J_______ D______

UCCA 102

Dr. David Dedo

December 8, 1998

Contemporary Christian Music: Reaching the World with Truth

"When peace like a river attendeth my way, / When sorrows like sea-billows roll; / Whatever my lot, thou hast taught me to say, / ‘It is well, it is well with my soul.’ / Tho’ Satan should buffet, tho’ trials should come; / Let this blest assurance control, / That Christ hath regarded my helpless estate, / And hath shed His own blood for my soul" (Spafford and Bliss 1876). For centuries, such treasured hymns of the church have "calmed anxious hearts, incited courage in the fainthearted, comforted the grieving, healed the wounded, rescued the perishing, and drawn wanderers home" (Swindoll 1). As the Church moves into the new millennium, fresh forms of musical worship and praise rise to the forefront. "Each music style is a distinct language . . . a language that creates understanding among people who can dialogue in that language . . . [it also] creates discord and chaos among people who don’t share the language" (MacKenzie 2 Dec. 1998). From its inception in the early 70s, contemporary Christian music faced many obstacles and created many controversies within the Church. "Hailed by some as a fresh moving of the Holy Spirit, maligned by others as blatant compromise with the world, contemporary Christian music has become one of the most controversial issues facing the Church at the close of the twentieth century" (Miller 1). Like the stately hymns of old, contemporary Christian music provides the unique combination of inspiration, praise, and worship with a call of conviction for salvation and spiritual growth. Even as the time honored hymns follow the biblical references to the function of music, this generation’s new form of worship and praise music seeks to teach, to praise, to confess sin, to petition, or to share a personal testimony (Miller).

Although "there is [truly] no such thing as Christian music ([for] there are no Christian chords, no Christian harmonies, no Christian melodies), there is, however, a Christian message and that message, the Gospel of Jesus Christ at work in the life of God’s people to redeem the world, is what makes a Christian lyric and, where appropriately teamed with music in any style, allows music to be defined as Christian" (MacKenzie 2 Dec. 1998). Therefore, in order to convey the message, lyrics present an area of careful consideration for both hymn and contemporary Christian music writers. It is the words that make contemporary Christian music distinctive and uncompromising. Words portray the emotion of the theme and establish the biblical basis for the songs’ conclusions. Al Menconi, an expert on Christian rock music, says, "I discovered that most of today’s Christian rock music touches on issues that need to be examined from a Christian perspective. I have learned to appreciate and be challenged by much of today’s contemporary Christian music" (1). Bob Smithouser, music critic for Brio magazine, emphasizes the importance of lyrics that help the listener to gain a better understanding of the Christian lifestyle: "as a Christian, I must reject any lyrics that reject His truth as well ¾ whether they’re alternative rock, rap, pop, jazz, punk or country. . . . Remember the words of Philippians 4:8, which tell us to focus our thoughts on things that are wholesome and pure" (30).

Many believers brought up in traditional churches have misgivings about the present generation’s form of Christian music. However, the skeptics must realize that the message is still the same. Christian music teaches its listeners about biblical truths. The strength of "How Firm a Foundation" is in its lyrics: "How firm a foundation, / ye saints of the Lord, / Is laid for your faith in his excellent Word! / What more can he say than to you he hath said, / To you who for refuge to Jesus have fled?" (Wade 1751). Likewise, deceased songwriter and singer Rich Mullins expresses the weaknesses of humans and the omnipotence of God:

One of the most important aspects of the Christian life is praising God for who He is and what He has done. Many traditional hymns focus on praising God for His power, might, and everlasting love. "Praise to the Lord, the almighty, the King of creation! / O my soul, praise him, for he is thy health and salvation!" (Neander and Stralsund 1708). Again, Rich Mullins expresses the wonder and amazement of God’s power through simple, yet profound phrases:

David’s Psalm 51 reveals the confession of his sin with Bathsheba. This confession is a song to the Lord in an effort to express David’s remorse. Confession is an acknowledgment of one’s participation in sin such as adultery, gossip, lust, or drifting from God’s path. Alternative Christian group dcTalk frees itself through confession in "Just Between You and Me."

This upbeat confessional echoes the sentiments of J. Edwin Orr’s "Search me, O God, and know my heart today; / Try me, O Savior, know my thoughts, I pray. / See if there be some wicked way in me; / Cleanse me from every sin, and set me free" (1986).

