Contemporary Christian Music: Some Questions Answered and Some Warnings Given

The article below is from the June 2009 edition of CONTEMPORARY CHRISTIAN MUSIC: SOME QUESTIONS ANSWERED AND SOME WARNINGS GIVEN. 190 pages. $9.95

This insightful book examines many of the arguments modern churches use to justify the use of the world's music for God.

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WHAT IS THE DIFFERENCE BETWEEN USING CONTEMPORARY WORSHIP MUSIC AND USING OLD HYMNS THAT WERE INTERDENOMINATIONAL?

Updated August 26, 2010 (first published January 7, 2010) (David Cloud, Fundamental Baptist Information Service, P.O. Box 610368, Port Huron, MI 48061, 866-295-4143 begin_of_the_skype_highlighting 866-295-4143 end_of_the_skype_highlighting, fbns@wayoflife.org; for instructions about subscribing and unsubscribing or changing addresses, see the information paragraph at the end of the article) -

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QUESTION

“What is the difference from using songs that every denomination using across the board from the past (‘Just as I Am,’ ‘Amazing Grace,’ etc.) to using songs that everyone uses across the board in the present (‘How Deep the Father’s Love for Us,’ ‘Holy Ground,’ Majesty,’ etc.) if they follow Biblical principles and if we do not promote a particular artist whose lifestyle we don’t support?”

ANSWER

To compare the use of Contemporary Christian Worship (CCW) songs to the use of hymns from the past that present a sound theology but were written by people from non-Baptist denominations is to compare apples with oranges. I offer four reasons why it is improper to compare the two.

First, the difference between using a song by someone in the past like Fanny Crosby (“He Hideth My Soul,” Methodist) or James Gray (“Only a Sinner Saved by Grace,” evangelical Reformed Episcopal) or Martin Luther (“A Mighty Fortress Is Our God,” Lutheran) as opposed to CCW artists today is that the entire milieu of CCW represents a philosophy that is geared toward creating a one-world church. CCW represents the ecumenical judge-not philosophy. It is one of the chief things that are bringing all churches together. I have documented this extensively in my books, and I do not see how it cannot be disputed. (See chapter 3 of this book.) Further, CCW could be called Contemporary Charismatic Worship, because it overwhelmingly represents the charismatic doctrine and perspective. It is promoting the charismatic position of experiential worship rather than faith worship centered on God’s Word. We have documented this in the previously mentioned book.

For an Independent Baptist or a fundamentalist Bible church to use biblically sound hymns of the faith from the past will not destroy that church’s principles and character, will not change it from a separatist church to a non-separatist one, but using CCW will definitely do that. It is happening everywhere, and many men of God have observed it. Consider the following four warnings:

“When the standard of music is lowered, then the standard of dress is also lowered. When the standard of dress is lowered, then the standard of conduct is also lowered. When the standard of conduct is lowered, then the sense of value in God’s truth is lowered” (Evangelist Gordon Sears, Songfest newsletter, April 2001).

“If a church starts using CCM it will eventually lose all other standards” (Dr. Frank Garlock, Bob Jones University, chapel, March 12, 2001).

“Perhaps nothing precipitates a slide toward New Evangelicalism more than the introduction of Contemporary Christian Music. This inevitably leads toward a gradual slide in other areas as well until the entire church is infiltrated by ideas and programs alien to the original position of the church” (Dr. Ernest Pickering, The Tragedy of Compromise: The Origin and Impact of the New Evangelicalism, Bob Jones University Press, 1994).

“Good fundamental Baptists and others that refuse the teachings of the charismatic crowd concerning tongues, signs, miracles, and so forth are now singing their music in our churches and preparing our people for the world, the flesh and the Devil. It is the new Trojan Horse move ... to deaden our churches to spiritual truth” (Victor Sears, Baptist Bible Tribune, 1981).

The reason for this is that CCW is not just music; it is a philosophy of Christianity that is opposed to what biblicist fundamentalist churches stand for. It is opposed to a staunch doctrinal stance, opposed to strict separation from the world, opposed to ecclesiastical separation. I have never heard of a member of an Independent Baptist church becoming a Lutheran because of singing “A Mighty Fortress Is Our God” or becoming a Methodist by singing Fanny Crosby’s hymns, but I know of many that have gone down the path of the contemporary philosophy because of listening to CCW.

