "Wait just a cotton picking minute, Tom. The independent Baptist movement does that all the time. It promotes and programs and publicizes itself to bigness." I know, and every time it does it weakens itself. I just paid my respects to that in a long chapter in my recent book, Schizophrenic. But as bad as it is in the independent Baptist movement it is exponentially worse in contemporary evangelical Christianity. At least the independent Baptist movement has a love of preaching to serve as a brake on its pell-mell rush into pragmatism. The contemporary movement has no brakes at all that I can see. It was pioneered and built by men like Bill Hybels and Rick Warren with results in mind, and little else. On that it has delivered – results and little else.

Today's contemporary American church is not driven by a passionate pursuit of holiness, obedience, faith, and the power of God to shine for Him and reach people for Him. No, the contemporary movement is driven by polls, marketing, strategy, laws of attraction, and business sense. Management gurus are studied more than Jeremiah is. Success is no longer measured in terms of obedience to Scripture but in terms of size. The song selection, lighting, invitation, ministry structure, service length, instrument choice, color scheme, service schedule, budget priorities, dress code, sermon topic, audio-visual use, building plan, outreach, counseling, etc. etc. etc. are all pragmatically chosen and market driven with one unifying goal – get a bigger crowd.

Whatever happened to pursuing the power of God? Whatever happened to chasing obedience and letting Him give the increase? Whatever happened to making adherence to Scripture the goal? I will tell you what happened – CCM happened. American Christianity became overly enamored with church size and underwhelmed with scripture, with holiness, obedience, and Christ-likeness. In so doing it birthed and grew the contemporary Christian music industry. And that's a problem.

Music 23 - Contemporary Music’s God Problem

"Really? Another blog on what's wrong with CCM? Honestly, you just need to move on already."

No. I am not moving on. Indeed, I plan to camp here for quite a while yet. To mix metaphors entirely, I have been loading my gun for a long time, and since this series may be my only chance to shoot said bullets I aim to fire 'em all. We independent Baptists are fairly good at telling people what to do and what not to do. We are also fairly lousy at explaining why. In a very real sense this blog series is my attempt to address that latter weakness in the area of music. So I plan to keep saying "here's why" for a long time to come.

In point of fact, in my view there are about a dozen good reasons to avoid CCM. Thus far I have indirectly addressed several of them – CCM produces in Christians an incorrect understanding and application of worship, and CCM has a tendency to convert the church service into a show. I have also directly addressed others such as the fact that CCM blurs the clear distinction that ought to divide the church from the world, and that CCM produces stars instead of servants. In today's post I offer you this thought: contemporary music lowers God.

What do I mean by the phrase "lowers God"? I mean that CCM essentially redefines God as being oriented toward us instead of us being oriented toward God. It drains God of His majestic holiness and thus us of an appropriate view of Him. Isaiah famously said, In the year that king Uzziah died I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. (Isaiah 6.1) Philosophically, however, CCM reduces God. It explains Him as essentially existing in order to minister to us, to meet our needs when the scriptural fact of the matter is the exact opposite.

"Hold on a second there, Right Reverend Brennan. You best climb off your high horse. CCM sings more praise to God in a week than you old-fashioned IFB duffers do in a month. For crying out loud, it was exactly for this reason we switched from those tired old hymns and that depressing organ. And it worked. We got the people up, we got their hands in the air, and we are singing praises to our Lord."

Good. No, seriously, good. I am heartily glad CCM sings praise to the Lord. In fact, if it has a strength it is indeed that. It is wonderful about teaching people the importance of telling God He is amazing, and I am not afraid to admit that. Indeed, I love it. Having said that, however, I want you to back up and notice a word I used a paragraph or two up – the word "philosophically". The philosophical foundation on which CCM is built and for which the average church embraces it lowers God. It changes Him; it orients Him to us rather than us to Him.

For example, take a moment and contrast the approach CCM takes in reaching people with the approach a traditional preaching-heavy church takes. Preaching is specifically designed to directly confront the individual with their hopeless sinfulness in the eyes of a holy God. It tears an arrogant man down brick by brick. It stacks the Word of God up unapologetically beside our rotten lives and demands that we change.

To say the least, CCM is not preaching in this sense; it is art – and art was never made for preaching. Art was made for self-expression. Art was made for beauty. Art was made to produce an inner emotional response to that beauty. In this context CCM seeks to produce in the audience a good feeling. It is specifically designed to make people feel relaxed and comfortable at church. In order to accomplish this it must of necessity go easy on scriptural concepts such as sin, judgment, hell, and condemnation. Contemporary music was not made to confront; it was made to mesh unchurched Harry with the church. As such it presents God as being conveniently approachable. The philosophy of contemporary music is the philosophy of a 24/7 warm welcome. It is Motel 6 and "we'll leave the light on for you." It is not the philosophy of conviction and repentance. It is not the philosophy of a God high, and holy, and lifted up who commands and demands.