Petitions to God are pleas for His help in a variety of situations. Financial need, physical need, or the longing for a deeper walk with Christ are often the cause for petitioning Almighty God. Hymn lovers who cling to "I Need Thee Every Hour" would be drawn to the Katinas’ longing to know the Lord intimately as they sing, "You’re all I want / You’re all I’ve ever needed / You’re all I want / Help me know You are near" (Carpenter 1994). Expressing longing through musical petitions allows Christians to verbalize feelings which may otherwise elude them.

Traditional hymns, such as "Amazing Grace," inspire through personal testimony. "Amazing grace! How sweet the sound / That saved a wretch like me! / I once was lost but now am found. / Was blind but now I see" (Newton and Rees 1831). This same experience appears in the contemporary testimony of singer and songwriter, Michael W. Smith: "Once upon a time I was faithless, running blind / Thru the Valley of the Lost / So now you find it rather strange / When you hear me claim the name / Of the one who bears the cross / And I say ‘I believe in You now / A new light is showing me how I used to walk in the shadows of doubt / But I believe in You now’ " (Smith and Kirkpatrick 1998). This song, "inspired by [Smith’s] conversion and [his] many friends who decided to come home," encourages believers by informing them they are not alone in the trials of the Christian walk (Smith 1).

All Christians need encouragement in their lives, whether straight from the Bible, from other believers, or musicians. The Christian life is full of difficulties and times when it seems impossible to continue. Artists such as Steven Curtis Chapman provide encouragement through their music: "God our Father, once again I bow my head to pray / You are my Father and my friend and You hear every word I say / A prayer for forgiveness, a desperate cry for help / Or praise flowing from a thankful heart / Like each time before, I come knowing You’re still listening" (Chapman and Moore 1994). These lyrics remind fellow believers God is always there for them, no matter how alone they may feel.

Christian artists, such as Amy Grant, believe "the purpose of Christian music is to move us toward God, to articulate the experience of believing in God and how that affects our lives, and how we struggle, celebrate, worship . . . all of the above. It connects us with the community of believers" (Grant 47). Contemporary Christian music utilizes the popular musical styles of today’s generation to encourage and influence others with the Word of God. It is not so much the music that is important, but the lyrics, which speak the truth to the multitudes.

The most popular argument against Christian music is that it leads to conformity with the world. Critics say, " ‘Christian rock artists admit to imitating the world’s styles and using them for godly ends. But adopting the world’s methods and using them for God is blatant compromise. The biblical mandate in Romans 12:2 is clear: "Do not be conformed to this world" ’ " (Miller 43). Critics take this verse out of context when attacking Christian music or even Christian ministry in general. Secular mediums, such as movies, television, the internet, and other technological advancements, used by some of the most renowned evangelists of our time, spread the Gospel of Christ. The Billy Graham Evangelical Association produces its own videos in an effort to spread the news of salvation to a world of television addicts. Many pastors preach on television, over the radio, or even on the internet, three essential mediums of communication in today’s age.

The confusion comes in the interpretation of worldliness. "F.F. Bruce describes it thus: ‘Worldliness . . . does not lie in things we do or in places we frequent; it lies in the human heart, in the seat of human affections and attitudes’ " (Miller 46).

The key to any element of evangelism is to connect with those who need to hear the encouragement of the Good News. Musicians do this through lyrics telling of the trials, pain, joy, love, and triumph involved in the Christian life. "Separation from the world cannot mean distancing ourselves from everything that finds its origin or use in the sinful world. Otherwise, Paul, John the Baptist, and even Jesus, would be guilty of worldliness" (Miller 45). When Jesus was on earth, He spent His time developing relationships with those around Him in the environments in which they lived. " ‘If Jesus was here today physically, I’m not really sure He’d be in the churches,’ [Michael W. Smith] says. ‘He’d be hanging out at the bars, with the desperate and the lonely. And I don’t think He’d be going in and preaching ¾ I think He’d be going in and befriending people’ " (Urbanski 38). This is exactly what contemporary Christian music attempts.