The writers of the old hymns, though they were not all Baptist in theology, did not represent a movement that is opposed to old-fashioned Biblicist, separatist Christianity, whereas the CCW crowd most definitely does. Prior to the onslaught of the ecumenical movement, the Protestants were still protesting against error. They still considered Rome a religious whore. All of that type of thing has been rejected by the CCW movement.

Dan Lucarini, author of Why I Left the Contemporary Christian Music Movement: Confessions of a Former Worship Leader (which I highly recommend), says:

“No one should deny the power of music to proselytize! Pastors in particular must defend their flocks from false teaching, heresies and ‘ear ticklers’ who bring worldly sensuality into the congregation; you are right to point out how easily this comes into a church through worship music. It seems wiser to decline the use of what seems to be a perfectly good song, rather than to give any honor and hint of endorsement to the composer and his/her mission” (e-mail, May 24, 2009).

Another difference between the hymns in a standard Baptist hymnal and the songs coming from CCW is that CCW songs are filled with heresies. You have to look long and hard to find ones that are not tainted with error. Before the explosion of modernism and end-time apostasy, all of the Protestant and Baptist denominations shared the “fundamentals” of the faith.

I would put it like this: on the hymnal side (particularly those used in older traditional Baptist hymnals) there are a handful of songs that are questionable; on the CCW side there are a handful of songs that aren’t questionable! I have documented this in my book Contemporary Christian Music under the Spotlight. One of the CCW songs mentioned by the pastor that asked this question is “Majesty.” This song by Four Square Pentecostal pastor Jack Hayford preaches the false kingdom now theology. This is typical.

Dan Lucarini comments:

“A hymnal is very different than the contemporary ‘song of the month.’ We have the benefit of relying on the wisdom of godly men who very carefully assembled the hymnal. No hymnal is perfect, of course, but we know we can trust the vast majority of selections to support our doctrine without the need to examine each song and composer. The pastor who today claims that he will rigorously examine every CWM song before allowing its use takes on a terrible burden that will detract from his time preparing messages, discipling, and doing the work of an evangelist. I think that pastor means well but he is a fool to believe he can control CWM. No, practically speaking he will delegate this to a worship leader who is hardly qualified to defend the faith and the flock. This is the confession of a former worship leader!” (e-mail, May 24, 2009).

Another difference between the hymns in a standard Baptist hymnal and the songs coming from CCW is that CCW is experience oriented. It is designed to create an emotional experience.

The mission of Integrity Music and Integrity Worship Ministries is “helping people worldwide EXPERIENCE THE MANIFEST PRESENCE OF GOD” (integritymusic.com). Graham Kendrick, one of the biggest names in CCW, says, “The old way of preaching and singing began to give way to an expectation that ... God would visit us, and we’d EXPERIENCE HIS PRESENCE IN A TANGIBLE SORT OF WAY” (interview June 11, 2002 with Chris Davidson of Integrity Music). Secret Place Ministries exemplifies the CCW philosophy in that they “long for an encounter with the presence of God” and their worship music is said to “bring down the presence of God” (SecretPlaceMinistries.org).

It is important to understand that CCW is all about a feeling, and that is why the heavy backbeat suits it so well. That backbeat is physically sensual and stimulating. Steven Tyler of Aerosmith testified that rock music “is the strongest drug in the world” (Rock Beat, Spring 1987, p. 23).

The experience orientation of CCW is also why it tends to be characterized by repetitiveness. It has been called 7/11 music (7 words sung 11 times). This creates a hypnotic effect, particularly when accompanied by a strong backbeat.

Another difference between the hymns in a standard Baptist hymnal and the songs coming from CCW is that CCW songs doctrinally vague. This is one reason why it is so broadly appealing and ecumenically successful. For example, one of the songs mentioned in your question is “Holy Ground.” It was written by Geron Davis, a “Jesus Only” Pentecostal who denies the Trinity and baptizes only in Jesus’ name. If we consider the lyrics, the reason for its broad appeal (as the No. 2 best-selling contemporary praise song) becomes obvious.

“As I walked through the door/ I sensed His presence/ And I knew this was the place/ Where love abounds/ For this is the temple/ Jehovah God abides here/ And we are standing in His presence/ on Holy Ground./ We are standing on holy ground/ And I know that there are angels all around/ Let us praise Jesus now/ We are standing in His presence on holy ground/ In His presence there is joy beyond measure/ At His feet, peace of mind can still be found/ If you have a need, I know He has the answer/ Reach out and claim it/ For you are standing on holy ground.”