The proof of this is revealed in the service structure of the typical contemporary evangelical American church. Take for instance the following quote by John Frame (one of only two men I know who have written a book defending the use of CCM):

These nontraditional forms of worship have displayed some fairly common patterns: more contemporary language and music, informal atmosphere, greater emphasis on joyful celebration, less on mourning over sin. The church seeks to encourage an atmosphere of welcome and friendliness. CW [Frame's preferred term, contemporary worship music or CWM] avoids 'turn-offs' like ancient liturgy, emphasis on denominational history and theological distinctives, ten-minute prayers, forty-minute sermons, uncomfortable seats, ministers' begging for money, and crowded parking lots and restrooms. The preaching assumes little congregational knowledge of Scripture and doctrine, and avoids technical theological language. It begins by addressing 'felt needs.' Sometimes the church uses drama, films, and multi-media, usually to pose questions the sermon seeks to answer...CW is often called 'seeker-sensitive' or 'user-friendly'...

Please do not misunderstand me. I do not for one moment think we ought to be unfriendly or unwelcoming. But if the unsaved sinner does not feel uncomfortable in our church services at some point then what is the point? Contemporary music and its underlying philosophy recoils with horror at that last sentence. In turn, I recoil in horror at its recoiling. If our church services are not confronting the sinner with his sin then what are we converting him from? What are we converting him to? The answer to both those questions is absolutely nothing. He does not feel any pressure. He sees no need to change anything. He experiences no sense of condemnation or shame but rather only one of approval and welcome. In his mind then God feels toward him just like the church service feels to him – it's all good. But God does not want your "come as you are." He wants you to come despising what you are and desperate for His grace to change.

A switch to CCM in a church is much more than a change in musical style. It is the embrace of a philosophy that lowers God and excuses man. And that is a problem.

Music 22 - Contemporary Music’s Star Problem

It is no secret that the CCM movement has unashamedly copied the world. This is evident in its musical styles, its charts, and its awards. In so doing CCM has also inculcated the secular music industry's tendencies for self-promotion and glorification. In short, CCM has in its DNA a propensity to produce stars instead of servants.
For example, consider the following two examples of actual positive reviews of CCM concerts:

The thing that the band has going on for them is their fans singing along. Man, were those 13 to 16 year old girls going nuts over Matt and company!

Shrill screams reverberated off the sky-high ceiling. The beginning riff followed by an overwhelmingly loud 'whoa-oh' sent shockwaves through the violently undulating teenage sea. Small groups of girls stood in tight circles clapping like cheerleaders, practically running in place with mouths agape in screams as if the Beatles had just stepped on American soil.

Under the inspiration of the Holy Spirit the Apostle Paul wrote in complete contrast, For we preach not ourselves, but Christ Jesus the Lord; and ourselves your servants for Jesus' sake. (II Corinthians 4.5)

I am as human as the next man. No, I am not a singer or musician but as a preacher who holds a respected position and stands in front of people regularly I know the fight that takes place in my own heart. I want to think the growing crowds in our church show up to hear me. Imagine for a moment how much harder such a temptation becomes to me, as a preacher, if preaching was structured like CCM is structured. Why, surely I might qualify for the Preacher of the Year award. Ok, maybe not that, but at least the Sermon of the Year award. I mean, when I was younger and first breaking into the ministry I should have thrown my name in the ring for the Breakthrough Preacher of the Year award.
For instance, allow me the liberty to re-word an actual CCM CD review that appeared in "Christianity Today". I am just going to insert the equivalent of preaching in lieu of singing.

Tom Brennan deserves high praise for combining multiple interests into a single, cohesive preaching style. His talents are undeniable and promising. Brennan is wildly ambitious, intriguingly varied, and remarkably thought-provoking. He is known for his great opening lines, stunning delivery, amazing production, and enthusiastic storytelling. It seems only fitting that we pay tribute to Tom Brennan, this pivotal Christian preacher.

That does not strike the ear very well, does it? Such a paragraph is clearly not acceptable in reference to the man preaching to God’s people. Pray tell me then why it is acceptable for the man singing to God’s people? The simple truth is that while the world is all wrapped up in self-glorification the Christian is supposed to be living a life of self-denial. I am crucified with Christ: nevertheless I live; yet not I, but Christ liveth in me. (Galatians 2.20) Then said Jesus unto his disciples, If any man will come after me, let him deny himself, and take up his cross, and follow me. (Matthew 16.24) CCM's atmosphere thrives in complete contradistinction to these verses.

On the other hand, when you hear a choir sing in a traditional church, or you open up your songbook for a congregational song your attention is first drawn to the song. With CCM your attention is first drawn to the performer himself. There are no star song leaders that I am aware of, but there are lots of star worship leaders and artists and bands, are there not?
Please do not misunderstand me. I do not deny that I have occasionally heard preachers and singers in our kinds of churches whose ministry calls my attention to them first rather than the truth itself. But those are few and far between, and I am pleased to say that there is a growing rejection in the independent Baptist movement of the personality cult of the celebrity pastor. But CCM by its very nature inherently and practically demands it.

