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 PrintableVersion Why I left the Contemporary Christian Music MovementIf it ain't got that swing...WHY I LEFT THE CONTEMPORARY CHRISTIAN MUSIC MOVEMENT This book will not be easy for many British evangelicals to relate to, especially the sort who are likely to be reading EN (a dangerous statement I know!). The author writes from his experience of what he calls the Contemporary Christian Music Movement in North American churches, churches which appear to be much larger than is usual in Britain and have a much more developed music ministry. Via a roundabout route he has now come to the view that a 'traditional form' of music is right for Christian worship. He argues fervently for Christians to abandon the use of 'contemporary' music forms in their meetings. He means by this not 'new songs', but modern styles or genres of music, i.e. 'Christian soft rock, Praise and Worship tunes, hard rock, country rock, easy rock, pop rock rap hip-hop, reggae, ska blues, big band and all other forms influenced by rock.' As he says 'If it's got that swing, it ain't good to sing!' Much of the argument is based on guilt by association. Rock music as a culture and its many family members has a strong record of immorality, anarchism and downright anti-Christian values. Any music with a rock 'back beat' and syncopation is, he considers, a family member and should be rejected for use in Christian services. He makes some apt and timely points, particularly about making sure we don't force people out of churches by our music. Also, on the need to guard against sexual temptation he rightly cites modern music ministry as an area where some are less than careful in that respect. I share his lamenting of the passing away of much four-part harmony singing in our churches. . . . but while I agree that extreme genres are inappropriate, I was left unconvinced about his total retrenchment into unsyncopated styles only, and his supposition that any introduction of such songs (even in a mixed service - i.e. some traditional some contemporary songs) was untenable and only a step away from the contemporary takeover. His style of writing will come across as arrogant to many, although I felt that this was genuinely not his intention. The journey across the Atlantic does seem to mysteriously change the meaning of things, doesn't it? It is not helped by his constant reference to the 'Contemporaries' and the 'Traditionals' which makes the whole book sound very adversarial. However, when he described the music at a typical service in the church he attends it sounded very contemporary by comparison with many of our churches, and not a million miles from my own sort of ideal. Perhaps a little bit of syncopation might just creep in for me! My overriding fear for this book is that it will contribute little to the right use, appreciation and joy of music in our churches. People who accept and appreciate the use of contemporary music styles are likely to reject its good messages because of its extreme position on some matters or perhaps, more likely, will not read it at all. Christians who are entrenched into traditional forms only and who overuse ancient hymns and tunes could see this book as affirmation of their behaviour and determine all the more not to change. Music needs to be real and living in our churches as I am certain the author would agree but I am not sure whether this book will do much to achieve that aim - in Britain at least. Ian Parker, Hartlepool© Evangelicals Now - November 2002 |
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