"The popular arts have the potential to serve God and neighbor in myriad ways by addressing human needs for both leisure and artistic interpretations of our lives and times" (Romanowski 45). Popular arts include television, video, radio, and internet. These outlets are already being used for Christian purposes, so why should music be any different? "Contemporary Christian music is a medium whose day has come for families, churches, evangelists, and . . . foreign missionaries" (Miller 1). Billy Graham recognizes the influence Christian music has on today’s youth. In his four-day crusades, Graham includes a youth night, incorporating contemporary Christian artists into "his efforts to reach teens and young adults" (Hefner 41). Graham preaches his message and lives out the Gospel in his everyday life. He recognizes Christian musicians are doing the same thing and reaching people through their music. " ‘Some of their music we don’t understand. I hear it, but I don’t know what they’re saying. The average person my age doesn’t comprehend what they’re singing, yet at the same time contemporary Christian music is getting through to [young people]’ " (Hefner 41). Using appealing musical styles enables church leaders and evangelists to communicate and have a greater impact on certain age groups, particularly with the youth of today.

In spite of all the controversy and accusations of compromise experienced at birth, the contemporary Christian music industry now grows at an accelerated rate. While an important part of a believer’s spiritual development, providing an outlet for worship and enjoyment, contemporary Christian music also convicts and comforts the non-believer. There is no worldly compromise in contemporary Christian music. Rather, contemporary Christian music is a valid instrument for reaching the world with the Truth.

Works Cited

Carpenter, Kelly. "Draw Me Close." Exodus. CD. Rocketown Records, 1998.

Chapman, Steven Curtis, and Geoff Moore. "Still Listening." Heaven in the Real World. CD.

Sparrow Records, 1994.

Fischer, John. "Talkin’ ‘Bout my G-G-Generation." CCM June 1996: 70.

Grant, Amy. "Somewhere Down the Road: An Interview with Amy Grant." By Gregory

Rumburg. CCM July 1998: 46, 47.

Hefner, April. "Still Billy." CCM May 1998: 40, 41.

MacKenzie, Robert. Personal Interview. 2 Dec. 1998.

McKeehan, Toby and Mark Heimermann. "Just Between You and Me." Jesus Freak. CD.

Forefront Records, 1995.

Menconi, Al. "What Kind of Music is Right for My Children?" Family March 1997: 1, 2.

Miller, Steve. The Contemporary Christian Music Debate. Wheaton, Illinois: Tyndale House

Publishers, Inc., 1993.

Mullins, Rich, and Beaker. "We Are Not as Strong as We Think We Are." Songs. CD.

Reunion Records, 1996.

Mullins, Rich, Mitch McVicker, and Tom Boothe. "Nothing is Beyond You." The Jesus Record.

1. Myrrh Records, 1998.

Neander, Joachim, and Stralsund Gesangbuch. "Praise to the Lord, the Almighty." Hymns of the

Living Faith. Marion, Indiana: Wesleyan Methodist Publishing Association, 1951.

Newton, John, and John P. Rees. "Amazing Grace." The Hymnal for Worship and Celebration.

Waco, Texas: Word Music, 1986.

Orr, J. Edwin. "Cleanse Me." The Hymnal for Worship and Celebration. Waco, Texas: Word

Music, 1986.

Romanowski, William. "Where’s the Gospel?" Christianity Today 8 Dec. 1997: 44, 45.

Smith, Michael W. Live the Life. CD. Reunion Records, 1998.

Smith, Michael W., and Wayne Kirkpatrick. "I Believe in You Now." Live the Life. CD.

Reunion Records, 1998.

Smithouser, Bob. "High Voltage: A Collective Cheer for Collective Soul." Brio May 1995: 30.

Spafford, Henry G., and Philip P. Bliss. "When Peace Like a River." Hymns of the Living Faith.

Marion, Indiana: Wesleyan Methodist Publishing Association, 1951.

Swindoll, Charles R. The Hymnal for Worship and Celebration. Forward. Waco, Texas: Word

Music, 1986.

Urbanski, Dave. "Smith and Wesson." CCM May 1998: 33-38.

Wade, John F., "How Firm a Foundation, Ye Saints of the Lord." Hymns of the Living Faith.

Marion, Indiana: Wesleyan Methodist Publishing Association, 1951.

Jjdttfn@aol.com