Greatness in the kingdom of God is all wrapped up in being a self-effacing servant. But made himself of no reputation, and took upon him the form of a servant. (Philippians 2.7) In this, as in so many other things, the growing American Christian music industry is moving in the opposite direction from God's kingdom. Which should not surprise anybody. CCM was birthed from and is still nurtured by the world's concept of a music industry. And that is a problem.

Music 21 - Contemporary Music’s Kingdom Problem

Colossians 1.12-13 never mentions music, let alone church music, but it establishes a principle that dramatically impacts church music all the same.

I am saved. And I should be grateful to the Lord that I am saved for I certainly did not and still do not deserve saving. Giving thanks unto the Father, which hath made us meet to be partakers of the inheritance of the saints in light. (Colossians 1.12) Further, this salvation not only allows me to partake of eternity's glory it also delivers me from the devil's power. Who hath delivered us from the power of darkness. (Colossians 1.13) I am no longer under his curse or in his power; I am free. And here is the reason why: and hath translated us into the kingdom of his dear son. (Colossians 1.13) Salvation ripped me out of the world and enmeshed me into the kingdom of God. Translated in the original language literally means "to move something from one place or sphere to another." As Enoch and Elijah of old, I have been removed from one kingdom – the power of darkness – and placed into another – the kingdom of his dear son. As such, God's people now owe their allegiance to and pledge their fealty to the God of Heaven. One kingdom, and one kingdom only demands their love and loyalty, their affection and devotion – Christ's kingdom.

Will someone please explain to me then why contemporary Christianity for the large part stridently insists on keeping one foot in the world?

The elder apostle said it this way toward the end of his life, Love not the world, neither the things that are in the world. If any man love the world, the love of the Father is not in him. (I John 2.15) I do not have space within the constructs of one blog post to lay out for you a treatise on what the Bible teaches about worldliness. For the moment, suffice it to say that Scripture teaches that the world is a bad thing, and that Christians are to avoid it. In this context the problem inherent in contemporary Christian music's roots and institutional makeup is a desire to chase the world, to be as much like the secular music world as possible.

For example, consider the following, which are are actual reviews of CCM concerts found in the pages of websites and magazines:

The pulsating techno music builds to a deafening crescendo as space-age-sounding zaps punctuate the heavy bass and drum beat. Red and green laser lights etch twisting torsos against blackened walls as coloured glow sticks slice through manufactured fog. Two hundred teens, ages 14-18, have come to dance to cutting-edge house, trance, and jungle music, while light patterns of 'gobos' and 'moonflowers' wash the room in a bright array of colour.

The crowd was stoked and ready to rock as the music started to play and the audience could still only see the silhouettes of the band members behind a pale illuminated curtain. Stuart worked the fans into a frenzy when he left the stage.


At the first chords, the crowd began pogo-jumping in unison to the crisp guitar, driving rhythm and sweet harmonies. A funky, retro spiral light projector swirled behind the band, accentuating the hipness already fighting the fog machine for control of the room's atmosphere. Owen dedicated the next song 'to the ladies.' The laid-back southern groove brought the crowd back to a head-bobbing frenzy.

Offering the best that 'crunk' rock has to offer, the five-piece masters of fun moved the crowd with their intriguing show, leaving quite an impression. The lead vocalist encouraged the crowd to make some noise as they performed a personalized cover of Nirvana's 'Smells Like Teen Spirit.'
 

I realize these are reviews of concerts and not church services, but the fact is that as music such as this is promoted and embraced by the wider American Christian world it begins to bleed over into the actual church services themselves. Rick Warren on the platform of his church during a service, in a jocular mood one day, broke into Jimi Hendrix's "Purple Haze" and was immediately backed up by the house band. Hillsong New York recently sent Times Square's The Naked Cowboy out to warm up the crowd for a recent women's meeting. There is a comfort, a union between CCM and the world. Like old friends they are at ease together. For most of contemporary Christianity there is now very little barrier between what is the predominant culture in the world and what the church likes and acts like.

This is driven by CCM's embrace of worldly musical styles, and aggravated by contemporary Christianity's fascination with aping modern movies and television shows for sermon material. The world's entertainment has now become a prime mover in the contemporary American church.
 

 
For a moment, let me address myself to those who read this blog who regularly attend such churches and find nothing wrong with this approach. I want you to ask yourself a question and then answer it honestly. When is the last time you heard a sermon against worldliness? No, rolling your eyes at me does not release you from answering the question, and the fact you rolled your eyes at me proves my point. You have not heard a sermon urging God’s people to beware of and avoid the world since you walked away from the independent Baptist church you grew up in, have you? You left all that "baggage" behind when you found the "grace and liberty" of the contemporary movement. Right. Contemporary Christianity cannot preach against worldliness for the entire culture on which it is built embraces it.

This puts God's people in such churches in both an awkward and a dangerous place. It is awkward because these two kingdoms are diametrically opposed to each other. Like the trick cowboy rider standing on the saddles of two different horses such Christians endure nothing but difficulty. It is dangerous because at some point those horses are going to pull away from each other and the rider while choosing one or the other will probably fall.

Contemporary Christian music drives its churches to embrace the very world from which Christ's salvation translated it away. And that, beloved, is a tragedy.