In light of the incredibly vague message, it is not surprising that this CCW song is popular in ecumenical Protestant, theologically modernist, and Roman Catholic churches. In fact, it is popular with New Agers. Barbra Streisand, who is not a Christian, included the song on her 1997 New Age inspirational album “Higher Ground.” She says that she first heard “Higher Ground” at Clinton’s mother’s funeral in 1994 and that it was “an electrifying moment.” Streisand applied the lyrics to her New Age philosophy that “God is everywhere “and “every square inch of this planet is holy ground.” When asked how he felt about Streisand being electrified by “Holy Ground,” Davis replied, “The presence of God has the same effect on everybody. It doesn’t matter how powerful, how wealthy, how well known you are. When you come into God’s presence, friend, we’re all on level ground” (Phil Christensen, “Holy Ground by Geron Davis,” http://www.ccli.com/worshipresources/SongStories.cfm?itemID=6). His gross lack of spiritual discernment is evident in that he didn’t mention anything about the necessity of being born again in order to have a personal relationship with God, and he did not warn that the devil appears as an angel of light (2 Corinthians 11).

This illustrates how that CCW is at home ANYWHERE, and that is a loud warning to those who believe what the Bible says about end-time apostasy (e.g., 2 Timothy 4:3-4)!

And the doctrinal vagueness is not limited to a few CCW songs. It is one of this genre’s hallmarks. There are exceptions, of course, but vagueness tends to be the rule.

By the way, we urge churches to be careful even with the older hymns. We have never said that if a hymn is old it is good. We must examine our hymns doctrinally to make sure they are biblical in lyrical content. In my estimation, there are hymns in the standard hymnals used by Independent Baptist churches that shouldn’t be used (e.g., “The Battle Hymn of the Republic” and “We’ve a Story to Tell to the Nations”).

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The article above is from the June 2009 edition of CONTEMPORARY CHRISTIAN MUSIC: SOME QUESTIONS ANSWERED AND SOME WARNINGS GIVEN. This book begins with the author’s experience of living the rock & roll lifestyle before he was saved and of how the Lord dealt with him about music in the early months of my Christian life. The next section of the book expounds on FIVE REASONS WHY WE ARE OPPOSED TO CONTEMPORARY CHRISTIAN MUSIC AND THE CONTEMPORARY PRAISE MUSIC: It is worldly; it is ecumenical; it is charismatic; it is experience-oriented; and it weakens the fundamentalist stance of churches. We give examples of how changes are occurring in formerly staunchly fundamentalist churches through the instrumentality of contemporary music. The next section of the book answers 29 QUESTIONS THAT ARE COMMONLY ASKED ON THIS SUBJECT. These are as follows: Should Christians only use old music? Isn't music neutral? Does a b flat note have a moral quality? Isn't the sincerity of the musicians the important thing? Isn't some of the contemporary Christian music acceptable? What is the difference between using contemporary worship music and using old hymns that were interdenominational? What about the miracles that some CCM artists witness? Why does traditional church music seem dull? Didn't Luther use tavern music? Didn’t the Wesleys use tavern music? Isn't the issue of music just a matter of taste? Doesn't the Bible encourage us to use cymbals and stringed and loud sounding instruments? Why are you opposed to drums? What is wrong with soft rock? If we assume that Christian music is demonic, why would the devil sing about Jesus Christ and the things of God? Didn't God create all music? Christians are not supposed to judge, are they? Love is more important than doctrine and standards of living, isn't it? Since God looks on the heart, why are you concerned about appearance? Isn't Christianity all about grace? Shouldn't we use rock music to reach the youth? Making rules and standards about music and clothing and such is pharisaical legalism, isn't it? Don't 1 Corinthians 6:12 and 10:23 teach that the Christian has liberty? Didn't Paul say that he was made all things to all men? David danced before the Lord, so why are you against dancing in the churches? Why do you say that the Pentecostal-Charismatic movement is unscriptural? By preaching against Christian rock aren't you hurting people and hindering their ministries? What about all of the young people who are being saved through CCM? The final sections contain TIPS FOR KEEPING CONTEMPORARY MUSIC OUT OF THE CHURCHES and SUGGESTED RESOURCES FOR SACRED MUSIC. 190 pages. $8.95

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